A concept album about three girls navigating adulthood, it explores themes of corporatization, religion, gun violence, and class resentment.

Wallsocket was promoted with four singles, a tour across North America, Europe, Asia, and Australia, and an alternate reality game involving websites of its fictional town setting.

According to Underscores, though her previous projects Fishmonger and Boneyard AKA Fearmonger were inspired by New Jersey, Wallsocket was the most geographically focused of the three.

Underscores eventually warmed up to the theory and began viewing parts of her life through it, preferring the extreme ends, rather than the stagnant centre.

[10] Similarly, while writing Wallsocket, her mindset switched from pessimism to optimism, which led to happy endings for many characters that she did not foresee.

Wallsocket also explores themes of transgender identity, which, as a trans woman, Underscores was reluctant to write about, thinking she "wouldn't sink to that".

[9][11][12] Underscores drew from such childhood artists as Beck, Jack White, and Lucinda Williams, as well as 2010s pop musicians like Marina and the Diamonds, Justin Timberlake, and Kesha.

[16][17][a] The album has 12 long tracks,[16] which according to Ali Shutler of NME, maintain an excitable, "Euphoria meets Desperate Housewives" punch.

He believed the album pulled from a large sonic palette,[9] which Paste's Natalie Marlin thought was the widest Underscores had yet to operate in.

[10] DIY's Lisa Wright wrote that Wallsocket had "10,000 sonic ideas" and The Line of Best Fit's Matthew Kim called it the year's most heterogeneous album.

[13][16][25] Kim compared the album to a short story anthology,[16] while Steve Erickson wrote for Slant Magazine that each song "flit[s] from one style or tone to the next, mirroring the mental states of [the] characters."

[25] Likewise, The Atlantic's Spencer Kornhaber described Wallsocket as the result of "Gen Z's unprecedented, tech-mediated experience of global tensions".

[24] Erickson also compared the album's song structures to 1970s art rock, but he thought Wallsocket described the circumstances of present-day America, like the feeling that the country is regressing into inequality and of a need to escape town.

[9][10][25] Kim of The Line of Best Fit called its lyrics "teasing", which follow a bank teller hiding in Wallsocket, Michigan, after scamming his customers to pay for his meth addiction.

[10][16][25] "You Don't Even Know Who I Am", a slowcore song which drew comparisons to "Today" (1993) by the Smashing Pumpkins, describes a teenager who stalks and romanticizes her neighbour.

[16][28] The following "Old Money Bitch" is an upbeat, synth-layered, electropop song about the title character being ruthlessly bullied for trying to hide her billionaire upbringing.

[2][10][16] The seven-minute "Geez Louise" shifts from a metal, industrial rock, and punk rant to an alt-country passage with hand claps, then a subdued acoustic guitar section and a shoegaze climax.

[10] It features body horror imagery alongside the following "Uncanny Long Arms",[14] which has a power pop guitar climax adapted from the Fishmonger track "Kinko's Field Trip 2006".

[16][29] Anthony Fantano described the closing track "Good Luck Final Girl" as a "folksy tune [where] elegant and shimmering strings quickly melt away [into a] bare, naked, stark outro".

[9][10] Wallsocket's lead single "Cops and Robbers" was released on May 3, 2023, alongside an announcement that she had signed to Mom + Pop Music.

[10] On July 12, Underscores officially announced the Wallsocket album and its release date alongside a third single, "Locals (Girls Like Us)", which features Gabby Start.

[34][35] On May 28, Underscores released the single "My Guy (Corporate Shuffle)",[36] which was included alongside three other tracks on Wallsocket (Director's Cut), a deluxe edition of the album.

Steve Erickson of Slant Magazine complimented the album's "bratty, intentionally jarring spin on hyperpop" as "eclecticism for its own sake".

He believed the album was very catchy,[41] alongside Kim, who highlighted the choruses of structured pop songs like "Cops and Robbers" and "Old Money Bitch".

"[24] Jordan Darville of The Fader stated that, on the album, Underscores had refined her "all in" approach to transgressing genres by "let[ting] the narratives — sometimes hilarious, sometimes devastating — shine through.

"[17] Kim argued that the album's broad sonic palette was not due to self-indulgence and that Underscores used musical ideas to characterize each resident in a "remarkably adept" way.