Music Reviews – psucollegio

‘Untitled Home Invasion Romance’ Utterly Incoherent

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“Untitled Home Invasion Romance” is a movie that has zero idea what it is doing. From the script to the acting, it seems nobody knows what is going on, jumping around so much it ends up being about nothing.

The film is directed by Jason Biggs who also stars as Kevin alongside Meaghan Rath as Suzie, Anna Kokle as Heather, Justin H. Minas Stu, and Arturo Castro as Ernie. Kevin is an actor most famous for an erectile dysfunction commercial, and an attempt to save his marriage takes Suzie to her old hometown so they can bond more. Suzie is upset about coming to stay there for the weekend due to past trauma when she was younger. Kevin’s plan is for his friend Ernie to act as a burglar in order for Kevin to step in and save Suzie as a way to rekindle their love.

Suzie connects with her old friend Heather who is now the police chief. Heather ends up taking Suzie home and Kevin gets in a wreck before he can arrive to pretend to save Suzie and win back her love. When Ernie breaks in Suzie ends up killing him causing Kevin’s plan to fail. An investigation begins, old friends show up, and past memories come up all affecting our lead couple. This all leads to a plot that is all over the place and deeply confused.

The film is at best dumb fun and if you can turn your brain off you might enjoy it. But besides that the film has so many problems. It drags along for way too long and honestly could have been a short film. The acting might be the worst part of the movie. Nothing the actors say or do feels real; it feels fake. It’s a comedy but when the movie tries to be serious, it fails. The emotions the actors give are not at all believable. Meaghan Rath is the only actor that’s enjoyable to watch and gives the best performance. The script is awful with the movie moving from one thing to the next for little rhyme or reason. It feels at times like three different movies stitched together making no movie at all. The movie is full of plot holes, but it’s also not funny enough for the viewer to be able to ignore that. It’s not suspenseful to actually be a thriller. None of the stakes of the movie are exciting enough to get invested in either. It’s clear that Biggs’ first time directing has been quite the failure all around.

The movie does, however, have an interesting message: To be a fighter and not rely on others to protect you for everything. It’s an empowering message in a quite stupid film. Don’t watch this movie. Do not spend your hard-earned money to rent it on Amazon Prime Video. You can waste your money on far better things. Overall, “Untitled Home Invasion Romance” gets a 2.5 out of 10.

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Houston, we have funk: The Little Green Men release ‘Unidentified Funky Object’ an interview and review

The Little Green Men, a band made up of Pittsburg State University students, released their debut album “Unidentified Funky Object” Friday, Oct. 24, now streaming on Spotify, Apple Music, YouTube Music, and Bandcamp. The record blends elements of rock, funk, and jazz fusion, highlighting the distinct sound the group has worked to develop over the last two years through performances together.

The band consists of Jude Wolfe, a senior music major with an emphasis in composition and media production, on keyboard and vocals; Evan Harries, a senior studying 2D art, on guitar and vocals; Jocelyn Goodwin, a senior majoring in music performance, on tenor saxophone and vocals; Jack Stefanoni, a junior music education major, on drums and percussion; Gavin Burdette, a senior, majoring in music performance, on bass; Joe Lancaster, a senior music education major, on trumpet and percussion; and Peyton Winnett, a junior music education major, on baritone saxophone.

This album also features a guest appearance from Sachio Nang, the only non-PSU musician involved, who performed an alto saxophone solo on “Strange, Strange, Love.”

Nang, a touring pit-orchestra musician and longtime friend of the group, contributed an alto saxophone solo and loaned recording equipment for the project.

“Without him, making this album would have been nearly impossible,” Wolfe said.

Wolfe produced, mixed, mastered, and engineered the album, with assistance from Nang. The album’s cover art was hand painted by Harries.

“There’s a sense of vastness and discovery that I get from the image,” Wolfe said. “It’s a perfect representation of the curiosity and the nebulousness that is the Little Green Men.”

