Since the early 2000s — with the massive success of the original Xbox gaming console — many gamers have had a mental conception of a three-way “console war” between Microsoft (Xbox series), Sony (PlayStation series) and Nintendo. As of last year, this conception seems well-founded, with statistics indicating that they all have similar market shares. But Xbox’s position in this “war” has recently been called into question by a major figure: Microsoft Gaming/Xbox CEO Phil Spencer. 

…Wait, what?

In a bizarrely (sometimes uncomfortably) candid video interview from last month, Spencer repeatedly admits that Xbox does not have a realistic path to earning a dominant share in the console market. 

A few highlights include:

“We lost the worst generation to lose in the Xbox One generation.”

“I see commentary that if you just built great games, everything would turn around. It’s just not true that if we go off and build great games, all of a sudden, you’re gonna see console share shift in some dramatic way.”

“We’re not in the business of out-consoling Sony or out-consoling Nintendo. There isn’t really a great solution or win for us…”

What is going on? It is not exactly standard practice for the CEO of a publicly-traded company to step in front of an audience of millions and say: “we lost, it’s over.” And that certainly feels like the message here, especially given the strangely pessimistic ethos with which Spencer delivers it. But business, especially at this scale, is never so straightforward; a closer examination is required. 

First, what do the numbers say? Microsoft’s annual report shows that Xbox hardware sales are down a dramatic 30% this quarter. But… overall operating income is up 10%, and the overall revenue marks the second best third quarter in Xbox’s 22 year history.

 Xbox’s parent company, Microsoft, is a giant in the technology industry — not for their hardware, but for their operating system software, which runs on nearly 3 in 4 PCs globally. It seems Xbox is also moving towards — or at least, apparently, needs to be moving towards — a software focus. One major example of this is the company’s recent increased focus on the Xbox Game Pass subscription service (functional on both Xbox consoles and PCs) which has enjoyed great success. With Xbox’s purchase of several major game studios at the turn of the decade (and an ongoing, legally challenging attempt to purchase Activision for nearly $70 billion), Xbox seems fit to pivot to a focus on software and enjoy success without needing to win the “console war.” 

Despite these prospects, Spencer’s pessimism is not entirely unfounded. Xbox still needs to prove its competence as a software enterprise. While Game Pass is going well, it is less clear that Xbox can effectively manage their recently purchased studios, and early indications are not promising. The recently released “Redfall” from Xbox-owned Arkane Studios was a critical and financial disaster. 

Spencer acknowledged this failure in the earlier mentioned video interview: “We let a lot of people down this week with the launch of [‘Redfall’].”

If Xbox is to successfully pivot to a software-focus, they will need to quickly figure out how to effectively manage their studios. One indicator of their progress on this front will be the upcoming “Starfield,” a highly anticipated release from Xbox-owned Bethesda (in stores Q3 of this year). If “Starfield” can earn good sales and reception, Xbox can recover the confidence of fans (and investors) lost after “Redfall.”

In the end, only time will tell whether Spencer’s lamentations were reactions to transient growing pains through an ultimately successful business pivot or harbingers of Xbox’s downfall. The embarrassing failure of “Redfall” does create some legitimate cause for concern. However, given Xbox’s stellar track record with “Game Pass,” and the presence of a massive capital safety-net (granting room for mistakes)… my money (and Microsoft’s) is on Xbox’s success. 

The long awaited, first ever Zelda sequel game has finally arrived. 

“The Legend of Zelda: Tears of the Kingdom” had a very high standard following “The Legend of Zelda: Breath of the Wild (BOTW).” The love people hold for BOTW is wide and unending. Many people wish they could play it for the first time again, and Tears of the Kingdom (TOTK) is the closest thing to getting that chance. 

There was intense anticipation for TOTK’s release. Gamers were theorizing eagerly since the initial announcement in September 2022 if the game was even coming out. After being teased with trailer after trailer and gameplay photos for months there was an extremely close eye on the game. Gamers are not people to let mistakes pass unnoticed. Every detail was looked at. Even with millions of critical eyes watching, it is fair to say that the game met gamers’ expectations and maybe even surpassed them. 

The game is quite literally a direct sequel to the BOTW and the very first cut scene of TOTK reveals spoilers for the past game. TOTK is not for people who have yet to finish BOTW, so do keep this in mind if you intend on playing. 

If you have played BOTW, you know how large the game is. On average the main plot line takes 50 hours to complete. But, there are so many collectibles, side quests and other extras to finish the game 100%. The average time to fully complete the game is about 187 hours. TOTK is similar in that it is a massive game. On average the plot line takes about 50 hours, but to 100% this game it will take just over 200 hours. 

Even though TOTK is long, it is not repetitive. Since you have the backstory of BOTW, the action starts right away and things move much faster than in the original game. However, the game is still extremely subversive, as was BOTW. The open world format has of course stayed the same, but the map is different so you must learn new areas. You also do not start with the paraglider, so you must run everywhere in the beginning similar to BOTW. This makes it very easy to get lost in the world (literally, but also mentally). 

