In Endless Awe and Agony

At 23, daine has spent the last few years drifting between scenes faster than the internet could fully name them: digicore, emo revivalism, hyperpop, bloghouse nostalgia. But In Endless Awe and Agony, her debut album, feels less like another pivot than a consolidation — the point where all those fragments collapse into something strangely singular. The Filipino-Australian artist first emerged through the orbit of Charli XCX’s Warner-era co-signs, making music that sounded simultaneously blown-out and diaristic, but the scale around her has shifted considerably since 2025’s i want the light to swallow me whole.
 
Part of that momentum came from daine’s appearance on Ninajirachi’s breakout album I Love My Computer, where “It’s You” — especially once the underscores remix began circulating online — became the kind of algorithmically omnipresent track that exists everywhere at once: festival edits, TikTok fancams, late-night DJ sets, Coachella recap dumps. By the time daine and underscores appeared in the same social-media ecosystem this spring, the project’s mythology had already started building itself in real time.
 
The recent singles “Make it Right” and “Run My Hands Thru It All” have only deepened that anticipation, trading some of her earlier maximalism for something more wounded and immediate. Internally, In Endless Awe and Agony already feels like one of the strongest records to emerge from Pack in years — an album that understands internet music not as genre but atmosphere: overstimulated, romantic, self-mythologizing. Features from aldn and Bassvictim extend that world naturally, pulling in adjacent micro-scenes without making the album feel over-engineered. More than anything, the record suggests daine has finally figured out how to turn online chaos into emotional clarity.