'PERSONA' / HALF•ALIVE: REVIEW


by olivia powell

While it may seem evident from the title, half•alive’s new album Persona embodies a core element of music — humanity. The humans behind the band include lead singer Josh Taylor, drummer Brett Kramer, and bassist J. Tyler Johnson, whose combined artistry proves to be enduringly genuine. The opening title track itself hints at the sonic stability and measured chaos to follow. With frenetic synths, the kind of chaos that exists in humanity is something half•alive manages to convey in subsequent songs like “Automatic.” After the thirty-two second title track (it’s short, but certainly not a skip), “Sophie’s House” follows after with a steady beat. It could easily be taken for granted, the kind of groovy foundation of drums and guitar that half•alive builds with each song. It quickly became clear to me that their dynamic range is a part of the sound; the contrast between verses and choruses is often sonically drastic, but doesn’t feel jarring either. It’s an album sure to captivate crowds, and casual listeners who simply can’t resist a good beat. To say the least, hearing this piece of art live would certainly be incredible.

In listening to Persona all the way through, the song I was most excited to replay was “Bleed It Out.” Not only did I get chills on the first listen, but the thoughtful lyrics and production may just be my favorite on the album. It’s a sound that feels somewhat reminiscent of 2010’s electronic pop, while still reinventing itself with distorted guitar and shouted refrains of “bleed it out!” Choruses like this one soar. It’s a kind of freeing appeal to listen to your heart, while still lyrically maintaining an ambiguity left up to the interpretation of the listener. “People” contemplates the idea of sonder (the realization that every human has their own lives and personal experiences), while synthesizers and vocal layers create a lush soundscape leading into the second chorus. It’s artfully crafted, and so clearly full of intentional lyrics and sound dynamics. I know it's a song I’ll be analyzing for some time to come.

It’s a delicate balance to be able to write impactful “bangers,” as well as down-tempo songs. A perfect example of this kind of balance is on “Long Drive” with Kacy Hill, where her vocals are a match that just seems to make sense. The song’s ending picks up a bit, with the addition of horns (possibly my favorite part) and more drums, easing back into the upbeat “Lie, Lie.” Other slower songs like the Jordana-featured single “Songs,” and closer track “Thank You,” don’t feel out of place on this album. It’s not an album that could be described with one genre, in the same way that humanity can’t be described by one emotion. Persona holds room for the complexity of the human experience, while providing consistently solid music. 

The chorus of “All My Love (Imperative)” feels meaningfully repetitive, with a shimmering choir echoing the phrase each time. The song doesn’t just tell you “I’ll give you all my love,” but also sounds light, airy, and infectious. Elements like jazzy horns, and pluck-aided drum breaks like the one in “The Point” really make Persona stand out. The more I listen to Persona, the more I catch. Every song is a playground of sound, with little riffs between phrases or subtle basslines, without ever feeling unnecessarily crowded. It’s an accomplished culmination of eleven songs, each one different in a unique way. The album concludes with a grateful “Thank You,” which ends with a singular guitar strum. I love simple moments like this almost as much as the high-energy ones, because it’s a mark of the feat half•alive has accomplished. That final strum feels like a simple closer after wowing an audience with everything they’ve got.

 

'SAD SONG' / P1HARMONY: REVIEW


by martina rexrode

After a successful run with their first full-length album 때깔 (Killin’ It) which brought them their first Korean music show win, #1 on the Billboard World Albums chart, and #2 on the Billboard Top Album Sales chart, P1Harmony is back with their seventh mini album SAD SONG. The seven track mini album touches on topics and situations like the feeling of being stuck, rewarding yourself for pushing through tough times, and the shyness that comes with first love. It also covers a wide range of genres, similar to their last album, and showcases new sides of every member on each song.

The title track, stylized as “SAD SONG,” is a classic musical juxtaposition of melancholic lyrics hidden among high energy instrumentals and vocals. In the pre-chorus, leader and main vocalist Keeho sings, “I try to get away, loneliness stuck in my heart, oh, no, sad song puts me in a prison.” In the English version at the end of the album, he sings, “I try to get away, I'm stuck in this loneliness, I can't get out of sad songs, just locked up in here.” Both versions of this section reach the core of the song’s message, but it's easy to get lost in the fun of the execution that you don’t even register what they're singing until you actively read the lyrics.

The addictive piano riff adds flare to an already catchy song, pairing well with the quick-witted raps and layered vocals. Intak’s gritty tone stands out while Jongseob’s smooth flow only helps to solidify his reputation as one of the most exciting rappers within his generation of the genre. Keeho and Theo’s ever-present soulful vocal style somehow fits into every type of music the group tries, and this is no exception. (Their final harmony during the bridge is sure to leave your arms covered in goosebumps.) As usual, the combination this group brings of vocalists, rappers, and synchronized dancers comes together to create an energetic track without the TikTok bait dozens of K-pop groups and Western artists have started to lean into.