The Little Green Men started as a group of students who met through the university’s jazz band, along with other ensembles and classes, occasionally getting contracted by the university or other groups to play cocktail jazz, Christmas music, or classic rock. It was not until the group was perfoming specifically jazz-funk, when Goodwin commented on the potential of just performing funk songs as a whole show.

“It was from this idea that I decided to start contacting local joints to play funk music,” Wolfe said. “With the expectation that we would play at least 90 percent original music, as I’ve always wanted to remain creative and original.”

From there, the Little Green Men began performing locally, developing their sound around live performances, often workshopping in new songs on stage before recording them. Some songs, like “Intro,” were sketched out by Wolfe when he was 16 years old.

“The truth is, most of what’s on the album we’ve been performing for a couple years at this point,” Wolfe said. “I feel strongly that listening to the album is a studio interpretation of what you’ll hear in an LGM show. It’s very faithful to our live vibe with the added benefit of studio production.”

The album was recorded in a spare bedroom a few blocks from campus using only four microphones and an audio interface borrowed from Nang. The process relied on recording most tracks live, with most members playing together in one room.

“It was often times difficult and overwhelming,” Wolfe said. “Especially on my end as the mixer/masterer, but it was beyond worth it.”

Each member contributes a distinct influence that shapes the group and the overall sound. Burdette and Harries bring elements of jam and psychedelic rock, while Goodwin draws more funk and jazz fusion, with Lancaster adding a smoother, cool jazz sound.

“I think it’s interesting to hear how the improvised solos can vary based on the musician’s personality and experiences,” Wolfe said. “It’s unlike anything else I’ve experienced. This variety is one of my favorite things about UFO and the band as a whole.”

The band draws inspiration from artists like Stevie Wonder, Tower of Power, Earth, Wind & Fire, and Weather Report, as well as modern acts like Vulfpeck and Jacob Collier and less funk-based acts like Phish, Gooses, and Dogs in a Pile. The results are a mix of funk-driven grooves, jazz-inspired improvisation, and experimental arrangements, creating an album that moves smoothly between genres.

“You’ve Got a Grip on Me” is a traditional funk track, while “Strange, Strange, Strange Love” draws a mid-century doo-wop, and “Second Place” leans more into an energetic arena rock song.

“There’s a lot to enjoy for different preferences without us compromising our unique sound,” Wolfe said.

One of the band’s earliest originals, “Andromeda Men,” has become a staple to every live performance and a signature piece for the group.

“It’s paradoxically simple and complex, with an earworm of a bassline and lots of soloistic passages for the band to play with,” Wolfe said. “Each time we play it it’s a little bit different, and I feel the one on the album really captures the vibe of LGM. It’s one of my favorites to listen to, I know every note of each of my buddies’ improvised solos like the back of my hand.”

“Being able to work with the other members of the band is the thing I’m proudest of,” Wolfe said. “I’ve wanted to create an album for years, but I never envisioned I’d get to make one this ambitious with so many cool people. LGM really has the best musicians of the area in it, and that is a privilege that is not lost on any of us. We appreciate each other and respect each other, and I’m glad we finally got to capture it on a recording and put it on streaming platforms for all to listen to.”

The group said they have several more songs written and performed live, though there are no immediate plans for another recording project. Their next performance is scheduled for Nov. 6 in the U-Club at the Overman Student Center, from 6:30-8:30 p.m.

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Loving ‘The Art of Loving’

The rising British R&B artist Olivia Dean released her new album, “The Art of Loving,” on Sept. 26. This marks her second studio album and further solidifies her reputation as one of the most exciting voices in contemporary soul and R&B. Though Dean has only two studio albums to her name, her artistry stretches across a wide range of singles, live albums, and extended play releases that showcase her emotional depth and creative versatility.

“The Art of Loving” features 12 tracks, including a brief 40-second intro that sets the tone for the album. Despite its short length, the intro captures the heart of the project. That love, no matter how much it hurts, always teaches us something. Dean communicates the idea that through both the highs and lows of love, we grow, evolve, and find meaning in every connection we make. Heartbreak may make us hesitant to open up again, but it’s often the lessons it leaves behind that help us move forward with greater understanding and self-awareness.

