Album Review: the record - boygenius

One of the most fascinating phenomena in all of music is what has been colloquially coined the “supergroup.” Many of these ultimate collaborations work well on paper, consisting of likeminded and sonically-similar artists coming together to create projects larger than the sum of their parts. In some instances, however, the culmination of superstars can lead to a “too many cooks in the kitchen” effect that actually detracts from the individual elements that brought each artist to stardom in the first place. boygenius, made up of heartfelt singer-songwriter Lucy Dacus, moody and confessional singer Julien Baker, and indie sweetheart and heartbreaker Phoebe Bridgers, is the latest attempt at an alternative collaboration that is natural both because of the members’ friendship and their similar sounds & subject matters. the record is the long-awaited debut album from the group following their critically-acclaimed 2018 self-titled EP.

The new project opens with a harrowing and contemplative a cappella track “Without You Without Them” that demonstrates the trio’s natural harmony with one another. On this track, the supergroup ponders the difficulties of life if they did not have one another — an uplifting track to kick things off. The following three tracks, “$20”, “Emily I’m Sorry”, and “True Blue”, were released as a pack of singles months before the album’s release and continue to serve as highlights now that the record has arrived in full. Each artist gets to shine on this three-track run; Baker’s punky lead vocals define the electric “$20”, Bridgers’ plucky acoustics and ethereal vocal effects pair incredibly well with the vulnerable subject matter of “Emily I’m Sorry”, and Dacus’s incredibly-written exploration of unwavering and unconditional love defines “True Blue”.

“Cool About It” depicts a deteriorating relationship over a country-inspired acoustic backing guitar reminiscent of Plain White T’s “Hey There Delilah”, but lacks the staying power of some of the other tracks here. “Not Strong Enough” served as the fourth and final single leading up to the project’s release, and remains my favorite on the album, with thought-provoking and devastatingly relatable lyricism that culminates in the entire group harmonizing effortlessly. “Revolution 0” has a difficult act to follow, but unfortunately it doesn’t seize that opportunity as well as I would like, coming off more as a Punisher B-side leftover that left me scratching my head.

“Leonard Cohen” is one of the highest-potential tracks on the album from the title alone, but with a runtime under two minutes, this sounds more like the idea of a great hit than the execution of one. I enjoy what this song could’ve been had it not been so underbaked. Luckily, the following “Satanist” makes up for its shortcomings, serving as another major highlight and standout. Evocative lyricism regarding satanism, anarchism, and nihilism paired with a sick electric guitar riff and memorable lyrical contributions from each member, define and demonstrate what this group does best — rock the fuck out together. In the opposite vein, however, “We’re In Love” is the most heartfelt song on the album, with Dacus baring her soul with lyrics like “You could absolutely break my heart / That’s how I know that we’re in love.”

“Anti-Curse” is another mini-highlight, with Baker recounting and reflecting on a very real near-death experience she had at a public beach, and as impressive as this three-track run is, it feels more like a compilation than a proper album because of its lack of thematic cohesion and progression. We close with “Letter To An Old Poet”, a piano-backed ballad that serves as a rewarding final track that contains reference to one of the group’s most popular songs “Me & My Dog” that will likely bring many to tears.

the record is boygenius's attempt at achieving supergroup stardom, and it exceeds expectations in many ways. The group’s chemistry is undeniable, but each individual member’s contributions are both unique and essential to form a sonic aesthetic that hasn’t been achieved before. While some of the songs feel underbaked and don’t stick the landing for me here, the standout highlights are some of the best tracks released so far in 2023, and leave me hoping for a bright future for these three immensely-talented artists.

Favorite tracks: “Without You Without Them”, “$20”, “Emily I’m Sorry”, “True Blue”, “Not Strong Enough”, “Satanist”, “Anti-Curse”, “Letter To An Old Poet”

SCORE: 7/10

Album Review: Punisher - Phoebe Bridgers

On her sophomore album Punisher, Phoebe Bridgers candidly establishes her artistic voice by depicting an array of sentiments from absolutely chilling to heart-warming. After enjoying aspects of her debut album Stranger In The Alps but seeing plenty of room for improvement, I was delighted in Bridgers’ maturation as a songwriter in a mere three years. The relatability with which Bridgers delivers reflections on solitude, sadness, and uncertainty is magnetic and compelling. While there is still slight room for improvement, I’m ecstatic and shocked that Bridgers is already delivering such an extraordinary album so early-on in her musical career.

“DVD Menu” opens the album instrumentally and ambiently, which is something I’m usually not fond of to open projects, but in this case, it sets the tone and mood for the tracks to come hauntingly. Lead single “Garden Song” follows, discussing the necessity to resist negative thoughts in order to manifest what one really wants in life. Even for a relatively upbeat track, this song’s lyrical content is conflicted and emotionally complex, just as its singer is. “Kyoto” initially sounds like an upbeat indie rock track, but is really discussing always wanting to be somewhere else, a concept not exclusive to Bridgers, but interesting nonetheless. I hear the influence of Weezer in the strained delivery here, which is a compliment in my eyes.

The album’s title track Punisher changes pace as Bridgers offers an after-dark contemplation of herself, those who inspire her, and the city she lives in. “Halloween” features some of my favorite lyrics on the album, such as “I hate living by the hospital / The sirens go all night / I used to joke that if they woke you up / Somebody better be dying”. In reality, though, this song is just as heavy and downright depressed as any before it on this project. “Chinese Satellite” speaks to me more than any other track on this album, as it discusses one’s complex relationship with belief and religion in a way I’ve never heard before. Specifically, the lines “Because I think when you’re gone it’s forever / But you know I’d stand on the corner / Embarrassed with a picket sign / If it meant I would see you when I die”, which is just a jarringly honest sentiment. “Moon Song” beautifully conveys a struggling relationship and the impossibility of providing another person’s happiness for them, although it is instrumentally one of the more understated and forgettable songs on the album.

“Savior Complex” is essentially a lyrical sequel to “Moon Song”, as it discusses the desire to want to fix someone else, or at least relate their pain to your own, which sounds strange, but is actually fairly common. “ICU” is one of my favorite songs on the project, as it beautifully explains the resistance to finding the right person, almost denying that happiness is possible after accepting, at the very least, a mundane life, if not actual depression. “Graceland Too” is a more traditional folk track, at least sonically, but the lyrical content comes off as repetitive to me, and besides the outro segment, this song could’ve been scrapped. “I Know The End” is one of the strongest closers in recent memory, as it jam-packs a variety of ideas and styles into a single track seamlessly. This apocalyptic fantasy indicates to me that Bridgers still has so much to say and so many ways left to say it. Bridgers’ closing screams are bone-chilling and terrifying, certainly a juxtaposition to the overt sentimentality found throughout this project.

Sometimes albums just catch me by surprise. While this album isn’t necessarily timely in the traditional sense as RTJ4 was in directly discussing prominent social issues, Punisher feels like it has been in the works for a very long time, as these topics which many relate to are discussed so seamlessly. I was particularly impressed by how clearly and directly Bridgers was able to express complex ideas and themes on this album. I’m thoroughly impressed by this must-listen album, and I highly suggest you check it out as soon as possible. Thanks for reading.

Favorite tracks: “Garden Song”, “Kyoto”, “Punisher”, “Halloween”, “Chinese Satellite”, “Savior Complex”, “ICU”, “I Know The End”

SCORE: 8/10