Album Review: The Future’s Not What It Used To Be

Deej Cooper, an independent artist from Dunedin, Aotearoa, has been alluring audiences with their music since 2012. Collaborating with producer Tim Bennet, they have crafted compelling and innovative tracks that stand out as distinctly their own and are highly thought-provoking. Now in 2025, Deej is giving us their latest creation — a 9-track LP titled The Future’s Not What It Used To Be. Embracing the essence of the new wave genre, the album explores themes of societal detachment, intellectual curiosity, and a bold reflection on the evolving state of the world.

The Fix kicks off the album as a song that evokes a lot of intrigue, speaking to the idea of pipe dreams — a vague hope to acquire wealth or status. The track features great guitar licks, layers, and effects that make it a charmer! I believe it’s trying to speak with a sense of irony—that, in fact, our “fix,” despite what society tries to convey, is internal, not external—it’s within us, not in possessions or a sense of worth. It’s short but deeply introspective and creative.

Keep Up comes next with a kicking drum beat and funk-laden groove. It features light-hearted lyrics accompanied by backing vocals that humorously impersonate “Mr. Jones,” the nosy neighbour with too many gadgets and a brand-new Merc for “Mrs. Jones.” How hilarious! I absolutely love it. The track cleverly transforms the concept of competing over superfluous objects and possessions into one of comedy and ridicule, leaving a lasting impression on the listener.

Backrooms channels the essence of classic new wave, reminiscent of bands like New Order. The vocals stand out, showcasing a unique artistry and respect for the effort behind its creation. The background effects, though subtle, are rich with exploration—adding a playful, comedic touch to the idea of “back rooms”… perhaps a nod to the unseen side of the music industry? It invites interpretation, hinting at a critique of curated fame or the quiet pursuit of dreams. At least, that’s the impression it left on me.

Company Values is a darker track with minor notes, followed by an ode to redefining social norms. It speaks out against corporate greed, overworking, and spending “less time at home.” Taking our minds and souls, we work like sheep for another man’s dream, under another man’s premise for living our lives. Our lives, in fact, are not made fuller by working harder. It’s quite the opposite. We are being robbed as a society of our freedoms and humanity, and this track invests in these values by bringing to the stage the parody of it all.

God In The Machine is a very catchy track for me. To anyone who has ever felt like a speck of dust in the machine that is capitalism or modernity, this is for you. What’s happened here is that the artist has played with the phrase “cog in the machine” and changed it to “God,” which casts a serious light of positivity and expression on this concept. It pulls out elements of music, humanity, empathy, and dreams to compel this Machine to submit to what is real, which is super creative. It takes a depressing concept and turns it into one of empowerment!

Transport Infrastructure has a bouncy, synth-driven intro that immediately draws you in. Layered, lively, and very danceable, this track is a creative little electronic soundscape. It’s bound to resonate with those who hold public transport close… or perhaps lament its absence in their daily lives. The theme feels almost otherworldly, doesn’t it? Reliable transportation in today’s world—a distant dream, perhaps? This thought-provoking concept is paired with a captivating beat that’s hard to resist for a bedroom boogie.

Semi-Detached is a stellar tune — a blitz of background noise with fuzzed-out commentary on an evolving world. Perhaps it offers a glimpse into the artist’s mind, trying to disassociate from all the noise and clutter that our world imposes upon us? Very new wave, very catchy, very electronic. Again, it’s short but incredibly expressive!

Wayward Star takes a slower turn, exuding ballad-like elegance with a playful edge. The clever line, “the city looks pretty on a Saturday night; shame it’s only a Thursday morning,” stands out as both humorous and relatable. With a fresh twist, the artist reinvents biblical metaphors and the solemnity of religion, transforming them into a curious reflection on reality. The track feels like listening to classical music infused with witty commentary and compelling satire. It’s an exhilarating journey through thought, driven by music and joy. Imagine a modern Oscar Wilde colliding with classical melody, dashed with new wave ingenuity—unlike anything you’ve encountered before!

Another Eden steps in with a folky, fingerpicked melody. It speaks to the excessiveness of our modern world, offering an unnecessary abundance of materialism and progress-driven emptiness. Perhaps what we need isn’t all of that, but rather each other—or… “another Eden.”

To wrap up, all tracks in this album I’d recommend listening to one after the other, and in full. It’s definitely not meant to be negative or depressing, despite the underlying wit and compelling messages. It’s unique because it uses a very positive sound, genre, and set of skills to convey a message that could otherwise be easily drenched in darkness. This album is anything but dark. It’s playful, enjoyable, and really clever. This whole album is a masterpiece of themes, ideas, and concepts… a unique window into the artist’s (in my opinion) brilliant mind! It’s not only a fun and youthful expression of thought but also a powerful conveyance of ideas. One sure has to do their reading in life to be able to understand such a rich set of ideas! I thoroughly enjoyed every track and hope it gets the exposure it deserves!