Dean’s album delivers a cohesive blend of soulful vocals, introspective lyrics, and warm, layered production. Each track feels like a reflection on the many shades of love: Self-love, heartbreak, appreciation, and growth. Her ability to weave vulnerability into strength makes the album relatable and deeply moving.

One standout song is “Loud.” What sets it apart from the rest of the album is its minimalistic sound. A single chord carried by guitar and strings. Unlike her other songs, which feature rich harmonies and full-bodied arrangements, “Loud” feels sparse and exposed. This simplicity allows the emotion in her voice to shine through. The track conveys the feeling of being led on in a relationship, of speaking your truth but not being heard. In an interview article, “Olivia Dean’s ‘The Art of Loving’ offers fans soulful lessons in love and vulnerability” with “NPR,” Dean shared how the song came from a deeply vulnerable place. “Vocally, it’s quite exposing. There was originally one take that was recorded and then I never sung it again, because I just found it to be too intense.” That rawness can be felt throughout the song, capturing a universal feeling of heartbreak and honesty.

Another highlight, “Something In-between,” dives into the balance between self-love and romantic love. In the same NPR interview, Olivia Dean’s ‘The Art of Loving’ offers fans soulful lessons in love and vulnerability. She explained her inspiration: “And I love love, but I also can really function alone. And I was like, ‘Well, what is that something in between where I am in love with you, but I’m also able to remain myself outside of this relationship?’” This song beautifully encapsulates the struggle to maintain individuality while being connected to someone else, a theme many listeners will relate to.

Overall, “The Art of Loving” portrays love in all its complexity. It’s imperfect, messy, and continuously evolving. A practice rather than a destination. Dean’s honesty and vulnerability make this album stand out as an authentic reflection of her emotional journey.

As a recent fan of Dean, I have found her work both inspiring and comforting. Her music transcends genre, blending soulful warmth with lyrical storytelling that speaks to listeners from all backgrounds. “The Art of Loving” is a stunning collection of songs that remind us that love, even when it hurts, is one of life’s greatest teachers. I give this album a 5/5.

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An amalgamation of a magnum opus

At the beginning of September, the band AJR released a new EP, by the name of “What No One’s Thinking,” and that EP is probably one of the most clever pieces they have ever created.

On the surface after just one listen, you would think it is just a bit of a catchy tune with interesting background audio. The more times you listen to it, however, you start to notice the little details, until you realize that this is a collage of all their music into one song. Similar to what they did for “The Maybe Man,” but on a much larger scale.

I was first tipped off on this when I thought a bit more on the first line of the song, “I wrote a song about being weak,” which is a very obvious reference to their song “Weak” from their album “The Click.” But it was not until I noticed their reference to “The Good Part” later on in the same verse that I realized just how big this song was.

I really appreciate the thought process that goes into their music as a whole, but with this song, it goes to a whole new level. A few years ago, I went to a concert of theirs, and one of the segments was Ryan, the “R” in “AJR” talking about how they came up with the audio for their song “Way Less Sad” where they took an audio of their neighbor’s kid and made it into a whole background segment. Or in their song “Bang!” where they took the audio of a subway announcement PA system and used that for the transitions into the chorus and pre-chorus of the song.

I really appreciated the multiple layers of this song, and the different meanings that a listener can get from it, but ultimately, it is a reflection on the duality of the success they faced in the career they have.

I really could not find anything that I did not like in this song. It truly is one of their best pieces from the EP, and one of my favorites through their continuously growing list of songs.

It was earlier confirmed that this was meant to be the “Thirteenth Track” in their album “The Maybe Man,” but were unable to write it due to their mindset at the time and the need for an uplifting piece. I give this song a 5/5.