TOTK is the first Zelda game to directly continue a previous game’s story as a sequel, and the fact that Nintendo was able to follow one of the best games ever made is incredible. I would not be surprised at all if TOTK wins Game of the Year at The Game Awards as BOTW did in 2017. 

For players who have yet to finish BOTW, I would continue to progress and enjoy your time. After you have completed it, whenever that may be (do not rush!), then pick up TOTK to continue an amazing story from an amazing game. 

For millennials and Gen Z, rapper and singer Sean Kingston rings a bell of nostalgia for reggae fusion hits like “Beautiful Girls,” “Eenie Meenie,” and “Fire Burning.” Kingston’s debut single, “Beautiful Girls” in May 2007, earned him the number one spot on the Billboard Hot 100 for three weeks. Since then, Kingston has released four studio albums and 21 singles. Kingston’s return to the stage has allowed emerging, young artists to join him, such as Drexel University student and DJ, Jacob Bloom.

Kingston made his Philadelphia appearance Thursday, April 13, at the nightclub, Roar Philadelphia. He headlined Philly Welcome Week’s event, which is owned by Plugged University. Plugged University brings celebrity events to over 25 different college markets across the United States and organizes 18+ festivals and concerts throughout the school year. Plugged University hosts more than 100,000 attendees a year and has thousands of brand ambassadors.

On March 3, 2023, Kingston performed at PTL Nightclub in Tampa, Florida, for Plugged University. This inevitably led Kingston to embark on Philly Welcome Week. From there, Philly Welcome Week was able to execute the event.

Philly Welcome Week has hosted events for various holidays and celebrations such as Halloween and university welcome week events in September. The primary locations for these 18+ club nights are at Roar and The Ave Live. 

Various DJs opened the show, including students and alumni from University of Pennsylvania and Drexel University, such as “Nikos, Miro, and DJ.VK.” and host and Drexel University alum, @officialmartinmusic. One opener included Jacob Bloom, a third-year finance major at Drexel University.  

Bloom found out about the gig when Philly Welcome Week posted on their Instagram. He reached out to one of the partners and was told that many other people also want to DJ. To secure his spot, he had to sell a lot of tickets. 

“I started to sell tickets and I stopped because I thought I wasn’t doing well,” Bloom said. 

Soon after, the two partners of Philly Welcome Week reached out to Bloom to set up a call. Bloom felt he was back on track and more determined. He reached out to organizations at other universities and accumulated enough tickets to open for Kingston.

Bloom would not have been provided this opportunity without his previous work, his story began at 12 years old when he started a video montage business for Bar Mitzvah and wedding videos. At the end of his sophomore year of high school, he reached out to the entertainment company Rock It Entertainment in Cherry Hill, New Jersey. The company told him they had no video projects but were looking to train someone to DJ and asked if Bloom would be interested. From there, the company trained Bloom to DJ in the wedding scene. While at Drexel, Bloom has dj’ed at clubs such as NOTO, Voyeur, West & Down, Pace & Blossom and the AEPi fraternity. 

“I’d say within the last year and a half I’ve made significant improvement in terms of exposure to shows and clubs, and other DJs and networking in the city,” Bloom said.

Although Bloom’s personal favorite is house music, “specifically on a yacht in Europe,” his music taste when DJing is specific to the style of event. 

“Depends on the type of event or type of artist I’m doing but I really like to keep it open format, what people know, what people like to sing and dance to, and I think it’s really about being able to recognize the audience and the spot and my role in the night,” Bloom said. “The type of music and the transition is directly correlated to the energy and the crowd of people I’m DJing for. I’m really learning not to play what I like but to play what I think is the vibe in the night at the time I’m playing.”

Bloom has built the confidence and skill to DJ in Philadelphia through new opportunities and with the support of his fraternity, AEPi. The alumni have supported his work and provided insight from the frat basement to the nightclubs. 

Although Bloom opened for Kingston, he was unable to officially meet him. Bloom went into the crowd after his act and by the time Kingston made it backstage, the crowds at the entrance were nearly impossible to barge through.

Larry June and The Alchemist released their collaboration album titled “Turkish Cotton” on March 31. Larry June is a rapper from San Francisco, known for songs “Smoothies in 1991” and “Watering my Plants.” The Alchemist is a popular producer from Beverly Hills, CA who has worked with a plethora of talented rappers such as Earl Sweatshirt, Freddie Gibbs and Boldy James. Known for sample-heavy soulful tracks, the producer has a reputation for bringing out untapped potential and unexpected style choices from artists. 

The album “Turkish Cotton” shows The Alchemist’s mastery of musical partnership and June’s intricate new rhyming abilities. Larry June’s past projects are breezy and laid back, while “Turkish Cotton” shows the artist’s funk influences, diverse vocal range and advanced lyricism. The title alone describes the luxurious, inspiring experience of a day in California surrounded by nature. The perfect album for a perfect day, The Alchemist produced tranquil, otherworldly tracks that juxtapose unexpectedly with his dark, almost apathetic signature.

