B-Side Guys

Some contradictions create magic. Lucille Two—the psychedelic pop duo of Trudy Bennett and Jarrin Borg—demonstrate this principle throughout “Pixels,” a track that pairs upbeat instrumentation with existential digital alienation to create something more compelling than either element could achieve in isolation.

Following their 2021 debut EP ‘Gato’ and subsequent collaborations with Openness and Trace Decay, “Pixels” represents a continuation of the duo’s sonic evolution. The track establishes its distinctive character immediately, with guitar work that sparkles with reverb while maintaining rhythmic propulsion. This instrumental approach creates a framework where Bennett’s “angelic vocals” can explore disconnection without surrendering to despair.

What distinguishes “Pixels” from similar explorations of digital disillusionment is its refusal to rely on tired technological criticism. Instead of lamenting social media superficiality or screen addiction, the song examines how the distinction between virtual and actual has become increasingly permeable. The observation of being “played for such a fool” suggests manipulation rather than mere distraction, while the recurring declaration that “it’s all a fantasy” applies equally to digital constructs and emotional projections.

The production choices enhance this thematic exploration, with shimmering melodies creating a sonic environment that mirrors the alluring yet ultimately insubstantial nature of digital spaces. Particularly effective is how the arrangement balances “psychedelic pop” with elements of “dream pop, synth pop and space rock,” creating genre fluidity that reinforces the song’s examination of blurred boundaries.

Bennett’s vocal approach demonstrates remarkable range, moving from contemplative verses to more assertive chorus sections with natural ease. This dynamic versatility provides emotional topography that prevents the track’s upbeat instrumentation from flattening its more introspective elements. The result feels simultaneously danceable and thought-provoking—an uncommon combination that explains the comparison to acts like Alvvays, The Beths, and Wolf Alice.

Most compelling is how “Pixels” examines the “ocean in the mire” of modern existence without surrendering to either blind optimism or resigned cynicism. The acknowledgment that “my heart’s still beating” despite digital disillusionment suggests resilience rather than naiveté, while the observation that “love is fleeting” comes across as clear-eyed acceptance rather than bitter dismissal.

“Pixels” stands as evidence that sometimes the most effective examination of contemporary alienation comes not through rejection of modern soundscapes but through their thoughtful, subversive embrace.