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The Tortured Poets Department: The Anthology

Megan Brownell social media editor

On April 19, 2024, while fans were excitedly listening to Taylor Swift’s “The Tortured Poets Department” (TTPD), Swift surprised them at 2 a.m. EST with 15 more songs. Titled “TTPD: The Anthology,” Swift shared a secret second part of the album for listeners to enjoy.

While the original album ends on “Clara Bow,” this second half starts with “The Black Dog.” This song was a part of the four deluxe tracks already announced, as each one was a bonus track on four variants. These four all hit streaming in The Anthology, with the others being “The Manuscript,” “The Albatross,” and “The Bolter.”

Starting off strong, “The Black Dog” is definitely my favorite track. While it is hard to pick one, I always find myself going back to “The Black Dog.” This song follows the theme of her breakup singing about a bar called The Black Dog, where he goes with a new girl post-breakup. You can really hear the emotion in her voice the entire song, and the lyrics were crafted perfectly to tell the story.

The Anthology tracks almost all show off Swift’s incredible writing skills and even the perfect ways she sings those lyrics. “How Did It End?” is another great example of this fantastic writing. While the whole album shares Swift’s pain after breakups with Joe Alwyn and Matty Healy, this song leans into the tale of a couple coming to an end. It almost feels like a pull where she knows fans question how they ended, but you never really find out. The bridge in this song is what really does it for me. It shows why she is the queen of bridges, hearing so much emotion that makes you feel it yourself.

While many songs shared her pain, there was one in particular that stands out to show her current status. “So High School” sings all about how in love she is with current boyfriend, Travis Kelce. It is obvious it is one of Swift’s favorites too, being the only Anthology track to make the Eras Tour setlist. She even recently walked out to it at the Grammys opposed to her popular single “Fortnight.” It is a very adorable song, feeling so high school with the football player falling in love with her like her 2008 song “You Belong with Me.”

The entire album closes out with “The Manuscript.” Swift couldn’t have picked a better closing song for this album. One thing that was somewhat expressed with this album was that she had already moved on from this period in life and was more an album for the fans to share her story. This ending song fits it perfectly, as the song goes through starting a relationship, to the end, the hardships of that end, and eventually growing and being able to completely move on from it. The closing line is the cherry on top: “Now and then I reread the manuscript, but the story isn’t mine anymore.” This insinuates her being moved on and showing the growth that she has gained from those hardships.

Just when TTPD seemed perfect at midnight back in April, Swift made it even better with 15 more tracks as a 2 a.m. surprise. Even after being released for 10 months now, I still find myself going back to this album or skipping songs until I hit one from TTPD. They are incredible, and her songwriting was put on display beautifully in all 31 tracks. I give The Anthology a 10/10, and while this album has shown to not appeal to some people who just maybe aren’t huge fans, it appeals to those big fans who are more invested in Swift and that’s what I adore.

Reviewing Gracie Abrams’ debut album, ‘Good Riddance’

Megan Brownell social media editor

Gracie Abrams released her debut album Good Riddance on Feb. 24, 2023. It was her first true album, as she had only released a few EPs and singles before. Though it did not have success on the charts in its initial release, Abrams has increased in popularity in the last few months and the album has grown in popularity as well.

The opening track is “Best.” While Abrams has more pop songs peak in popularity, her original best music was sadder, depressing, relatable songs. “Best” leans into that style, knowing she was not the best for someone and singing the pain that followed from that.

My favorite track has to be track five, “Where do we go now?” The song shares the pain and confusion of where to go with someone after she starts to realize the relationship is not going well. She knows their “light is burning out,” and that their love is not the same, but does not know how to keep going with things. I love how much emotion Abrams has when singing it, and after hearing it live myself, she always has that same passion in performing the song. This style of hers is what keeps her music so relatable, especially in times of needing more depressing music.

Some of the songs were pre-released singles that were added to the album to make her debut big. One of my favorites is “Block me out.” In this, Abrams sings about how she can be her own downfall, and the troubles of feeling that way, wishing she could block herself off. I love how she expresses this pain to be relatable for listeners, which makes the song even better.