“Turkish Cotton” and “89 Earthquake” set the scene for the third track “Solid Plan,” undoubtedly produced by The Alchemist. With a trumpet sample, June and Action Bronson speak somberly, saying “Invest in yourself, f*** what they said / You can accomplish anything with a solid plan.” June’s smooth voice aligns perfectly with orchestral harmonies composed by The Alchemist, and the song’s dreamy interludes make you feel rejuvenated. Though June and Bronson are speaking of their struggles in the streets, the inspirational chorus displays a sense of hope and satisfaction from the artists who made it out of a difficult situation.

The fourth song “Palisades, CA” was released as a single on March 22, showing a completely new side of Larry June. Big Sean is featured on this song and June drops clever bars in a unique rhyme scheme over the spookiest production on the album. Sean and June hop on this beat to brag about their riches, from real estate investments to expensive dietary supplements. The chorus says “I’m thinkin’ billions, cop another buildin’, new woop Sicilian / Thinkin’ bigger, you thought I was coolin’ I was takin’ risks / Palisades, chillin’ in the shade, might take the Bent’ / Bettin’ on myself every time, its a hit.” The status of having Sean featured on his song is reflected in June’s verses, and he completely outshines his well-established contemporary.

Track five, “Summer Reign,” feels like a classic R&B/Rap song, with Ty Dolla $ign’s calming voice repeating “Summer rain (please fall again) / I’m ridin’ ‘round top down in the summer rain.” Bird calls and ocean waves create a beautiful visual effect for the listener, transporting them to the California beach. The Alchemist composed a soulful yet seemingly effortless track, and June’s loose delivery is perfect for this style of ambient, sensory-pleasing production.

Track seven, “Porsches in Spanish,” is my favorite performance from both June and The Alchemist on the album. June introduces his newly developed syncopated flow, fitting in perfectly with layered, relaxing production. Using his voice as an added percussion instrument, June says “‘Money keep comin’, I’m stacking it at a faster pace / I got a different style of architecture when I drop these letters / House by the water, out the way / Yeah that number cool, but give me a day, tomorrow we negotiate.” Fantastical production continues to form the visual of driving along the California coast on a beautiful day.

Track fifteen, the last of the album, feels like a Sunday morning at home. Relaxing and lazy, “Margie’s Candy House” displays June’s storytelling abilities. Twinkly percussion and dramatic violin create an easiness that June’s lyrics play off of. This song closes out “Turkish Cotton” with a declaration of June’s new life, saying “Yeah I made it out the streets but still gotta watch my back,” and “Real men pay the game, but got goals to go legit.” Minor piano keys from The Alchemist give the song a tinge of sadness, representing the conflicting feelings that occur when a new chapter of life begins. June says goodbye to rap inspired by the streets, and moves on to the money, success and fame that comes with public recognition.
This project proves that June is more than just a laid-back west coast rapper; he shows innovation and musicality in his lyrics, while staying true to his smooth, Bootsy Collins-esque cadence. In company with reputable artists Wiz Khalifa, Joey Bada$$ and Slum Village, “Turkish Cotton” is June’s debut in the alternative, genre-bending world of The Alchemist. If you are looking for an album to play at the beach, or simply in sunny weather, “Turkish Cotton” is worth a listen.

Founded in 1924, the Curtis Institute of Music, located in Philadelphia, PA, is one of the world’s best music institutes. With a 4% acceptance rate, the school offers a performance diploma, Bachelor of Music, Master of Music in opera and a Professional Studies Certificate in opera. The school’s mission is to train and educate the young gifted musicians that will engage the community, both locally and globally, at the highest artistic level. All 175 students attend on full scholarship.

The school follows the philosophy of “learn by doing”; thus, it focuses more on practicing. It takes far fewer students than comparable programs, ensuring personalized attention from faculty. The school has various programs like composition, conduction, Woodwinds, String and Harp 

This past March, the 45th Student Recital took place as part of the Edith L. and Robert Prostkoff Memorial Concert Series. See listed performers and respective performances below.

Preston Atkins (bassoon) & Elena Jivaeva (piano)

1. Sonata in G major, Op. 24, No. 2 by Francois Devienne
2. Concerto in B-flat major by Gioachino Rossini

Sofia Gilchenok (viola) & Jenny Chen (piano)

3. Sonata in F minor, Op. 120, No. 1 by Johannes Brahms

Corina Deng (violin) & Jungeun Kim (piano)

4. Variations on an Original Theme, Op. 15 by Henryk Wieniawski

(Each performance is denoted by the number order (x) they were played in.)

Though this classical music recital would likely be best appreciated by those who are musically inclined, I would argue that those with an inexperienced ear for music would also be transported by this specific set of performances. It did not take a musician to recognize the immense talent each of these students possess. 

For the most part, the audience at the recital was homogeneous — made up mainly of white men over the age of 65+. Just an observation, but surprising considering Philadelphia’s diverse population. 

