It’s been 5 years since Phoebe Bridgers, Lucy Dacus and Julien Baker announced the formation of supergroup boygenius through a 6 song self-titled EP which instantly captivated their respective fan bases and left many craving more. The announcement of the record has been teased persistently since the beginning of 2023 and as such has quickly become one of the most anticipated indie records of the decade. Today their debut album finally made its release and it is safe to say that this is already a firm contender for album of the year with very little to criticise.
The album opens with a stripped vocal harmonisation sung without instrumental accompaniment whereby Lucy Dacus sets the tone leading a choir-esque acapella supported by other two members. Subsequently, the second track $20 abruptly repositions our expectations of this album with a juxtaposition into a high-energy rock-oriented track supplemented by the inclusion of a heavy riff driven by the rage and punk vibe that Baker brings. Many fans will be familiar with the unhinged chaos that decorates their sound which in particular, is most significant in the bridge where synchronised screams call “Can you give me 20 dollars?” in a manner that is highly reminiscent of Bridgers’ fan favourite I Know The End.
The album as a whole sounds beautiful on headphones in the sense that the airy production – courtesy of practised rock producer Catherine Marks – in tracks such as Revolution 0, instantly creating an intimate connection with the listener. Mostly, this project feels like a therapy session with the choruses providing timely reassurance to accompany the honesty that lies within the verses. Aside from the rock-fuelled ballads, the indie folk anthems Cool About It and We’re In Love remind us of their versatility where they are able to revert back to that calm yet heartbreaking sound.
The theme of self-depreciation in the lyrics remains consistent throughout the album. The most recent single to be released Not Strong Enough is a haunting yet relatable track which exudes the frustration of having conflicting mental states with Bridgers denoting the inspiration being based on “paradoxically experiencing self-hatred while having a god complex.” The bridge in particular builds to a climax echoing the haunting repetition of “always an angel never a god” whereby Dacus reflects upon feminine inferiorities that exist within the social context of our daily lives where women are regarded as “angels” as opposed to “gods.” The album not only fixates on mental health but these elements of social commentary in other tracks such as Satanist are integral in addressing prominent issues that affect LGBTQ+ audiences.
It’s no secret that they rely heavily on metaphors as a catalyst for conveying excruciating emotions which is evident in their solo projects. The finale Letter To An Old Poet is a quintessentially harrowing inclusion to the project which is impressive in every aspect. Many will be quick to recognise the references to Me & My Dog with Bridgers telling NPR that “being able to write a sequel song was so magical.” As the album draws to a close, we hear all 3 members state “I wanna be happy” as they look to overcome nihilism in a wait to feel emotional clarity.
The Record is beyond stunning, capturing the very essence of vulnerability in its purest form and strongly presenting connotations that allude to real complexities such as the inadequacies of feeling broken and the effects it has on relationships. Bridgers, Dacus and Baker are equally given an opportunity to thrive and blend each unique individual skillset each member possesses. Their transparency is what really connects with the audience to feel, in most cases, an overwhelming sense of empathy. Ultimately, the strong points of this album lie within the brave approach to experimentation, no song feels the same with each chapter attributing to the formation of a compelling story that is bound to leave the majority of listeners desperate for future instalments.
Written by Sasha Mikael
Graphics by Jude Keenleyside