With Abrams’ original style of mostly sad songs, this whole album takes on that style. While it might not be appealing to all listeners, I think it is what makes it such a great album. It shares her pain for those to relate to when they need music to help them through hard times.

The album closes out with track sixteen, “Two People.” While it is a good track, it does not add anything special, being the closing track like how some final tracks sound perfect to end the album. Despite this, I cannot discredit the song as it is still great. It follows the same themes of depression from a relationship.

While “Good Riddance” may seem like a different album to newer Abrams fans, it is her original expertise that makes her such a great artist that many fans have loved for years. It can be different for some people, as I originally liked her pop music first but slowly got into the sadder songs and love all of them now. I give the album as a whole an 8/10, as there are still a few songs I need to listen to more and enjoy. It is the perfect album to make you feel better in hard times, as the songs can be relatable to most people who are dealing with sad or difficult relationships.

Westside Gunn’s ‘Still Praying:’a welcome return to form from the New York rapper

Jacob Steeves reporter

Since 2012, Griselda Records of New York has consistently released some of the most forward-thinking and creative hip hop records of the past decade. Their founder and main draw, Westside Gunn, has released his long-awaited sixth studio album, “Still Praying.” The album stands as a welcome return for the New York rapper, giving listeners his familiar brand of drug-addled bars combined with professional wrestling references. However, Westside Gunn brings a twist to this album, one that will be familiar to hip-hop heads everywhere: DJ Drama.

DJ Drama, the mixtape legend from Pennsylvania, treats listeners with his familiar ad libs and distinct voice, giving the album the feel of a classic rap mixtape from the 2000’s.

To put it simply, Westside Gunn sounds at the top of his game on this tape. The album is a welcome addition to his catalog, especially following his polarizing previous studio album, “And Then You Pray For Me.” This album alienated many fans, as Gunn seemed to abandon his typical 90s-style rap production for more contemporary, trap-style songs. While I personally think that Gunn sounded fantastic in that particular production, it feels like a warm hug hearing him on the types of beats that made him a household name in the rap community. The bars on this album—as the cover might suggest—have a great deal to do with professional wrestling, of which Westside Gunn himself is involved as a promoter. He makes several references to professional wrestlers such as Jeff Hardy, Dr. Britt Baker, and Max Caster, even with an appearance by professional wrestling announcer, Justin Roberts.

As with most Westside Gunn albums, the lyrics primarily contain references to selling drugs, gang activity, and the struggle of being a Black man in America. While these themes are present among all of Gunn’s albums, what sells this particular album is his unique delivery. What drives many to Westside Gunn in the first place is his extremely unique voice. His voice is a distinctive, high-pitched rasp, which is almost immediately recognizable whenever he is heard. He delivers the bars with a great amount of aggressiveness and passion, which sells the message of his songs in a truly special way. Standout tracks include: “Duran Duran,” where Gunn raps over an almost sinister-sounding piano track; “Beef Bar,” where he sings and raps over an entrancing, beautiful beat; and the triumphant “Still Praying,” a 7-minute long epic where Gunn raps with all of the members of Griselda Records, Conway the Machine, Stove God Cooks, Benny the Butcher, and Boldy James. This stands out as the best track on the whole record, serving as a sort of magnum opus of the label’s signees.

While the lyrics and delivery are prominent aspects of the album, what really drives this record is the production by Denny LaFlare and Statik Skeletah. LaFlare and Skeletah have handled production on many albums released under the Griselda label. Their production is a beautiful, transcendent combination of the sounds of the golden age of rap along with the advanced sounds of contemporary rap. Production is always what has set Griselda and Gunn apart from the rest of the modern hip hop scene. Simply put, Westside Gunn songs are almost immediately recognizable from the beats that are chosen, and on this album in particular, Denny LaFlare and Statik Skeletah are on the top of their game.

Westside Gunn’s album “Still Praying” is a truly breathtaking and welcome addition to hip hop in 2024. Gunn’s bars and the production of Griselda’s top producers make a truly outstanding album that stands as one of the year’s best.

