“Sleepwalking,” Jessie Altman‘s new EP, feels like her most focused and conceptually cohesive work to date. Built around a quiet yet persistent sense of awakening, the four songs unfold as fragments of the same realization, each circling the fragile boundary between illusion and clarity. Produced by Grammy-winning Jason Lehning and mixed by Craig Alvin, the project carries a cinematic warmth that enhances the material without overwhelming it. In many ways, it plays like a four-part epiphany delivered through sharp, streamlined pop.
The EP marks Jessie’s first full project under her new artist name. It arrives during a period of growing visibility, with Jessie touring alongside BBMAK and Tyler Hilton and earning recognition from SPIN as one of 2025’s Top Emerging Artists.
Spend enough time in certain corners of the internet, and you’ll notice the quiet revival of Frutiger Aero aesthetics. Younger generations are revisiting that early-internet visual language with its gloss, optimism, and the belief that the digital future would be bright. It often resurfaces in playlists centered on music from that era or on songs that evoke its atmosphere. If that’s your wavelength, three of the four tracks here align naturally. Jessie likely didn’t set out with that reference point in mind, yet the textures land there anyway.
Her rich, electro-flavored sound and the reasonably ethereal production elevate her vocal performance to near-spiritual terrain, with a sensibility that has helped her music surpass one million global streams while steadily expanding her audience.
“Sleepwalking” captures the feeling of moving through life without really being present. Something more mundane and insidious than the surreal detachment of depersonalization, like falling into unproductive lulls where you invest less and less of yourself in the world around you, until you suddenly realize you can’t remember the last time you felt anything genuine.
“Mirror Mirror” follows that thread by questioning who you actually see when you look at yourself, beyond the face you present to the world and toward the one underneath. The question lingers because the answer shifts from day to day, shaped by the very realization introduced in the previous track.
“Trick of the Light” engages perception more directly. It reflects on the stories we tell ourselves, because they feel easier than confronting uncomfortable truths, and on the ways we gradually soften reality until it becomes bearable. The risk, of course, is that this softening can harden into permanence. Given enough time, you can convince yourself of almost anything.
“Hypnotic” shifts into different territory, examining what happens when another person becomes the escape and the intoxicating pull dissolves into someone else. Losing yourself can feel like transcendence; it can just as easily feel like erasure.
Each song in “Sleepwalking” approaches the same pivotal moment from a different angle, when the fog lifts just enough for you to notice you’ve been living half-awake, and time suddenly feels urgent. What happens next becomes the only question that matters.
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