Welcome to the New York Times Popcast, you're even my sweater of music news and criticism

I am your host, Junker Monica.

You are bouncing and popping along to I want to slam my head against the wall, that is

Glaive. Glaive, as many of you likely know, but some of you maybe are not aware, Glaive

is one of the emergent breakout stars of the scene slash sound slash playlist slash questionable

umbrella term hyperpop that has been gaining currency in the last year and a half. Glaive

is, I think he's 16 or maybe 17 now, he's still in high school, he's got three EPs, two

solo one collaborative and I think he's one of the most fascinating and fun and engaging

singer songwriters working in any genre today. I know it's a little bit less popular

than Taylor Swift, but sometimes Popcast has to put you on. So we're going to spend this

episode talking about Glaive, his rise during corona and during pandemic and also kind of

problematized the idea of hyperpop a little bit. To do that, I'm joined by Alex Robert

Ross, he's the editorial director of the Fader, Alex, what's good man?

How you doing, Junker? It's great to be here. I'm so happy to have you also just as a

quick sidebar, Alex was good enough to send me an old Aliyah interview that I did for

the Fader, which I'm sure is in storage in somewhere, but you found it going through

old issues and I was grateful for that. I think I mentioned that on the Aliyah pop guest,

but here you are, the man himself. So thank you. How's everything at the Fader? First

of all, how's Fader things? Things are going great. Thanks. Yeah. We're just like everybody

right now just trying to put off thinking about end of year and the chaos that ensues there,

but otherwise everything's great. Alex, let's get into Glaive. Let's start with biography,

first of all. Tell me a little bit about Glaive. Is he 16 or 17 now? He's very much 16 and

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