Many followers of indie groups — hipsters excluded — sit in frustration, trying to deal with the fact that their favorite artists will never get the recognition they deserve. But believe it or not, artists who premiered on the most-watched television show in America, “American Idol,” have a great deal of undiscovered treasure as well. Hipsters, you may now find it acceptable to listen to pop music. Take a gander at these albums that stayed relatively under the radar, despite their singers being quite reputable on the show.

David Archuleta’s The Other Side of Down

I was absolutely disgusted when I heard the promotional single for this album. The auto-tuned, bubblegum mess that was “Something ’Bout Love” had me thoroughly convinced that Archuleta’s career was over after the success of his self-titled album and “Crush.”

That was before Archuleta made an appearance on my Facebook newsfeed, insisting his fans listen to the track “The Other Side of Down” from his new album. I obliged, then instantly shared it with everyone in the immediate area. The voice, production and lyrics all embodied great, pure male pop, and not some fake, modern-Enrique-Iglesias-R&B-style song disguised as pop.

Shortly after that, I gave the whole album a listen. I felt myself “Stomping the Roses” as arrogant friends of mine refused to change, while at the same time trying to figure out “Who I Am,” only to “Look Around” and realize I’m in a “Good Place” and can’t “Complain.” And if you can complain, find “The Other Side of Down” and know “Things Are Gonna Get Better.” Get ready to relate and relive your adolescence.

It’s a cheesy album, but Archuleta makes it work with his innocence and talent. Sadly, the promotional single and otherwise lack of promotion killed the album’s chance at success. No songs charted.

Jordin Sparks’s Battlefield

Sparks’s promotional single for the album, “Battlefield”, was the only song to chart — actually, it became a top-10 hit — which I found quite misleading, seeing as it’s one of the more boring tracks on the album. You can also ruin the song for yourself by listening to the faint, wobbly synth in the background (commence banging head against wall).

If Archuleta’s album is refreshing for its style, Sparks’s album is refreshing for its lyrical originality so often lost in pop music. The first track on the album, “Walking On Snow,” could easily be a top-10 song. Not only is it a catchy, original melody, but it’s also a catchy, original metaphor, with love being like “walking on snow without leaving a trace,” — makes more sense than certain artists with the last name Perry feeling like a plastic bag that wants to start again.

“No Parade” is another well-executed metaphor, narrating the fairy tale ending that didn’t come when the end of her relationship came swooping in out of nowhere.

Battlefield has a nice variety in its amount of electronic production. It’s lighter on songs like “Faith” and heavier on others like the sampled “S.O.S. (Let the Music Play).” This tune was fairly popular on the dance charts, possibly for its phenomenal Jason Nevins remix.

Blake Lewis’s A.D.D. (Audio Day Dream)

Runner-up to Jordin Sparks in season six, Blake Lewis’s debut album invokes amazingly individualistic style with a mainstream sound. Lewis continues using his famous beatboxing skills while also utilizing the songwriting and producing skills of Ryan Tedder, lead singer of OneRepublic.

Upon hearing the album for the first time, I was slightly confused as to why it had died so quickly. It clearly had high production value from quality songwriters and producers — Lupe Fiasco even makes an appearance. And it had the edgy, electronic-pop style that is so popular nowadays.

That’s when it dawned on me: 2007 was the year of Beyoncé’s “Irreplaceable,” Avril Lavigne’s “Girlfriend” and Maroon 5’s “Makes Me Wonder.” Electronic music still had negative connotations until it caught on like wildfire the following year.

Many of the songs that were formerly reviewed as abstract are currently quite normal. And as for the rest, Lewis has a soothing *NSYNC quality to his voice — especially with former *NSYNC member Chris Kirkpatrick doing backup vocals for the album — that leaves listeners reminiscing on the era of boy-band heartthrobs.

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