ThxSoMch

About ThxSoMch

ThxSoMch is the project of Canadian artist Carter De Filippis, who's been turning bedroom angst into a peculiar blend of emo-rap, hyperpop, and alt-rock since around 2021. Based in Ontario, De Filippis started making music as a teenager, channeling the kind of emotional rawness that feels extremely online but also oddly timeless. Think My Chemical Romance if they grew up on SoundCloud instead of Warped Tour.

The name itself is pretty much what it sounds like—"thanks so much" condensed into something that looks like a typo. It's fitting for someone whose whole aesthetic lives in that space between sincerity and irony that defines a lot of Gen Z music. The songs deal with depression, anxiety, self-loathing, and relationship drama, but delivered with enough distortion and genre-hopping that it never feels like therapy session karaoke.

De Filippis broke through in 2022 with "Spit In My Face," which became one of those TikTok success stories that actually has some staying power. The track is exactly what it says on the tin—aggressive, almost masochistic lyrics over glitchy production that switches between whispered vocals and screamed hooks. It's uncomfortable in a way that clearly resonated with people, racking up millions of streams and essentially putting ThxSoMch on the map.

Following that momentum, he released a steady stream of singles that kept refining the formula. "Mr. Nicotine" leaned into pop-punk nostalgia while keeping the digital grime intact. "Waste My Time" showed he could write an actual hook without abandoning the chaos. The production is consistently lo-fi but intentionally so, like he's recording in a bedroom even when he probably isn't anymore. There's a claustrophobic quality to the sound that matches the subject matter.

By 2023, ThxSoMch had built enough of a following to start touring and expanding beyond just being a streaming phenomenon. The live show apparently translates the recorded energy pretty directly—lots of jumping around, screaming along, the kind of cathartic release that emo music has always provided, just with different production techniques. He's shared bills with artists like Yungblud and Mothica, which gives you a sense of where he sits in the alternative music ecosystem.

More recent releases have shown some evolution without totally abandoning what works. The songs still hit on the same emotional territory, but there's a bit more polish, a few more experiments with structure. He's not reinventing himself every six months, which is probably smart. When you've found a lane that connects, you explore it rather than immediately jumping to something else.

As of now, ThxSoMch is still relatively early in whatever this career becomes. No full-length album yet, just a growing collection of singles and EPs that have built a dedicated audience. He's in that interesting phase where the initial viral moment has passed, and now it's about whether the music can sustain beyond the algorithm.

Limited live documentation exists. Based on available accounts, ThxSoMch performs in smaller venues with minimal visual production—the focus stays on the sound itself. Audiences tend toward attentive quiet rather than dancing. The typical crowd seems more interested in listening as a dedicated activity than background accompaniment.

Known for untitled_01, drift, static_bloom, threshold

See ThxSoMch Live