Overall, the selection was well thought out and allowed each set of performers to shine in their own right. I felt that the performances complemented each other.

Performance (1), the Devienne sonata, was my favorite, and really set the bar high for the rest of the night. It felt like a smooth move through the four seasons, and distinctly defined the shift between fall, winter, spring and summer. Atkins, on the bassoon, played lower notes with a faster tempo to encompass the feeling of Autumn. I was able to imagine leaves of red, green and brown swirling in the wind as they reached the ground. Jivaeva, on the piano, made me feel as though I was in a meadow somewhere in the middle of nowhere, with no other job than to watch the seasons change. Lower notes and slower tempos by both of the musicians introduced us to Winter on the meadow. Perhaps there were snowstorms and dead trees, along with calm and crisp afternoons. Spring was a fun one. The instrumentalists played quick high notes that made me think of flowers blooming and a soft breeze. This season seemed to have lasted the longest. Then Summer arrived in all of its glory. Notes were still higher, but they had more substance, more permanence. 

Throughout this performance and performance (2), the Rossini concerto, both Atkins and Jivaeva had this calmness about them, this appearance of deep concentration and reflection that took control of the room – their stage presence was quite impressive.

Number (3), the Brahms sonata, was, in a word, passionate. Gilchenok and Chen were so in sync that Chen’s head swayed to the movement of Gilchenok’s bow. Their performance, in particular, felt well-prepared and well-coordinated. I feel that these two must get along pretty well in their lives outside of music because I could sense their enjoyment on stage. This may sound strange, but I related their performance to Miley Cyrus’s “The Climb” in the sense of its message. Gilchenok’s long and drawn-out strokes of the bow made me think about the journey of reaching a big goal or the work that comes before a reward. It was a satisfying performance and I, along with the rest of the room, had trouble looking away.

Lastly, Deng’s immense talent for the violin was displayed in performance (4), the Wieniawski variations. Her vibrato was so strong, but so controlled —  masterful, even. I also noticed that this piece got the most applause at the end, so if I had to guess, I would say that Deng was the star of the night.

The Curtis Institute of Music is continuing to hold student recitals through the months of April and May, and these recitals are definitely worth checking out! The immense talent of these young musicians is inspiring to say the least, and the energy created on stage is sure to leave anyone feeling a new sense of calm.

British artist Shygirl took over the Theatre of Living Arts on April 6, 2023, for her “Nymph” World Tour. Shygirl dropped her debut studio album “Nymph” on Sept. 22, 2022 and performed in Philadelphia for the first time in her career. 

Since 2016, Shygirl has been a prominent figure in the underground music world, especially within the experimental part of it. The artist has been known to create music that is genre-bending. This style of experimental pop with a sprinkle of hip-hop has been popularized in recent years.

Shygirl’s debut album “Nymph” has defined her affinities for a fun and experimental style of production and musicality with the majority of the songs including her own production credits. The album features contributions from artists such as Vegyn, Mura Masa and Arca, who are famously known among the electronic music community. Shygirl recently dropped a deluxe version of the album called “Nymph_o” on April 14, 2023, with features from Björk, Tinashe and Eartheater, establishing once again her very distinct magical-sounding musical style. 

The opening act was a DJ who came on exactly at 8:30 p.m. and mixed for about 45 minutes. This person did not introduce themselves, and did not go on to back Shygirl on stage. People all around TLA were wearing colorful makeup and outfits, all seeming to identify with the fairy-like theme Shygirl hints at very often in her projects. The increasing BPM (beats per minute) got the crowd ready for the main performer of the night with both the upper and lower level being at full capacity. 

Shygirl came on stage at 9:36 p.m., performing the first song from her album, titled “Woe.” Even though some of Shygirl’s most famous songs are “bbycakes,” with Lil Uzi Vert, Pink Pantheress and Mura Masa and “papi bones” with FKA Twigs, she only performed songs that she was credited as the main artist on. The setlist contained multiple songs from “Nymph” such as “Heaven,” “Coochie (a bedtime story)” and “Firefly,” which had the audience singing every lyric.

The artist surprised her fans with a performance of “Playboy/Positions,” which had only dropped two days prior on April 4. The show included some of her older songs “BB,” released in 2019, and “FREAK,” released in 2020. Dressed in a silver metallic dress, Shygirl displayed a lot of fluidity in her dance moves through her expressive arm movements. Both versions of her album contain a blue theme, which was maintained by the light show that was predominantly blue and purple. The microphone had very beautiful effects the whole time to enhance the outer-space-like sounds of “Nymph.” 

The show lasted for about two hours and remained at full capacity for the entire duration. Even though rain was pouring outside, fans left feeling very satisfied and smiling on their way out of the doors of the famous South Street venue. For her first time performing in Philly, Shygirl’s show was an absolute success.