The b-sides on SAD SONG explore different genres and familiar sounds to anyone who’s a fan of 2010 American pop music. For example, “Last Call,” the third track, felt extremely reminiscent of Big Time Rush or Up All Night-era One Direction. The shouty chorus, quiet lines of dialogue within the verses, and funky electric guitar throughout were a charmingly nostalgic nod to American and English boy bands popular when the P1Harmony members and many of their fans were growing up. Another favorite is the sweet fifth track “All You.” Touching on the relatable feelings of shyness and uncertainty surrounding a confession of love, “All You” is a track driven by piano and 90s R&B elements which fill it with a youthful air that’s very easy to listen to.

The rest of the tracks fell to the wayside a bit on the first handful of listens with their instrumentations and deliveries feeling pretty familiar to songs on their previous album, but “WASP,” the group’s first unit track between rappers Intak and Jongseob, holds some potential for expansion. They aimed for a 2016/2017 American rap style, and they delivered that perfectly. However, the chorus sections felt too empty and repetitive where the group as a whole typically brings those sections to full, bright life. It’s a cool concept and a new style for both of them, but not enough to truly showcase their range to the ability they made present on the rest of the mini album.

Every time P1Harmony comes back to release a new project, it’s guaranteed to be something new. From their debut in 2020 to now, they’ve provided a refreshing sound in an industry where everyone is constantly trying to be the next big thing. Their energy feels genuine and the songwriting talents of their rappers should not go unnoticed. With SAD SONG, they’re sure to keep the trajectory of their success moving upward.

 

'WILLSON' / ASHE: REVIEW


by kaylee pickens

Ashlyn Rae Willson, professionally known as Ashe, has released her third LP and people are singing high praises for its release. With over 10 million monthly listeners on Spotify, you may know Ashe for her track “Mortal of the Story” from her first album, Ashlyn (2021). A 3-minute track, that’s almost a member of Spotify’s Billions Club, has brought fans to the table to be served. The pop album, Willson, features 12 tracks including popular songs, “Please don’t fall in love with me” and “Running Out Of Time.” This third album follows just a few years after her second release, Rae (2022). It’s obvious that Willson’s albums are named after her and mirrors a sense of self in their lyricism and production.

The opening track of this album begins with a raw Willson begging someone not to fall in love with her because she’s not ready. Paired with an acoustic melody and airy piano keys, this 3-minute track is setting the tone for the rest of the album. Willson picks up the tempo and gives an infectious beat with “Running Out Of Time.” The backup harmonies matched with a hook that makes you feel like you’re having a main character moment is a killer way to start.

“Pull The Plug” introduces itself with simple string plucks and short phrases that tell a story. Living in a reverie, Willson finds herself begging to stay with lyrics like, “In case I’m asleep, don’t pull the plug.” With a quarter of the album already under the belt, the album progresses to “Cherry Trees.” Another 3-minute track that isn’t afraid to get personal. “Let’s get up and leave / Carve our names in cherry trees,” starts a wave of memories that Willson’s reliving as she sings through this song.

The fifth track on this album, “I Wanna Love You (But I Don’t),” is welcoming as a solo acoustic guitar plays out with Willson. A soft beat creeps in with the hook. With a full heart, Willson sings the chorus with backing vocals and a production that transports you to your most recent heartbreak. “Helter Skelter” accompanies this release well with another rhythmic plucking of acoustic strings and Willson’s voice whispering out. “I’m calling in sick the rest of this year,” she sings about. Resonating with us all as Willson’s voice dips in and out of the grooves of this song.

“Dear Stranger,” builds upon itself as the beat pulses with an infectious rhythm. While the song starts off with a visual of Willson falling through the sky, you can’t help but think about your parachute moment. That moment, Willson sings about, is falling so hard back into reality. With overcommitments and promises, Ashe sings about the time she’s lost, the changes in her person, and how things aren’t going to be like how they’ve been. The eighth track, “Hornet’s Nest,” starts with a story full of pain, regrets, and making things worse. This 4-minute track is one you can turn up and scream at the top of your lungs.

As the album winds down with “Castle,” this song isn’t one to sleep on. With a slow and gradual rise, the song opens with an electric guitar that Ashe sings against passionately. “I’m taking myself back / Even if I let everyone down,” Willson sings, a reminder to herself in her self-discovery journey. “I hope you die first,” is a love song for the ages. While it’s reminiscent of our two favorite lovebirds, Romeo & Juliet, this track rationalizes loving someone so much that you hope they die first. “Devil Herself,” has a strong piano presence as it begins with Willson’s imagery of committing crimes. From murder to pyromania, Willson is no stranger to letting her feelings get the best of her.  With lyrics like, “I can tell you’re not yourself / Cause I fell in love with someone else,” Ashe is missing the way things once were. Paired with an addicting electric guitar, “Devil Herself” is a hidden gem of the album.

This 43-minute release ends with, “Ashe,” a self-love letter to herself. Singing about how she’s confessed to her shame, digging up the strength to ask for help, and lying about being okay, “Ashe” is an honest anecdote to the album’s end. Willson is a journey worth taking with Ashe, we promise you won’t regret it. You can follow Ashe on Instagram (@ashemusic) to stay up to date with new music, tour, and much more. Don’t forget to stream Wilson where you get music!

