Joji has never been an artist comfortable with stasis. From his beginnings as a pioneer of lo-fi tinted trap to his evolution into an “alt pop heavy hitter,” as CLASH aptly put it, his career has been defined by a restless, introspective energy. His fourth studio album, the audaciously titled Piss In The Wind, continues this trend, presenting a sprawling, 21-track odyssey that simultaneously looks back at his roots while pushing his signature sound into a darker, more volatile landscape. Released on his independent label, Palace Creek, on February 6, 2026, this album feels less like a new chapter and more like a comprehensive, yet conflicted, self-portrait.
The album’s name itself—a vernacular phrase suggesting a pointless or futile endeavor—hints at the themes of existential frustration and emotional exhaustion that permeate the work. This tension is, by the press release’s own admission, what Piss In The Wind is all about: “bridg[ing] Joji’s sonic past and present balancing melancholic, brooding writing with gritty yet atmospheric production.” While tracks like the blockbuster, RIAA 2x Platinum “Glimpse of Us” proved his knack for high-stakes, piano-balladry, this new album largely returns to the gritty, cyber-surrealism that defined his early cult following.
The Singles: A Contradictory Compass
The rollout began with the quiet unveiling of “PIXELATED KISSES,” a track that quickly earned its place on the Billboard Hot 100, 200, and Pop charts, demonstrating Joji’s enduring commercial appeal. A masterclass in simplicity, the song is built on a growling bassline and a moody, gritty trap beat that serves as a backdrop for Joji’s characteristically pared-down, vulnerable vocals. The brief, one-minute-fifty-second track explores a preemptive despair about love in the digital age. With lines like, “Pixelated kisses got me goin’ insane / Replicate this moment from a million miles away,” Joji laments the distance and emotional disconnect of a relationship predicated on technology—text, video calls, and a reliance on satellites—questioning the sincerity of a love that can only exist in a “bitcrushed” state. It’s a haunted, moody track that re-establishes his place in the ‘anti’ pop sphere by interrogating modern intimacy with a deep, analog-like heartache.
The second herald from the project, “If It Only Gets Better,” leans in the opposite direction, recalling Joji’s lo-fi roots. The track is built on a foundation of acoustic guitar, syncopated bass, and soaring, layered harmonies—a blend that feels deliberately minimal and ruminative. Its brevity (clocking in at just over a minute) reinforces its function as an interlude or a fleeting thought. The central lyric, “If it only gets better from here, then what’s there to change about it? Shit, I just won’t think about it,” suggests a resigned nihilism. It’s the kind of dark humor and emotional suppression that Joji’s fans connect with: a painful acknowledgment that the only way to cope with potential heartbreak is to avoid introspection entirely.
The accompanying James Mao-directed video for “If It Only Gets Better” offers another layer of context, playfully nodding to his BALLADS 1 breakthrough “YEAH RIGHT” with frenetic, clubby visuals. This visual chaos, featuring a Joji-like figure (model/actor Robert Birdsall) appearing disinterested in the club, is a perfect counterpoint to the minimal, acoustic production. It captures the quiet contradictions that have always defined his music: internal turmoil wrestling with external presentation; haunting melodies set against gritty production. It’s the sound of a man standing still while the world spins in a chaotic blur.
The Album Proper: A Darker, Independent Turn
With an ambitious 21-track count, Piss In The Wind is Joji’s longest and most independent statement yet, marking his first release under his own label, Palace Creek, since departing from his previous affiliations. This new creative independence appears to have pushed him toward a rawer, rage-tinged production style, fusing his signature lo-fi R&B with heavier trap and trip-hop elements. Tracks like “Past Won’t Leave My Bed” (also a confirmed feature) are rumored to fully embody this new, darker sound, where the melancholic lyricism that garnered him a 5x Platinum single with “SLOW DANCING IN THE DARK” is now delivered with a newfound atmospheric grit.
The album’s length suggests an expansive exploration of his lyrical themes—disillusionment, distance, and the struggle to maintain a genuine connection in an increasingly mediated world. The title, Piss In The Wind, perfectly encapsulates the feeling of Sisyphean effort: the futility of trying to exert control or make progress when the forces against you are overwhelming. Whether he’s questioning the sincerity of a “pixelated” relationship or resigning himself to the current moment because he can’t bear to think about the future, the album operates within a space of beautiful, sonic desolation.
Solidifying a Legacy
Joji has already cemented his versatility, moving from viral oddball to arena-filling headliner and major festival performer (Coachella, Lollapalooza). Piss In The Wind is less a bid for greater fame—though its singles have certainly delivered that—and more of a mission statement. It’s the sound of an artist who understands his past, utilizes his present, and is confidently, almost defiantly, creating music on his own terms.
The record is a powerful reminder that Joji thrives on contradiction: the gentle vulnerability in his voice set against a rumbling, distorted bass; introspective despair juxtaposed with club-ready visuals; chart-topping status held by music that is resolutely alternative. He is not just one of the most interesting artists in the alt-pop sphere, but one of the most compelling voices in modern music, period. Piss In The Wind is a sprawling, deeply felt, and remarkably cohesive body of work that confirms his empowering versatility and ensures his place as a genre-defying heavyweight.
Rome is a freelance writer and photographer. He brings a fresh perspective to the indie music scene and highlights emerging artists and underground movements. His writing style is drawn from personal experiences and a deep love for the art form.