Atlanta-based bedroom-pop duo Coco & Clair Clair performed a sold-out show on April 8, 2023 at The Foundry in Philadelphia, PA. The show was stop 14 of 19 on the U.S. leg of their “So Sexy” tour. Their tour, named after their most recent sophomore album “Sexy,” started March 18 in Houston, TX and ended April 15 in Nashville, TN. 

Coco & Clair Clair have been releasing music since 2015, but it was not until the release of the 2017 single “crushcrushcrush” that the duo became an internet sensation. Since then, the group has been able to grow their following with their hushed vocals, glittery and electronic instrumentals, and fun lyrics.

Upon entering, I saw that the stage consisted of a DJ setup in the back center, a tarped drum kit on the left side and a covered keyboard on the right. The show did not stray far from schedule, with music slated to begin at 8 p.m. and the first act coming out at 8:06 p.m. I was expecting Grandma, the opening act listed on the tour announcement, only to find out the first performer was actually Raven Artson, an Amsterdam-native pop artist. Artson did a great job at interacting with the crowd, encouraging and dancing with people during songs like “Dusk Or Dawn” and “Rash of Independence.” Nearing the end of his set, Artson performed a cover of Vanessa Carlton’s “A Thousand Miles” with the audience joining in. The drum kit and keyboard made it slightly difficult for Artson to move freely on stage, but he was still a great performer overall and set the tone for the rest of the night.

The intermission between acts was brief, and Grandma was on stage at around 8:37 p.m. While still a solo artist, Grandma came out with a band and was able to utilize all instruments on stage. While Grandma mainly performed songs off of his most recent alt-indie EP titled “Angelhood,” he still played some of his bigger hits like “Downtown Life.” Songs like “God Hired You To Be My Baby” and “Somethings Are Easier Done Than Said” kept the energy in the crowd high, even if most of the audience did not know the lyrics. Like Artson, Grandma worked extremely well with the crowd, talking to fans and getting them excited for the main act. Both opening acts were similar enough to feel cohesive while being unique enough to keep the audience entertained.

At 9:33 p.m. Coco & Clair Clair took the stage with Artson as their DJ. Both artists were dressed very casually and wore matching sunglasses to complete their looks. The setlist had a little bit of everything, with songs like “The Hills” and “Pop Star” off their album “Sexy.” Along with their newer tracks, the duo performed songs like “Wishy Washy” off of their 2020 EP “Treat Like Gold,” as well as singles that gained them internet popularity like “crushcrushcrush” and “Pretty.” There were a few monitor issues that caused the artists to stop in between songs, but even with their complications Coco & Clair Clair were able to energetically perform each song and created an enjoyable crowd experience. 

Halfway through their set, the two played a quick snippet of ABBA’s “Dancing Queen” that they sang with the crowd. Throughout their performance, both artists made sure to interact with the audience as much as possible, accepting gifts and reaching out to fans as they sang. The two played a couple of their older songs, such as “TLG” from “Treat Like Gold” and “Sims 2” off of their debut album “Posh” during the encore before exiting the stage. 

Whether you are a new fan of the duo or have known them for a while, their live show had something for everyone. The crowd was consistently lively, the opening acts were just as entertaining as the headliner, and Coco & Clair Clair delivered a great audience experience. 

UK singer/songwriter Eloise released her debut album “Drunk On A Flight” on April 14. The album is composed of twelve tracks that have a funky, lo-fi feel with a hint of jazz. It is a quick listen, running at just over 31 minutes long. I was not familiar with Eloise until a few months back; I heard her song “Trick of the Moon” last year, but did not start following her music until she was recommended to me by a friend a few months ago. The song my friend introduced me to, “Enough,” was what truly peaked my interest in Eloise. Both of these tracks are on her 2021 EP “Somewhere In-Between” and are good songs to start with for someone just getting into her music. This album, while reminiscent of her older sound, has a certain lively flare. 

Title track “Drunk On A Flight” was released as a single on Jan. 20 and is the album’s opener. Eloise has a warm and smooth tone in this track, as she sings of a past relationship that had both ups and downs, citing specific memories that the pair went through together. The lyrics “You used to stroke my cheek/ When I spoke French to you/ But then you’d pick a fight/ Bring up some blurry night/ And what it meant to you” show positive times in her relationship when her partner was incredibly sweet, as well as negative times when they were arguing. The French phrases in the background of the track accompany the lyrics well. Throughout the song, Eloise explains that even though she broke up with her partner, she is getting drunk on her flight to cope and still looks for him in every man she meets. 

Track three, “Forgive You,” is about continuously forgiving someone that hurts you repeatedly. The lyrics “We always knew/ When it came to me and you/ Someone’s heart would get broken/ We couldn’t guess whose” are powerful as they show that Eloise and her partner always knew about the impending doom of their relationship, but chose to stay together anyway. The track, while more on the upbeat side, continues to recount the tragic tale of Eloise’s failed relationship as she sings “You’ve been drinking/ And I heard through your friends/ That you’ve been thinking/ We are near the end/ But when it’s just you and me/ It’s hard to believe that you want out.” If those lyrics are not a slap in the face I do not know what is. 