 

'WHAT'S WRONG WITH NEW YORK?' / THE DARE: REVIEW


by izzy petraglia

The attention on Harrison Patrick Smith, famously known as The Dare, has only skyrocketed since the release of his 2022 single, “Girls.” Smith produced the hit song “Guess” by Charli xcx and joined her at her Boiler Room in Ibiza, garnering attention on him from every which way. However, as a gifted and knowledgeable musician, Harrison goes beyond his connection to the pop star. His highly-anticipated debut album, What’s Wrong With New York?, has just been released — and it is far from disappointing.

After listening to The Sex EP and singles “You’re Invited” and “Perfume,” I had high expectations for this album. It’s clear that Smith’s musical background from being in an indie-rock band called Turtlenecked, to substitute teaching, and DJing set him up for success. In a world where many artists strive to make listeners analyze deeper meanings within their songs and album releases, The Dare puts everything right in your face — almost obnoxiously. The album, with its crude and straightforward lyrics, is pure fun — something music has desperately needed for a while now. Harrison’s encyclopedia-like knowledge is demonstrated strongly in this album, especially in its production of bass lines and synth hooks that won’t fail to draw you in. 

I never doubted his vocal abilities, but honestly, I hadn’t focused too hard on the way he sounded as much as I did on his production skills or lyrics. The part of the album that took me by surprise was the change in his lyric delivery — specifically in “Elevation” and “All Night.” After hearing the lead singles and The Sex EP, I became familiar with the semi-blunt, monotone tone of voice he’s delivered in his previous tracks. Hearing Smith’s range as a vocalist made the listening experience for this album extremely enjoyable and refreshing in a way that exceeded my expectations — and to accomplish this in a debut album is not an easy task.

I’ve been reading Meet Me In The Bathroom lately, and I’m obsessed with the amount of influence you hear from several bands featured in that book. What’s Wrong With New York? feels reminiscent of these bands that piloted the 2000s rock revival and it has everything you love about hedonistic electroclash in the 2010s. I couldn’t help but pick up on some elements of funk as well. We’ve all seen the comparisons to LCD Soundsystem, but contrary to popular belief, The Dare is not trying to be James Murphy. His influences go beyond the band — citing New York artists such as The Rapture and Lou Reed among others as his favorite musicians. Listening to this album re-ignited the love I have for not only all these artists, but some of my favorite DJs like The Chemical Brothers and Justice. I also loved the fact that his viral hit “Girls” was made while he listened to Some Girls by The Rolling Stones — another one of my favorite bands.

“I Destroyed Disco” and “All Night” definitely stuck out as personal favorites on the album for me. In “I Destroyed Disco,” there’s almost an extra layer of cockiness laced within it, especially when Harrison name-drops himself with “What’s a blogger to a rocker? What’s a rocker to The Dare?” The combination between this and the outro to this track is what truly sold it to me. I can definitely see listeners who were fans of “Guess” enjoying this song specifically as well.

As I said before, I went into listening to What’s Wrong With New York? with high expectations, but after several listens, nothing could have prepared me for what an insane debut album this is. I can tell from this point forward, it’s only up for The Dare — and I can’t wait to see what’s to come for him.

 

'THE DICHOTOMY' / DAVID KUSHNER: REVIEW


by alyssa plotts

David Kushner's The Dichotomy marks his debut record, following the viral success of his track "Daylight," which has already achieved 2x RIAA platinum certification. Released through his label Miserable Music Group in partnership with Virgin Records, Kushner’s album introduces listeners to his deep, baritone voice and reflective songwriting. A native of Chicago, Kushner spent most of 2023 touring, including UK dates with Lewis Capaldi.

On the first listen, Kushner’s rich baritone is what stands out, but it’s his introspective lyrics that define this album. The Dichotomy is aptly named, as it explores contrasting human emotions. Kushner invites listeners into his self-reflection, looking at how our choices and relationships shape our experiences and can sometimes leave us feeling alone.

One standout track, "Humankind," spotlights the challenges within human connections. “I put my faith in a sinner's town, land of the free, chained to the ground, when I look for kindness now, humankind just lets me down,” reveals a sense of disappointment caused by others, exposing the pain of misplaced trust and the struggle to find a genuine connection.

Kushner’s vulnerability continues in "Skin and Bones," where he expresses the feeling of the uncertainty that can come with love. "I just need to see if your love's the truth or the spirit of deceit," he sings, echoing the recurring theme of doubt and emotional risk that weaves throughout the album.

The final track, "Daylight," is a fitting conclusion to The Dichotomy. Already a fan favorite on TikTok, it solidifies the album’s exploration of dualities — balancing love and hate, darkness and light. It’s an end to the record that leaves its listeners to reflect on their own emotions and experiences.

David Kushner's debut is a thoughtful introduction to his music and vocals, with emotional depth. The Dichotomy is a journey of self-discovery and vulnerability, making it an album worth experiencing from start to finish.