Discography – Xotti

Xotti’s seventh album “No Stranger to Nostalgia”
Released 101010 (October 10, 2026)

In Xotti’s seventh album (fifth to be entirely self-made, from songwriting to performance to production to cover art), the focus of resilience encapsulated in the 2025 album DADADADA!DADADADA! has shifted from a community perspective to a more personal, first-person lens. This current year stands a decade apart from an incredibly harrowing, albeit transformative, time in life that leads to the cognitive dissonance of wanting to let go of the past, but at the same time, holding nostalgia for romanticized moments of these and earlier years. Themes of spirituality and embracing self-actualization are sprinkled throughout the work, including nods to religious undertones held at a distance. The aesthetic elements of medieval pieces displayed on the album cover for an electronic (but human-created) collection of music aims to marry the themes of acknowledging tender feelings for the past with a passionate welcoming for the future. The lavender hue painted within the photography also points to a desire for peace, elegance through chaos, and a devotion to continued resistance and support for community.

The album opens and sets the tone with “The Apple”, a power pop anthem that denounces complying with subservience and related expectations from a patriarchal society, especially after enduring years of maltreatment and deception from those who benefit within this system; the title alludes to equating society to the serpent that presented the apple within the Garden of Eden. After these nauseating feelings are processed, “Yuck!” is heard next — a sarcastic alternative track detailing someone who lost a body and assumes entitlement to yours that will serve as a willing substitute, while also comparing this deplorable lack of morals to Sin City. Though a frustrating topic, the music is upbeat and at times playful, incorporating amusing sounds such as kazoos and interjecting comments. “NEO” is heard next, which was released as a single on 0010110 (January 1, 2026) to present an escape from the illusions of an old world and to be reborn into a new life, regardless of belief system. The metal genre of this number is also a nod to the metal piano covers that the artist received notoriety for online in the late 2000s/early 2010s, which Xotti holds nostalgia for and wishes they had been continued. Space is held for gentleness in the midst of a hard world within the ambient downtempo track “Fifth House”. While referring to the houses in astrology, this track symbolizes embracing creativity and the blissful parts of life, as well as acknowledging the lingering desire for love once experienced, even despite of the hardship; it is difficult to hold onto softness in the world we live in, but doing so is an act of resistance in itself, and this will attract the mirrored softness within others as well. In “Moldavite”, a sample from Xotti’s heartbreak ballad “Who?” from the 2021 album From the Living Room is repurposed and programmed within the music live coding environment, Strudel. The track title refers to the impact glass crystal that is often attributed to significant life transformation, spiritual evolution, and realignment in your present world. The sampling of “Who?” here also serves as appreciation for the same work being remixed by Tyler, MD in his 2026 album Give Me a Moment, released October 2nd. The lightness of “Moldavite” is darkened quickly by “Libra Liber”, an electropop number with gothic elements and a brimming need for revenge. With Libra symbolizing justice, and with liber meaning “free” in Latin, this sixth song in the collection highlights the liberation felt once fairness and karma are implemented, especially towards an individual who has wronged you repeatedly and will only continue if not removed from the equation. An unused musical concept from 2015 is finally brought to life in “Rings of Saturn”, which was initially created after processing the depths of a first heartbreak. The piano/voice duet alludes to the songwriting style typically embodied by Xotti in works from the early 2010s, further articulated by modulating the vocals to a high formant shift. Nostalgia for this time is evident, but so is the desire for freedom from the heaviness of the past. At the same time, the delicate performance of both instruments illuminates how peaceful it feels to be nurtured and protected by the universe as life continues onward. As the final song of the album, “The Fool” appropriately redefines the end as a beginning of a new journey. This folk ballad is based on the zeroth card of the Major Arcana in Tarot, which symbolizes upholding pure intentions and maintaining trust in the self and the universe for a positive path forward as well as protection through change. While holding space for former years is allowable in moderation (for both positive and negative memories alike), the main focus and direction of energy should be for the present and future. As a final act of honor for history, Xotti ends this collection by incorporating a duet performance on the flute, an instrument Xotti has not been reunited with since the early 2010s.

Xotti’s fourth single “NEO”
Released 0010110 (January 1, 2026)

Single released from the fifth self-created album and seventh album in Xotti’s discography, “No Stranger to Nostalgia”. The release date on the first of a new year, as well as being similar to a code associated with manifestation, is representative as an escape from the illusions of an old world and as a goal to be reborn into a new life, regardless of belief system. The wide eye depicted in the cover art represents a newfound understanding and self-discovery of the self and desire for change, while the metal sonic style represents a genre that Xotti once explored in the past, now revisited in a new context.

