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

Most Anticipated Albums of 2023

2022 was one of the best years of music in recent memory. The releases of incredible albums like Black Country, New Road’s Ants From Up There, Weyes Blood’s And In The Darkness, Hearts Aglow, and Big Thief’s Dragon New Warm Mountain I Believe In You, among many others, set a high standard for what music fans should expect in a given year. Despite a relatively uneventful January, 2023’s confirmed and likely upcoming releases promise another impressive year in all genres — including some that stand out as particularly intriguing and compelling.

February will bring the release of Gorillaz’ highly-anticipated Cracker Island, which appears to be a concept album packed full of inventive production and socially-conscious lyricism based on the project’s fantastic lead singles. The title track “Cracker Island (feat. Thundercat)” establishes the album’s themes over an addicting melody, “New Gold (feat. Tame Impala and Bootie Brown)” is a hypnotic super-hit in the making, and “Baby Queen” touts dreamlike production that supports its ethereal subject matter. I can’t wait to ingest this project from beginning to end, unpacking its commentary and enjoying the group’s unmatched signature sound along the way.

The only Phoebe Bridgers news more exciting than a solo announcement is a boygenius album announcement, which is exactly what fans received earlier this month. Expected on 03/31, the group’s debut studio album the record promises intricately composed singer-songwriter anthems, just like the sample tracks released by the group so far. “$20” features Julien Baker’s angsts, “Emily I’m Sorry” gives us a dose of Bridgers’ heartbreaking and ambient vocal talent, and “True Blue” offers Lucy Dacus’s earnest and heartfelt depiction of unwavering love. I fully expect this project to break my heart, put the pieces back together, and then destroy it yet again — I would expect and hope for no less from this indie supergroup.

On the other end of the sonic spectrum, it’s expected that eccentric and experimental rappers JPEGMAFIA and Danny Brown will both be releasing projects this year, and it’s possible based on social media hints that the two will be releasing a collaborative project, as well. Brown’s Quarananta is overdue, and promises to deliver more mindblowing production after his two most recent projects. JPEGMAFIA’s dedication to his craft, all the way down to his individualist approach to songwriting, continues to evolve. These are two of the most unique artists in the industry, and I hope they continue to push the boundaries of rap in 2023.

“Free Yourself”, a loose single after the release of her wonderfully disco 2020 album What’s Your Pleasure? teases the return of Jessie Ware, whose next project is toward the top of my most-anticipated list. Her 80s-inspired aesthetic is infectious, dance-inducing, and exactly what I’m looking and hoping for to brighten spirits this summer. While no project has been confirmed yet, I expect Ware’s next album to release later this year.

While there are many other albums and artists that I’d love to hear from in 2023, these are the projects I’m most looking forward to. Will Fiona Apple follow up her 2020 masterpiece Fetch The Bolt Cutters? Is Tyler, The Creator going to continue his pattern of releasing new projects every two years? Will Frank Ocean return from the void and bless us with another life-changing opus? Time will tell. What we do know now is that the future of music is bright, and while we’re still enjoying the best of playlists from this decade so far, new jams are right around the corner.