I once read a YouTube comment under a Frost Children video that said “wow, this 100Gecs cover of LMFAO is very good”. I can’t think of a more fitting description. The St. Louis sibling duo of Angel and Lulu Prost have made a career out of fusing hyperpop chaos with flashy nostalgia, and on their sixth album, SISTER, the pair lean all the way into the shameless energy of early-2010s EDM. For years, festival drops and swag-era maximalism were shorthand for cultural trash, blaring from mall speakers, frat basements and energy drink commercials. But in 2025, those same sounds feel newly alive—exaggerated past the point of parody and, in the process, weirdly sincere. Frost Children understand that tension better than almost anyone. On SISTER, Angel and Lulu Prost take the gaudiest relics of EDM’s first boom and reframe them as the language of joy, camp and catharsis.
Angel and Lulu Prost didn’t stumble into EDM by accident, they grew up on it. As teenagers in St. Louis, they were glued to YouTube videos of Zedd and Skrillex festival sets, digging through their brother’s dubstep collection, and watching Virtual Riot light up their local amphitheatre. That history lingers in SISTER. Last year, during a European tour, they dropped Avicii’s “Levels” into a Copenhagen DJ set and watched the room collapse into chaos, like everyone had secretly been waiting ten years for permission to go feral again. The lesson stuck: the dance music they loved as teenagers could still hit hard in 2025 if you play if right. SISTER is the sound of them betting on that idea.
The album’s opening run wastes no time showing Frost Children at full power. “Position Famous” starts off slow and slightly melancholic before erupting two minutes in with a massive drop. “Falling” is their most direct nod to early-2010’s EDM and its video doubles down on the nostalgia—a Valencia-filtered haze of chaotic beach-party imagery that lands somewhere between Spring Breakers and peak Tumblr aesthetics.
“ELECTRIC” lives up to its name, the energy is absolutely capslock. Its drop is filled with blaring metallic synths stacked until it feels like overload. This track is loud and brash, overwhelming and euphoric all at once. “Bound2U” opens soft and melodic before crashing into a dense, chaotic drop that shakes the floor.
“Sister” is the record’s centrepiece. It’s one of the album’s most intimate moments, a plainspoken tribute to Angel and Lulu’s bond that makes the surrounding noise feel even louder. Light guitar gives way to a shimmering electronic swell, but it remains tender instead of explosive. “Dirty Girl” is the scrappiest track here, more dance-punk than club polish. It’s aggressive and feral, fuelled by the kind of basement-mosh energy that’s messy, sweaty and raw.
Not every track on SISTER lands with the same force, but even the weaker moments underline the album’s commitment to scale. “RADIO” with a glossy Kim Petras figure, is one of the record’s most immediate songs, proving Frost Children can bend their unruly instincts into pure pop without sanding down the edges. By the time the album closes with 2 LØVE, Frost Children have cycled through nostalgia, chaos, tenderness and parody without ever slowing the pace. The record pulls in elements of emo, electro, and unadorned pop, and what’s striking is how Frost Children keep reinventing themselves with each release: this is a noticeable shift from the folky emo of Hearth Room or the pure hyperpop rush of Speed Run. SISTER isn’t perfectly cohesive, the slower and melancholic tracks sometimes get buried, but it’s still packed with bangers.
Can we call it recession pop? Maybe. SISTER thrives on endless overload and guilty-pleasure excess, but it also feels resourceful, even scrappy, pulling from a decade of discarded sounds and spinning them into something gleaming. Whether that’s innovation of just a slick nostalgia hustle is up for debate, but either way, SISTER proves the ruins of EDM are still worth dancing in.