Score: 8/10

The Rise and Fall of a Midwest Princess

Megan Brownell social media editor

Chappell Roan has taken social media by storm over the summer after opening Olivia Rodrigo’s “Guts World Tour.” Her popularity has skyrocketed, with songs continuing to go viral on TikTok, including her catchy “HOT TO GO” dance.

“The Rise and Fall of a Midwest Princess” has been out for a while now, being released on Sept. 22, 2023. The album did not appear on any charts until April 2024, where it debuted at 127 and peaked at number two in August.

The album itself opens with “Feminominon,” a fun and upbeat song singing about how men just aren’t doing it anymore, so therefore we need a “Feminominon.” I love this song; it makes me want to get up and dance or jam out during a car ride. I think it is a great opener to the album. It starts off slowly and gets faster in the beat before ending with fast-paced lyrics.

“HOT TO GO” is her most popular song by far, even creating several different social media trends. A fun, dance-worthy song, it even has its very own dance to pair with it. Chappell makes a point to teach it at every show, going from trying to get people to do it to everyone already knowing it. The dance itself blew up on TikTok, and another trend where people say they hope she plays “HOT TO GO” but they aren’t at a Chappell Roan concert. The song has such a lively touch, and the catchy lyrics are the perfect pop hit. It already has become iconic, and most people have heard the song, even if it is on the radio.

Chappell doesn’t just have the danceable songs on the album but shares the great songs with slower ones. She has a beautiful voice and showcases it beautifully in “Picture You.” She sings about picturing herself with someone and wondering if they picture her the same. The lyrics are deep and emotional, but her ballad at the end of the song is amazing.

“Pink Pony Club” is another one of her songs from the album that jumped up like her others. Something Chappell is known for is that she is a lesbian, and this song helps show how she became comfortable with being proud to be a lesbian. The song is so much fun, singing about dancing and enjoying the pink pony club.

Another noteworthy song is “Naked in Manhattan.” While it is a feelgood song, Chappell wrote this song before she had ever kissed a woman. You can hear those feelings in the lyrics, and the fun vibes make the song perfect to dance too.

This album is amazing, and I am so happy that I discovered it and Chappell Roan through Tik Tok. She did such a great job showing off her great lyrics and voice, and becoming the new big pop star, even if it took a while. I give the album a 9/10 and hope you can enjoy it as much as I do.

“The Secret of Us”

Luke Geier Reporter

2024 has proven to be a great year for indie horror. Osgood Perkins’ “Longlegs” stole the show earlier this July and proved to be an incredible step forward into the procedural thriller world. Jane Schoenborn’s “I Saw the TV Glow” effortlessly mixes existential horror with the coming-of-age genre. Other memorable horror flicks from this year include Tilman Singer’s “Cuckoo,” Damian McCarthy’s “Oddity,” and others. Among the most memorable, though, and possibly the best horror film of the year thus far, is Coralie Fargeat’s “The Substance.”

The film stars Demi Moore, Margaret Qualley, and Dennis Quaid, and if the cast isn’t enough to convince you that this movie is worth your time, it also won best screenplay when it premiered in May at the Cannes Film Festival.

The film follows Elisabeth Sparkle, a middle-aged aerobic-dance show host whose program is canceled. After certain circumstances that lead her to a hospital, she discovers a substance that has the ability to make her the “Best version of herself,” as said in the movie. Hesitant yet desperate to be youthful again, Elisabeth takes the strange substance and is transformed into a younger version of herself.

After catching word that the studio she had previously worked for is looking for “The next Elisabeth Sparkle,” she auditions and gets the job immediately under the name of Sue. It’s hard to avoid spoilers in a movie that is this multilayered, so without further explanation of the plot, I’m going to stop there. Trust me though, you’ll benefit much more from stepping into this movie blind.