Track five, “Friends Who Kiss” is one of the prettiest songs on the album. Eloise slips into falsetto at various points throughout the song, which works well with the simple piano melody in the background, creating an overall melancholy feeling. The song addresses the reality that not every kind of love leads to a relationship with the lyrics, “Some loves weren’t meant to be had/ Only to be felt.” The chorus, while sonically tame, is memorable in its rhythm and lyrics, “I couldn’t love you/ Anymore than I do/ But love isn’t in love/ Let’s just call it what it is/ I know you know all of this/ We’re just friends who kiss.” It builds on the idea of acknowledging the romantic situation you are in.  

“Therapist,” track six, was released as a single on March 15. It is easily the sassiest and most fun track on the album. Eloise expresses extreme disdain for being a “therapist” for the man she is dating (as she should). The lyrics “You’re a big boy now/ I can’t hold your hand/ Acting like a boy/ But I fell for a man” (like many other lyrics in the song) made me crack a smile. The way Eloise is shamelessly calling this man out is amazing: props to her. The chorus is especially catchy with the lyrics, “‘Cause I’m not a therapist/ I’m not a specialist/ I can’t untangle this kind of web/ When will you realize that/ It’s too much pressure and/ I can’t tuck you in when it’s time for bed.” Towards the end of the song, the energy picks up in the last chorus with the addition of drums and electric guitar, before mellowing out with soft acoustic guitar strums. 

Track eight, “Cold As The Sea,” is the shortest track on the album, lasting only 56 seconds. This song feels intimate as it consists only of Eloise’s rich vocals and an acoustic guitar. It almost feels like she is in the same room singing directly to you as you listen. Eloise grapples with being a different version of herself than people met her as while she sings “Who do you want me to be?/ Cause the girl that you met isn’t me/ I’ve played millions of parts/ And took my lovers’ hearts/ With two hands as cold as the sea.” Her vulnerability makes the song easy to connect with. 

Track nine, “In Another Year,” is my favorite song on the album. It is a beautiful piano ballad about feeling stagnant in not only a relationship, but the physical place you are in. Eloise expresses that she will be getting out of wherever she is “in another year.” In the song’s ending chorus, Eloise seems to be finally leaving her partner behind as she sings, “Oh I, I’m gonna see it all/ Every mountain top and penny drop and waterfall/ And I, I’m more than terrified/To not have you to show me to the world outside/ I got my ticket out of here/ I gotta disappear/ I’ll see you in a year.” The rawness of Eloise’s vocals coupled with the relatable concept of needing to move on from someone who seems to be holding you back is what makes this song so impactful. 

“Vanilla Tobacco,” track ten, was released as a single on Nov. 11, 2022 and provides a change of pace from the rest of the album. For starters, it is not sad, and while I do love sad music, I am grateful for the break that Eloise provided. This song is lighter in nature, as Eloise sings about how good the sex is with the person she is seeing. Honestly, good for her, after what she has been through in the last few tracks she deserves it. This is probably my second favorite song on the album. It was in my regular rotation for a couple months after it came out. The harmonies on chorus lyrics, “Daydreaming about your lips/ Your hands all on my lips/ So give me a little kiss on my nose/ I wanna feel like I’m your only/ And I want you close enough to smoke me/ So pour yourself a drink and come to me” are so well done. If I had to choose only one track to recommend from this album, it would be this one. 

“Tired Now” is the last track on the album. Eloise calmly sings about how she is done trying to make it work with her partner, explaining how she is “tired now.” In the chorus lyrics, “I just hope you know that/ I was broken when you found me/ All of my problems/ You can’t solve them/ Cause they drowned me/ When it’s all said and done/ We had fun/ But I’m tired now” Eloise blames herself for the downfall of her relationship with her partner. This track is a perfect closer for the album, as it shows that this time Eloise is the one who is walking away, unlike how she was the one who kept seeking out her partner in the opening track, “Drunk On A Flight.” She has exhausted all of her efforts and is accepting that this relationship is not right for her, making the album come full circle. 

“Drunk On A Flight” is a quality debut album that displays Eloise’s talent as an artist. I think she has the capability to gain a lot more popularity, especially since she is about to go on tour in June and will be performing in Philadelphia on Oct. 7 at The Foundry. While her album will not be on repeat for me, I strongly believe it is worth the listen, and who knows, you may even see me at her concert in the fall. 

Lana Del Rey’s most recent album, “Did you know that there’s a tunnel under Ocean Blvd,” was released on March 24. The album consists of 16 songs and is an hour and 17 minutes long. 

Admittedly, I have not been following Del Rey’s releases closely for the last few years, so I was surprised to hear she was releasing a new album. I did not listen to her last album “Blue Banisters” (2021) so I was eager to include some of her music in my rotation again. 

While I am a fan of Del Rey’s work, I do think that her songs take a certain level of thought to understand, and “Did you know that there’s a tunnel under Ocean Blvd” is no different. However, Del Rey’s complex lyricism is part of what makes her songs so special. 

