By Azzam Bilal 
HangupsMusic.com – New York, In the volatile landscape of contemporary independent music, a band’s name often serves as the primary gateway for discovery or, conversely, a deliberate barrier to entry. For the New York-based duo Shanny Wise and Jackson Walker Lewis, the choice of "Fcukers" leans heavily into the latter. It is a moniker that feels plucked from the grit of a DIY punk basement—puerile, intentionally difficult to search for online, and seemingly designed to irritate the sensibilities of the commercial mainstream. Yet, beneath this veneer of adolescent rebellion lies one of the most sophisticated and infectious musical projects to emerge from the Big Apple in recent memory. With their debut album, Ö, released via the venerable Ninja Tune, the duo has effectively bridged the gap between underground aesthetics and stadium-ready pop, proving that a "stupid" name is no obstacle to high-art execution.
The trajectory of Fcukers is a testament to the power of artistic evolution. Before joining forces, Wise and Walker Lewis were stalwarts of the obscure indie circuit. Walker Lewis spent time in the relatively unnoticed Spud Canyon, while Shanny Wise fronted The Shacks, a group that earned critical whispers for their dream-pop sensibilities but never quite broke through the glass ceiling of household recognition. The formation of Fcukers, which initially included Walker Lewis’s former bandmate Ben Scharf, signaled a radical shift in philosophy. Moving away from the preciousness of indie-rock, the duo embraced a mission of unpretentious, accessible fun. Their goal was clear: to create music that exists for the dancefloor, designed to be felt as much as heard.
This shift in focus paid dividends almost immediately. Their 2024 EP, Baggy$$, was a masterclass in modern dance-pop, featuring tracks like "Bon Bon" and "Tommy" that became instant staples in tastemaker DJ sets. These songs were characterized by their massive, elastic basslines—described by some as thick enough to bungee jump with—and Wise’s distinctive, winsome vocals. The EP didn’t just find an audience; it found the right audience. In short order, Fcukers became the "band’s band" of New York, garnering public praise from legends like Mike D of the Beastie Boys, James Murphy of LCD Soundsystem, and the ever-enigmatic David Byrne. To have the architects of the New York sound from three different decades offer their blessing is no small feat, and it set the stage for the arrival of Ö.
The debut album arrives at a cultural crossroads, frequently drawing comparisons to the "Brat" summer phenomenon spearheaded by Charli XCX. While Wise may not share the same biting, lyrical cynicism as Charlotte Aitchison, the sonic DNA is remarkably similar. Ö is a record forged in the fires of late-night clubbing; it is the sound of sticky floors, sweat-drenched shirts, and the euphoric anonymity of the strobe light. It is a work of expert repackaging, taking the raw energy of underground club culture and smoothing out the edges just enough to make it palatable for both seasoned ravers and the "school disco" demographic.
The album opens with a powerful double-header: "Beatback" and "L.U.C.K.Y." These singles serve as the blueprint for the Fcukers’ sound—supple electro-pop driven by earworm melodies and rhythms that feel tailor-made for viral choreography. There is a playful, almost mischievous quality to these tracks, a sense that the band is inviting the listener into a private party where the only rule is to keep moving. "Butterflies" continues this momentum, dipping into the world of two-step and UK Garage. For younger listeners, the track might echo the polished pop-garage of acts like KATSEYE, while older aficionados will undoubtedly hear the ghosts of Shanks & Bigfoot and the turn-of-the-millennium pirate radio era.
However, Ö is far from a one-note pop record. As the album progresses, Wise and Walker Lewis reveal a depth of taste that extends far beyond the confines of house and garage. On "Lonely," the duo experiments with high-speed garage textures, oscillating between Wise’s ethereal singing and a distorted, subwoofer-punishing bassline that demands a high-quality sound system. It is here that the band’s "serious" side begins to peek through the glitter. Despite their penchant for sugary hooks, there is a technical proficiency in the production that elevates the material above mere pastiche.
One of the album’s most surprising pivots occurs on "TTYGF." The track opens with the unmistakable wail of a dub siren, eventually building into a heavy steppers riddim laden with reverb-soaked horns. It is a bold nod to soundsystem culture, proving that the duo has spent as much time studying King Tubby as they have Daft Punk. This willingness to lean into "pressure" and low-end theory gives the album a grit that balances its more commercial tendencies. Similarly, "Getaway" utilizes a coiled double-bass sample and frantic, jazzy breakbeats, while the closing track, "Feel The Real," explores the hazy, atmospheric realms of trip-hop.
These stylistic diversions are particularly poignant given the album’s home on Ninja Tune. Founded in the mid-90s by Coldcut, Ninja Tune was originally the bastion of the avant-garde, the abstract, and the "trip-hop" underground. In recent years, the label has evolved into a more commercially viable powerhouse, and Fcukers represent the perfect synthesis of these two eras. They possess the experimental curiosity of the label’s early roster combined with the chart-topping potential of its modern stars.
The industry has certainly taken notice of this potential. The list of artists Fcukers have supported reads like a "who’s who" of contemporary music royalty, including Justice and HAIM. Perhaps most shocking to those who still view them as a "stupidly named" indie duo is the news that Harry Styles has hand-selected them to open his 2026 summer tour. It is a massive leap from DIY punk all-dayers to sold-out stadiums, but it is a transition that Fcukers seem uniquely prepared for. Their music possesses a universal quality—a "sugary fun" that can ignite a small club or fill the vast expanse of a festival field at Coachella or Glastonbury.
While some critics might point to the occasional lyrical lapse—such as the somewhat grating "if you wanna party come over to my house" refrain—the overall impact of Ö is undeniable. It is a record that refuses to be pigeonholed. It is at once a tribute to the history of New York dance music and a forward-looking manifesto for the next generation of pop. By refusing to take their "brand" seriously, Wise and Walker Lewis have freed themselves to take their music very seriously indeed.
As the duo prepares for the global stage, the conversation surrounding their name will likely continue to be a point of contention. Is it a hindrance? A joke? Or a stroke of marketing genius? Ultimately, the music on Ö renders the question moot. Whether they are performing for a handful of people in a Brooklyn warehouse or tens of thousands of "Harries" in a football stadium, Fcukers have established themselves as a formidable force in the electronic landscape. They have proven that you can have a "stupid" name and still make some of the smartest, most essential music of the year. With Ö, the duo has not just arrived; they have cleared the floor and invited everyone to join the dance.