Xotti’s sixth album “DADADADA!DADADADA!”
Released 999 (September 9, 2025)

In Xotti’s sixth album (fourth to be entirely self-made, from songwriting to performance to production to cover art), the tone has shifted to the importance of community, resistance, and finding joy amidst the chaos and absurdity of life in 2025. The release of this work during a nine-year highlights the ending of one cycle and the beginning of another, while the title and cover art both honor the anti-establishment Dadaism movement as well as serve as an onomatopoeia for tuning out the intensity of current events during a Fourth Turning, Pluto in Aquarius, and other contexts associated with change and unrest.

In “GOODBYE, WORLD!”, the record opens with an energetic dance track with Piano House influences that are interwoven with sounds of protest, sirens, and militaristic intervention as we say farewell to the world we once knew. The gritty, grungy alternative track “NORMAL?” is heard next, which questions what is being experienced while also asking what is acceptable, especially regarding the ever-increasing wealth gap, as those with the most money lose sight on the perspective held by the rest of society. Despite the mayhem, acceptance and finding jubilation and meaning in life can be a form of rebellion in the eyes of absurdism, and it is easier to accomplish this with others, as heard in the 1960s-influenced folk rock track “IN SPITE”. All of what is being witnessed culminates in “ABSURDISM”, an experimental electronica number depicting the sensation via cartoon sound effects, dizzying glitches, and tempo modulations. While there is anger, there is also heartbreak and profound sadness in reluctantly letting go of what no longer exists (or ever existed), as heard in the raw acoustic session “CLAWMARKS”. Enlightenment appears in “FOLLOW + FALL”, a 2000s-inspired emotronica track warning that following and falling in line with the wrong leader will ultimately result in a loss. At the end of it all, we are only human, but it is more difficult to cultivate authentic connections with others now despite the need for it more than ever; in “DEAD INTERNET”, the concept of the Dead Internet Theory is personified through two voices (a human and the Internet) who are trying relentlessly to find each other amidst AI-generated noise with little to no success. The album concludes with a decaying piano, emulated like a pipe organ continuing to be performed after its power and airflow have been cut, which symbolizes the death of not only the Internet but current reality as we know it today.

Xotti’s fifth album “Infinite Hyperreality”
Released 888 (August 8, 2024)

In Xotti’s fifth album (third to be entirely self-made), the artist’s sonic voice has finally been discovered in a landscape of glitchpop rocktronica after decades of study and consistent creative pursuits. The aural and topical nature of this work is evidently unlike Xotti’s previous releases, and Xotti attributes this to finding themselves more after undergoing a year of major life changes and working through deeply-rooted trauma and mental health challenges. While also realizing the brevity of life through their own experiences and through the lives of loved ones, Xotti aims to be as authentic as possible in the way this and future creations are birthed into the world as an honor to self, while maintaining an amorphic approach to presenting their image and voice — the focus of the listener should be on the music itself rather than its creator.

Infinite Hyperreality’s concept focuses on the immortal nature of the Internet age and the subsequent pleasures/pain it manifests. In “800T-UP”, the record opens with IDM to punctuate the sounds of our simulation journey activating and coming to life. A personal anecdote is presented in the glitchpop track “SC0P0”, which explores the fear of being seen in a time when privacy is virtually nonexistent. For those who crave the attention that social media awards, a reminder is shared in the alternative rock track “3NTROPY” that not everything online is reality; some may find themselves experiencing feelings of limerence towards accessible strangers, which when realized may lead one to question their own mind. The sound of “i2002” is modeled on the Frutiger Aero aesthetic that, from today’s perspective, could be interpreted as a false idealization of our environmental and technological future. Instead of this optimistic view, we find ourselves in a state of political tension (both physically and digitally) while the Doomsday Clock remains 90 seconds away from midnight, as depicted in the DnB Drift Phonk track “FI$$ION”. The tempo and timbre changes in the electronically-charged track “-INF.HYPRLTY” depict both the euphoric and devastating sides of being digitally infinite while boundaries between simulation and reality continue to diminish. Taking that feeling a step further, “W@STE MGMT” uses hard rock and metal influences to depict fury towards the political and economic state of the world, with AI potentially replacing labor for profit, as archaic regulations are applied to childbearing bodies, and as the wealth gap between classes continues to widen. Ultimately, the listener has the free will and control to unplug and reset their thoughts as a synthesizer improvisation materializes in the instrumental track “RE-800T”.

