Beabadoobee, “Beatopia.”

The runaway success of Beabadoobee is one of the ways you can tell the kids are all right. Having clocked over 4 billion global streams, young British-Filipino musician Beatrice Laus is huge with the Gen Z audience even as she mines Generation X’s music for inspiration. Having previously cited Sonic Youth, Pavement and Elliott Smith as favorites, her music is a charming mix of ’90s grunge and TikTok bedroom pop.

Since 2018, she’s released five EPs and one studio album, 2020’s Fake It Flowers. Her style has progressed in that short time from acoustic confessional to fuzzy, psychedelic pop-rock. Her sophomore album, Beatopia, is named for a childhood daydream of an escapist world of her own.

Laus makes the land of Beatopia sound inviting, even as she sings of everyday woes like depression and self-doubt that anchor her to the real world. Laus has said that she worked closely with her band; guitarist Jacob Bugden, bassist Eliana Sewell and drummer Louis Semlekan-Faith, to create the album. She also worked with Matty Healy and George Daniel of labelmates The 1975 on writing a few of these songs, including the musically dazzling but lyrically vague “Pictures of Us.”

Ethereal opener “Beatopia Cultsong” establishes Beatopia’s hazy vibe as Laus repeats, “Is it me or recently time is moving slowly?” This goes on for a soli two and a half minutes. The following track, “10:36,” is a definite standout. A song about how Laus has trouble sleeping without another person beside her, “10:36” sounds like Michelle Branch fronting The Smashing Pumpkins. The beat and guitar effects are reminiscent of the Pumpkins’ hit “1979,” while Laus’ high, sweet voice floats over them, admitting, “You’re just a warm body to hold/ At night when I’m feeling all alone.”

“Ripples,” a song that addresses Laus’ grappling with imposter syndrome, has beautiful strings with a descending chromatic bass line, and toward the end, she even seems to have found some hope: “But I’m sure now the people will listen/ As the water glistens and I see my reflection/ So much clearer.”

Beatopia’s energetic first single, “Talk,” finds Beabadoobee out partying on a Tuesday and hooking up with someone because, “We go together like the gum on my shoes.” The pop-punk “Talk” buzzes with Sonic-Youth-style fuzz-tone guitar and even echoes Avril Lavigne with the lyrics: “Why’d you have to be so complicated?”

Fellow Brit PinkPantheress appears on “Tinkerbell is Overrated,” the album’s requisite COVID-19 quarantine song, on which Laus describes staying in bed and talking to bugs she sees in her room. The listless vocal contrasts sharply with a frantic drum machine beat as she narrates her days at home: “I started smoking in the mornings and stay in bed/ I’m not a woman in my room/ I’m just a girl instead.”

The album wraps up with “You’re Here That’s the Thing,” another collaboration with Healy that also includes Robbie Skinner (Cavetown) on backing vocals and seems to harken back to Beabadoobee’s earlier, simpler sound. It’s a strong closer, even if its chorus relies on rhyming “warn ya” with “state of California.”

Beabadoobee’s guitar-driven sound may sound novel and feel like a breath of fresh air for younger listeners who’ve grown up on laptop beats. Now-grown ’90s kids may enjoy it, too, in part because it reminds them of the music of their own youth, whether they realize that consciously.

Some of Beabadoobee’s sounds and chord progressions are very similar to those of her heroes, and Laus has acknowledged in the past to having had to alter songs she’s written that are a little too close for comfort to songs on her “Favorites” playlists. But, as the old saying goes, there are only so many chords in the world. What Laus has done with those chords is creative, fun and very listenable. She’s accomplished much already at such a young age and is definitely an artist to watch.

Follow Rachel Alm at Twitter.com/thouzenfold and Instagram.com/thousandfold.