The album opens with the track “The Grants” which was released as a single on March 14. The song starts out with background vocals from Melodye Perry, Pattie Howard and Shikena Jones doing a repetition of the phrase “I’m gonna take mine of you with me.” I really enjoyed the harmonies in the intro, but at a first listen I did not know what this song was going to be about. After getting further into the song, it is revealed that the lyrics in the intro are related to Del Rey’s pastor telling her that when people die, they take their memories with them. She then goes on to list which memories she would like to take with her once she dies with the lyrics “My sister’s firstborn child/ I’m gonna take that too with me/ My grandmother’s last smile/ I’m gonna take that too with me.” These memories paired with the gentle piano of the track are a beautiful sentiment. 

The title track, “Did you know that there’s a tunnel Ocean Blvd,” is the second song on the album. It was released as a single on Dec. 7, 2022. You may want to have Google handy for this one. After doing some research and reading reviews, I have gathered that the tunnel Del Rey is referring to is Jergins Tunnel in Long Beach, C.A. The tunnel was open to the public from 1928 to 1967. According to Auralcrave, the lyrics of the track are about how the tunnel has been forgotten by the world over the years. Del Rey expresses fear that the same thing will happen to her with the lyric “When’s it gonna be my turn?” Honestly, an entire article could be written on this song alone because of how many references it’s packed with and the symbolism behind it.

Track three, “Sweet,” is my favorite off the album. The run that Del Rey does on the chorus lyric “Sweet” accompanied by soft piano notes is beyond soothing. Del Rey seems to be contemplating how her romantic partner sees her. She delves deeper into their relationship as she sings “Lately we’ve been making out, a lot/ Not talking ‘bout the stuff that’s at the very heart of things/ Do you want children?/ Do you wanna marry me?” While the physical aspect of the relationship is there, Del Rey appears unsure that this person wants her for who she is, and wants an actual life with her. 

Track four, “A&W,” is one that commands attention and is a whopping seven minutes long. Del Rey defines what it means to be an “American Whore” and the experiences that come with that title, explaining that the sex she is having is no longer for her own benefit, but to prove a point, with lyrics “It’s not about havin’ someone to love me anymore/ No, this is the experience of bein’ an American Whore.” 

I think the topic of this song is incredibly important. The definition of what it means to be a whore is something I have been thinking about a lot in the past few months, as this same discourse has come up in one of my writing classes. The lyrics towards the end of the song, “If I told you that I was raped/ Do you really think anybody would think I didn’t ask for it?” are especially powerful. Del Rey simultaneously claims this “whore” title in a way that shames the negative connotation surrounding the word, while also addressing the reality of society believing that people who are raped “ask for it,” especially more sexually active people. The song itself brings a level of awareness to this long-standing problem. Although I doubt the people that truly need this awareness are in Del Rey’s fanbase, I’m glad that the song exists and hope it, along with its message, becomes more widespread. 

I will say, I am not a fan of the “Judah Smith Interlude” on this album, which is track five. Before listening to this album I was not familiar with who Smith was, but after doing some research, I have learned that Smith is a known anti-abortion and homophobic pastor. I was not a fan of the interlude prior to knowing this information either. My exact thoughts were: why am I listening to a man screaming in anger for four minutes? It seems that other fans of Del Rey, especially queer fans, share my sentiment. Daily Beast stated that fans were upset by the inclusion of the interlude on Del Rey’s album. Rightfully so.  

However, Daily Beast also mentioned that this interlude was included as an act of irony on Del Rey’s part as Del Rey’s laughter can be heard throughout the interlude, along with her saying, “Yeah, yeah” possibly conveying that she finds Smith’s sermon to be ridiculous. Whatever the intent for the inclusion of the sermon, I do not really enjoy it. Aside from the speech of the sermon and the man who gave it, it takes me out of the experience of the album as we go from Del Rey’s light and airy vocals, to the more harsh voice of Smith getting worked up.

Track eight, “Kintsugi,” is referencing the Japanese art form of repairing pottery with gold. Del Rey sings about how even though she is broken, it is actually a good thing, with the lyrics “It’s just that I don’t trust myself with my heart/ But I’ve had to let it break a little more/ ‘Cause they say that’s what it’s for/ That’s how the light shines in.” The imagery that Del Rey paints is beautiful, especially because of how pretty gold is when glimmering in the light. This track gives you the much-needed time to reflect before continuing with the rest of the album.

As for track ten, “Paris, Texas (feat. SYML),” it is a complete sample of SYML’s song “I Wanted To Leave” as stated by Genius. SYML’s piano track is already stunning, but the addition of Del Rey’s breathy vocals takes it to the next level. Del Rey sings of various places she has taken trips to: Paris, Spain and Alabama. I interpreted the chorus lyrics, “When you know, you know/ When you know, you know/ It’s time, it’s time to go” as relating to leaving a situation that does not serve you anymore, which is what makes this track so easy to connect with. 

