Courtesy of Interscope
Boygenius’ debut album “The Record” is a story, an album and an experience all at once. The lyricism on the album, which was released on March 31, is simultaneously brutally honest and painstakingly poetic. The harmonies of the album’s featured artists, Phoebe Bridgers, Julien Baker and Lucy Dacus, consume the listener, compelling them to cling to every last word. To quote the track “$20,” there are “so many hills to die on” but here is where I will rest — this album is a masterpiece.
“The Record” follows boygenius’ 2018 self-titled EP. The first track titled “Without You Without Them” introduces the listener to the trio in a raw, alluring manner. The a cappella style allows the audience to recognize the members’ individual voices and the success of their harmonies. This track likewise warns the reader of what is to come, outlining many of the key themes of this album: love, identity and sacrifice.
With a jolt, the second track, “$20,” awakens the listener from their a cappella-induced trance and introduces the band’s edgy rock style. I genuinely found myself head-banging to this track. In true boygenius fashion, this track incorporates energetic beats, powerful vocals and fascinating lyrics.
These artists may be beautiful singers, but the problems of our society also disillusion them. The line “Will you be an anarchist with me?” from their energetic track “Satanist” summarizes the angst, anger and unapologetic chaos that leaks from every crevice of their work. Boygenius manages to transport topics like class revolution and nihilism into beautiful narrative tracks. On multiple occasions, I felt like I needed to study these tracks line by line in a lecture hall in order to fully understand their cultural awareness and underlying message.
The band does not limit their commentary to criticism of society and disillusionment with our political climate — boygenius is also a master of introspection. The band does not shy away from self-reflection; they bask in it. The tracks “Emily I’m Sorry,” “Not Strong Enough” and “We’re in Love” candidly discuss personal failures, regrets and insecurities. It is both refreshing and gut-wrenching to listen to these artists bare their insecurities and regrets. Boygenius takes complete responsibility for their mistakes within friendship and romance in an honest and horrifyingly-relatable way. The trio continuously recognizes the inevitably of human imperfection, yet finds beauty in this harrowing truth. As Bridgers admits on “Emily I’m Sorry,” “I just / Make it up as I go along.”
The storytelling of each and every track of “The Record” is truly astonishing. Boygenius incorporates mundane details into elaborate narratives regarding a plethora of topics ranging from self-ruin to intimacy. These tracks are complete narratives that have their own characters, plots and distinct personalities. Yet somehow, through the serenity of their harmonies, the coherence of the melodies and the recurring themes, the album forms a perfect whole.
Throughout this 12-track-album, boygenius unfurls the many layers of a love affair: its glory, unpredictability and occasional toxicity. In “True Blue,” the artists revel in the warmth of a lover or how it “feels good to be known so well.” “Leonard Cohen” paints a scene of two lovers in disbelief of their adoration for one another. In contrast, “Letter To An Old Poet” depicts, with brutal honesty, the degradation of a relationship and the frustration of uncovering the evil in someone you love.
As a counterpart to the album’s release, boygenius also produced a music video called “the film.” Directed by Kristen Stewart, the video includes mini music clips of the three singles: “$20,” “Emily I’m Sorry” and “True Blue.” The video includes Baker as an arsonist, Bridgers in pajamas in a monster truck arena and Dacus covered head to toe in blue paint. The visual addition further convinces the listener of every track’s narrative on this album. Furthermore, “the film” includes representation for the queer community in a beautifully-simplistic manner with cinematic clips of the trio sharing kisses.
Nevertheless, this album may not be for every listener. The tracks are cathartic, yet severely melancholic. Each song delves into complicated emotions that challenge the listener to examine their own faults and behaviors. As someone who devourers sad music like Thanksgiving dinner, I feel beyond satisfied. Every beat, every line and every breath of this record is equally as intentional as it is captivating, and I highly recommend it to anyone on the hunt for a great album and a good cry.
Catherine Goodman is from Savannah, GA. She is majoring in English and Art History. Outside of the wheel, Goodman is the President of Women’s Club Basketball and a member of Kappa Kappa Gamma. She loves listening to music, attending concerts, reformer pilates and reality TV!
