Bentley Robles Isn't Afraid To Be Called An "Ugly Crier"
“I was raised on big main glossy pop,” declares Bentley Robles. As a queer kid, the closest he often felt to proper representation in the media was strong women in pop music. Now, as a pop artist himself, he aims to bring this energy to his own music and performances — represented in his newest EP, UGLY CRIER.
Born in LA to parents who immigrated from Mexico, music was Robles' escape from the world. He started writing music in his early teens, but began his professional career in musical theatre. New York was the obvious choice for where to pursue this dream, but he was constantly haunted by the ghost of releasing music while working toward this alternative prospect.
Living in Brooklyn, Robles had the opportunity to observe many talented upcoming artists. “I tuned into how people were getting noticed,” he says. While it certainly wasn’t an easy path, once he decided to make music full time, all of this inspiration floating around certainly helped him to build a presence. In 2021, Robles had the opportunity to perform at 3 Dollar Bill, a queer Brooklyn venue which has provided him a leg up in the queer-pop scene.
“I don’t think that queer pop is as much a genre, [but] rather a filter through which queer artists see the world. It's in everything you do,” Robles says. Through his music, he aims to share this worldview with people. He spoke of a conversation he had with his mom as they listened to “GOD IS A FUCKBOY,” the first song off the EP. Through the song, Robles feels like he was able to convey this feeling — that the entire world and God are against you, that he had never been able to communicate to his family prior.
“I don’t think that queer pop is as much a genre, [but] rather a filter through which queer artists see the world. It's in everything you do.”
The EP opener serves as a nice introduction to Robles as an artist, featuring lines like, “I’m clinically a romantic,” setting up clear expectations for the characterization we’ll be following for the rest of the tracks. The songs are vulnerable and inviting — and new listeners seem to be drawn to Robles’ honesty.
Image courtesy of @fckronan on Instagram
The album takes these serious emotions and wraps them up in poppy, electronic beats. “I’ve always been emotional and I’m used to being called a crybaby or girl,” he says. The EP aims to reclaim these names, embracing his “water sign” nature, as he references it. Robles’ marketing focuses on glittery tear tracks and glamor amid the sadness of failed past relationships.
“HOPE U CRY,” the second track, encapsulates this attitude. Robles wishes pretty much every negative experience on his ex in this song. On the particular relationship, Robles says, “I was dying and he was just on Hinge. It's petty, but I hope the whole experience hits him all at once.” Robles isn’t perfect in these songs, often being lyrically vindictive — but this is what makes his music so addicting. The electronic backing tracks mirror the whirlwind parties and events he details in his music and the lyrics are painfully relatable.
In “SIDE EFFECTS,” the singer struggles with another toxic relationship, having been left with the consequences of the person’s mistakes. His voice is distorted, swallowed up by the instrumentals, perfectly demonstrating the “breakdown of heart and body” referenced earlier in the song.
After this slower, regretful track, “I JUST WANNA DANCE” serves as a break from the storm. Featuring fellow Mexican, pop-punk artist LEXXE, the song is an undivided celebration of being queer. The song is joyful and undeniably fun, perfectly paired with the many dance hits from this past year; tunes from the Barbie soundtrack and others of the like.
The final song, “HOW TO RUIN EVERYTHING,” brings listeners back to Robles’ rather self-aware dissection of past relationships with this tongue-in-cheek closer. The song feels appropriate to close off the EP — a final send off to the inauthentic people in the artist’s life. While not as upbeat as some of the earlier songs, the tone remains raw and dramatic throughout, crafting a slower, more mature look back on his experiences.
Robles is always looking towards the future, — despite his reflections on the past — searching for the ways he can continue his fight for the advancement of queer people in modern pop. In the next year, he hopes to release a deluxe version of the EP with even more hit songs. He’s currently touring Mexico, but will potentially be traveling back to the United States for future shows. There’s no limits to Robles’ future, now that he’s “living [his] life in capital letters!”