Track fourteen, “Fishtail,” is one of the more sonically interesting songs on the album. Del Rey includes synth and warped vocals which caught my attention immediately. The instrumental and vocal effects are unexpected, as they do not hit until about a minute into the track, along with the beat drop. It serves as a nice change of pace from the rest of the album. 

The final track on the album, “Taco Truck x VB,” brings back an old favorite of mine, “Venice Bitch,” from Del Rey’s 2019 album “Norman Fucking Rockwell!” The song begins in a mellow manner, with Del Rey recounting how she “met her boyfriend at a taco truck” which slowly fades into the lyrics of “Venice Bitch” with a more energetic instrumental than the original song. I think this pairing is a great way to cap off the album. 

Due to the album’s length, I cannot possibly cover each song in as much detail as I would like to. There are many notable aspects of these tracks that deserve to be given the proper attention. However, I think I need to listen to the album a few more times (even though I have had it on loop for days while writing this review) for it to truly grow on me. While this album is not currently my favorite of Del Rey’s, I still think it is an impressive project that is worth the listen.

Consisting of Julien Baker, Phoebe Bridgers and Lucy Dacus, boygenius has fostered a cult-like following who have waited patiently for new music since their self-titled EP in 2018. It was not until Jan. 18 of this year that boygenius announced their debut album “the record,” along with three singles: “$20,” “Emily I’m Sorry” and “True Blue.” Along with the collective praise boygenius has earned from critics and fans alike, each member of the supergroup has a catalog of music that deserves just as much recognition. In celebration of the release of “the record,” we will show some of the highlights from both the album and each of the member’s discographies. 

“True Blue” – boygenius

Released as one of their three promotional singles, “True Blue” explores unconditional love and all the emotions that come with it. Lyrics like “You already hurt my feelings three times/ In the way only you could/ But it feels good to be known so well” evoke the bittersweet feeling of being vulnerable with someone. The story told in “True Blue” is sung primarily by Dacus, recognizable through her warm but powerful vocals, and accompanied by Baker and Bridgers’ soft harmonies. While each of the members is notorious for their heart-wrenching lyrics, “True Blue” perfectly highlights the storytelling abilities and cohesion of the group as a whole.

“Cool About It” – boygenius

A slightly softer song than the former, “Cool About It” opens with mellow guitar instrumentation and a quiet banjo before introducing the vocals. The folk-rock track, while less dynamic than others on the album, helps highlight the unique voices of each member by alternating lead vocalists. The song begins with Baker in the first verse and chorus, switches to Dacus for the following verse, and ends with Bridgers for the remainder of the piece. While “True Blue” solidified their talent as a collective, “Cool About It” gives each member the ability to let the audience look into their personal styles.

“Satanist” – boygenius

“Satanist,” running at just under five minutes, is a punk-rock track full of nihilistic and anarchist lyrics. The song relies heavily on guitar, breaking only to give room to the vocalists. However, it is not until around the three-minute mark that intensity builds and the instrumental tracks swell over Bridgers’ haunting and cathartic scream. The group gives the listener time to catch their breath, returning to slow guitar and quiet vocals at 3:10 while slowly building back up until the end of the song. “Satanist” compliments the softer tracks on the album and proves that the group’s dynamic range is just as powerful as their lyrics.

“Moon Song” – Phoebe Bridgers

If you are looking for somewhere to start in Bridgers’ discography, look no further than “Moon Song” off of her 2020 project “Punisher.” The indie ballad discusses the blood, sweat and tears put into unrequited love. Bridgers extensively uses vivid symbolism with lyrics like “You are sick, and you’re married/ And you might be dying/ But you’re holding me like water in your hands.” From her captivating vocals to her poignant lyrics, “Moon Song” is a perfect introduction to her work as a whole.

“Something” – Julien Baker

Despite being the least-known artist in the group, Baker has made a name for herself through her musical exploration of life, death and loneliness. “Something” reads like a diary, with Baker lamenting over her partner leaving and struggling with her self-worth. The pain and emotion of Baker’s “Something” is amplified through her raspy and airy vocals. Overall, Baker’s appeal lies in her vulnerability and distinctive vocal tone.

“Thumbs” – Lucy Dacus

Similar to Bridgers, Dacus paints a picture through her lyrics with ease, and “Thumbs” is no exception. “Thumbs” has very little instrumentation, with Dacus singing over a subtle, space-like synth pad. She describes having dinner with a friend, their estranged father and the hatred she felt on her friend’s behalf. With lyrics like “I love your eyes/ And he has them/ But you have his/ ‘Cause he was first”, the “Night Shift” singer encapsulates what it is like to watch someone you love get hurt. Dacus has proved that she is a powerhouse in both boygenius and her solo work.

With such a stacked group of artists working together, their work speaks for itself and it is hard not to be excited for what is to come. If you are looking to find more of their music, check out boygenius and each of their individual projects on all streaming platforms.