What was your entryway into becoming a music obsessive?

Justin Gallegos: Family and friends, and a few iconic record shops. Shout out The Record Exchange in Boise, Idaho and Graywhale in Salt Lake City, Utah. I also wrote music reviews for SLUG Mag (Salt Lake Underground). Writing for SLUG and going crazy with niche playlists on Spotify (RIP) is what really got me hooked on music curation.

Could you describe your taste and listening habits?

I grew up on hip hop and R&B. When religion steered me away from rap for a period of my life, I got obsessed with outsiders making DIY romantic pop. That thread between West Coast hip hop and outsider pop still shapes how I listen. I keep a small vinyl collection and a solid turntable, but most of my listening happens through streaming, following threads and scenes as they surface.

What is your preferred way to surf around the internet and look for new music?

frankradio mixes, Instagram, and Nina are central to how I discover new music. I don’t think anyone documents emerging work with the care and consistency Nina does. And my Instagram community is a dream. People from all over the world send me their music and rare tracks from their local scene.

How did Musically Proper start and how has it developed since?

Writing for a publication had its perks, but I never wanted to position myself as a critic. Musically Proper started as a way to document artists I felt genuinely connected to. It’s been an ongoing experiment since 2015. It began with print reviews and interviews, and has evolved into music video edits on Instagram, longer written deep dives on Substack, and monthly mixes for frankradio. I’m also starting to explore more narrative-driven video work that leans into my hip hop foundation.

Is there a post you are particularly proud of?

My IG page went viral last year when I posted about The Pool inspiring LCD Soundsystem's “Dance Yrself Clean.” Since then, I’ve formed relationships with his brother and members of his listening community. The Pool has passed, but there are projects in motion that continue to build and contextualize his work. It’s been meaningful to see his legacy spread so powerfully.

Is there a release on your Nina hub that is particularly close to your heart?

Lacey Guthrie's Flower-Eating Monster is one of the most inspiring and original synth albums I've heard in a while. I found it organically through Nina, and Lacey reached out after I added the album. Those moments of direct artist connection are always grounding. The release closest to my heart, though, is “whi†e cross” by DRTYWHTVNS. I first encountered his work through his 2021 album Aloof on Orange Milk Records. He’s a true multi-hyphenate—writing, producing, shooting, and designing for himself and others—and one of the most underrecognized artists I’ve discovered. “whi†e cross” feels like a Steve Lacy B-side drifting through another dimension.

What is exciting you the most about music in 2026?

I don’t try to predict where music is going, but I’m rarely disappointed. I’m especially excited for Dark Entries’ reissues of The Pool’s debut LP and early tapes, and for whatever emerges next from Death Is Not the End and World of Paint. My local music festival Kilby Block Party 7 is also going to be insane. Beyond that, I’m looking forward to finally making some of my own music and the mixes I’ll put together in 2026.

Digging - Musically Proper

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