Xotti’s third single “FI$$ION”
Released NYD 2023 (January 1, 2023)

Single released from the third self-created album and fifth album in their discography, “Infinite Hyperreality”. Torn apart emotionally from the onslaught of violence in today’s media, “FI$$ION” channels that rage into this drift phonk / drum-and-bass track — the first exploration of this sound in Xotti’s discography. The lyrics warn of impending nuclear warfare, as commonly depicted via news outlets, and that the Doomsday Clock is inching towards midnight closer than ever before (“You’re zero hundred hours up ahead”). The anger towards the politicians and corporations that can decide our fate in a split second is also an urgent warning (“I hope you get it through your fucking head, ticking to infrared”) that is repeated throughout the entire track, meaning we hope they understand the potential global ramifications of their actions. However, these institutions of power see warfare, death, and destruction as money-making opportunities, hence the dollar signs within the title. The design of the cover is alluding to the black-and-white copier style of redacted government documents.

Xotti’s fourth album “Toc/Xin”
Released 666 (June 6, 2022)

“Toc/Xin” is the fourth album released by Xotti and second to be completely self-made in terms of composition, performance, production, and mixing/mastering. Like with FTLR, a variety of new sounds are incorporated in this body of work, including vocoder (AI), folk (A Million Times), hyperpop (Down), and late 90s/early 00s R&B (Not Giving It Up). There are two meanings incorporated into both the title of the album as well as the release date. Regarding the title, it is a synthesis of the words toxin and tocsin — the album serves as essentially a form of exposure therapy for some of Xotti’s topical fears in life, and these worries are seen as toxic to the artist’s mental health. A tocsin is an alarm to signal danger, which is the objective this album serves. Regarding the release date (6/6/2022), the more obvious appearance of 666 relates to the damaging topics and energies appearing in the tracks and Xotti’s fears of them in 3D reality; the less explicit meaning is an angel number signifying personal growth and evolution. By working through the difficult themes addressed in this collection, Xotti hopes to improve and be able to take on the next chapters of life. Themes include artificial intelligence, anxiety and obsessive thought patterns, the inescapable social media landscape, loved ones losing memories, the high of chasing low people, and refusing to lose yourself for the benefit of others.

Xotti’s second single “Reappear”
Released 2222 (February 2, 2022)

Single released from the second self-created album and fourth album in their discography, “Toc/Xin”. One of our most prominent fears and experiences in life is anxiety. It manifests itself in many different ways and becomes more debilitating and omnipresent over time, especially in the world we find ourselves in today. It might feel that no matter what we do to try and subdue the feeling and heal ourselves, it seems to return more real than ever before. Xotti does not wish that type of feeling for anyone, but hopes that listeners may find comfort in knowing that they are not alone if they relate to the experiences conveyed through these lyrics.

Xotti’s third album “From the Living Room”
Released 5221 (May 2, 2021)

“From the Living Room” is Xotti’s third album and is the first to be wholly self-made in terms of composition, performance, production, and mixing/mastering. A variety of sounds are explored in this body of work, including vaporwave (FTLR), R&B (Home Video), singer-songwriter (Who?), rock (Aquarius), lo-fi and microtonal (Micro-fi). The release date is described as an angel number that warns of indecisiveness and instead encourages the observer to take charge of one’s own future and fate; although completely self-taught and not extensively experienced in music production at that moment of time, Xotti takes a risk in this piece in terms of putting themself out into the world as an emerging digital creator. Themes explored in this collection include entering the Aquarian Age as a collective in the 21st century, parasocial romantic relationships online, processing the grief of former love, and the power that exists when a community comes together for a common goal.

Xotti’s first album “Juxtapositions”
Released December 29, 2019

“Juxtapositions” is an inaugural album performed live that focuses on original classical music in various contrasting styles. The pieces were created over a span of approximately three years and aimed to develop versatile compositional skills for a variety of instrumentations and ensembles – from gamelan to Pierrot ensemble to film scoring. Debuting with a collection of classical music mirrors Xotti’s early exposure to music through classically-trained studies throughout childhood into adulthood.