The film features a small but incredible cast of lead and main characters. Qualley is sensational as the newly reinvented Sue, and Quaid steals the show as the over-the-top and disgustingly funny Harvey.

With all of this being said, the performance that shines above the rest is Moore’s performance of Elisabeth Sparkle. Moore explores the unrealistic standards placed on older women in Hollywood flawlessly, and only after watching do you realize how emotionally and physically exhausting a role it must’ve been. Never once does that hit you while watching the film, though, and that’s thanks to what might be the greatest performance of Moore’s career to date.

In addition to the incredible performances, Fargeat’s direction is unlike anything that has graced the screen for a very long time. One could argue that the colors and exaggerated set pieces featured present a great amount of surrealism to the viewer, and while this is definitely true in certain aspects, the film remains to stay grounded in the chaos. Everything looks like it was made in a doll house, and these artificial textures only add to the overall feeling of paranoia within the film.

Fargeat doesn’t stop there, though. Never have I been more squeamish during a theater experience in my life. Fargeat truly takes everything you may know about the body horror genre and cranks it up to 10! If you’re a fan of horror, then “The Substance” is something you’ll want to see on the biggest screen possible! Overall, I would rate this film a 5/5.

Sabrina Carpenter is “Short n’ Sweet” with new album

Megan Brownell social media editor

Sabrina Carpenter’s sixth studio album hit streaming platforms on Aug. 23, 2024. Fans anticipated the album all summer after Carpenter announced the 12-track album on June 3. Though it is still early for the billboard charts, the album is expected to place well on both the Hot 100 and 200 after it was her biggest debut yet with over 57 million streams in the first day.

Carpenter kicked off her new era with the release of her first single “Espresso.” The song quickly shot up on the charts and became one of the songs of the summer on social media. The song peaked at number three on the billboard hot 100 chart but became extremely popular on Tik Tok and other social media platforms. I personally love the song. It’s fun, it’s different, and people are calling it pop perfection. A trend even started going around on Twitter (X) about different artists that had great songs that didn’t peak like fans had hoped, so they would say “this song should have been their Espresso.”

The next single to kick off the era was “Please Please Please.” Paired with a music video, the song shot up in popularity as well, dethroning herself on multiple charts battling with “Espresso.” This track did hit number one on the billboard hot 100, after debuting as number two. This song also had some trends come out of it, with almost everyone singing the catchy tune.

Both singles brought up who Carpenter was singing about. With her newer-at-the-time relationship with actor Barry Keogan, all eyes went on him. “Espresso” sings about how she’s like a cup of espresso—energizing—while also saying he can’t sleep because she’s like espresso.

“Please Please Please” takes a little more of a different turn. Barry has a past, and while I don’t know much about it, the song points to a little. A popular lyric from the song is “I beg you don’t embarrass me.” This is partially what the song is about, as she is asking him to please not mess this up, like she knows about things he’s done before and hoping that he is changed and doesn’t go back to those ways. He was even featured in the music video, which fans absolutely loved.

Though these songs are about her current relationship, many songs on the album refer to past relationships or more breakup songs. This has led fans to speculate who these breakup songs are about, throwing out names like Shawn Mendas, as well as all the way back to Joshua Bassett in 2021.

Moving on to the album, I love it. I haven’t always listened to Carpenter, but after friends and family recommended her last album, I decided this would be the one I tune in for. I am happy I did. It was short, for sure, but all songs are a good listen, and I don’t have any skips. My favorite track would have to be track one, “Taste.” Although this song is also a single, it was not pre-released. Paired with a music video as well, it is a catchy song that already seems to be growing in popularity on social media despite being under a week since its release. The song seems to hint back to an ex-boyfriend of hers, with lyrics about how he is back together with one of his ex’s, and how this girl will still have a taste of her now that they are back together.

Overall, I am giving this album a 9/10, with Carpenter showing 12 great tracks of music. She has grown a lot since being an opener for Taylor Swift’s Eras tour. With an album as great as this one, I am excited to see her gain more popularity so people all over the world can see her great talent.