, Cavetown’s fourth studio album, allows singer-songwriter Robin “Robbie” Skinner to connect with his fans on a deeper level. Skinner is known for his poetic lyrics and “bedroom pop” instrumentals, which combine to create Cavetown’s unique sound. On 

, Skinner maintains this sound while exploring personal themes such as love and mental health.

Five of the album’s eleven tracks (“Feb 14,” “Telescope,” “Things That Make It Warm,” “Sweet Tooth,” and “I Miss My Mum”) were released as singles prior to the album’s release at the end of March, and another track (“Trying”) was a new recording of a song Skinner released on Bandcamp back in 2015. This left dedicated fans with only five new songs, and led the project to feel more like an EP than a full studio album release. Still, the new songs did not disappoint.

The album opens with “Sweet Tooth,” in which Skinner reflects on a crush that makes him rethink his insecurities. He sings, “Guess I must be satisfactory / You said you love me exactly the way I am.” But some lines hint at the fact that this relationship may be unhealthy. Skinner’s crush could be 

 sweet, as he implies when he sings, “The sugar went straight to my brain” and “Never had a cavity / Never had nobody as sweet as you.” The following track “For You” is a continuation of “Sweet Tooth,” opening with distorted instrumentals and leading into a repetition of the chorus.

“Telescope” and “Things That Make It Warm” both demonstrate Skinner’s lyrical talents. The former tells the story of someone stuck inside of their own head, unable to get to the things and people they want. Skinner tells us that the narrator is “Sittin’ in a telescope / Silently with his fingers entwined / He puts his hand to the glass / What’s it like outside?” The latter simply tells the story of two birds building a nest together: “You and me, we can make this hole a home.”

“Feb 14,” “Pyjama Pants,” and “Wishing Well” reflect on the different stages of a relationship. “Pyjama Pants” is likely about Skinner’s first public relationship, which ended in early March. The song evokes the comfort one feels from being with their love with sweet and simple lines like “He’s a lavender bouquet / Spray it on my pillowcase.” In “Feb 14,” Valentine’s Day has become bittersweet as two people in a relationship know that they will have to separate. “Wishing Well” provides closure to this saga, as Skinner reflects on both the good and the bad ways in which his partner influenced him. He sings, “You’re the flowers on my grave / You’re the stone that keeps ’em in place.”

“Trying” is a re-recorded version of “I Promise I’m Trying,” which was originally released on Bandcamp in 2015 on a record called “Nervous Friends // Pt. 1.” It is a reflection of how his mother supported him while he was struggling with mental illness. “Snail” and “Empty Bed” also delve into Skinner’s mind, and specifically how he has dealt with mental illness. In all three songs, there exists an overarching theme of the desire to be “normal,” something that undoubtedly resonates with listeners who have also experienced some form of mental illness.

In “I Miss My Mum,” Skinner thinks about his time on tour and how he misses his family, particularly his mother. As his fame continues to increase, so too do his pressures as an artist and a performer. “Keep wakin’ up / With this weight on my chest / It’s just called bein’ a person / I never planned for this,” he tells his fans.

While Skinner’s lyrics are personal, they are also relatable. Framed by a traditional indie pop sound, his music is calm and reflective. At the same time, there is something about Skinner’s production, whether it be the ukulele instrumentals or the feminine harmonies, that has an almost addictive quality. Even as Skinner continues to grow as an artist and a person, his fans know they can always count on his classic sound.

Fans can count on Cavetown’s personal lyrics and addictive quality in ‘Sleepyhead’

 comes after an almost four-year hiatus. Grouplove, the band most well-known for their 2011 hit “Tongue Tied,” found inspiration for 

 in the American political climate as well as the personal lives of the band members. Part of the album was recorded in El Paso, Texas, where Grouplove witnessed firsthand the experiences of juveniles being held at the Mexican border. Vocalist Hannah Hooper also received brain surgery during this time, bringing a deeper meaning to the idea of healing. 

, while sometimes missing the mark on the alt indie sound that brought the group to fame, offers an inspiring message about living in the moment and feeling carefree even in the darkest of times.

The album opens with “Deleter,” its lead single released in January. It offers an upbeat, classic alternative sound as frontman Christian Zucconi sings about breaking expectations, including lines like, “Am I anxious / or just modern?” Yet, with such a successful opening track, the rest of the album leaves something to be desired.

One example of this includes the lyrics on “The Great Unknown.” The song opens with a scene about a farmer, and leads in the chorus: “E-I, E-I, E-I-O-O / We like, we like to watch it grow / You-I, me-I, she-I must know / When everything around us is going dim.” It isn’t necessarily bad, but a bit corny and rushed.

“Promises” reflects a deeper theme, with standout lyrics such as “Nothin’ disappoints me like the news” and “Closin’ your eyes and tellin’ lies / While they’re taking our daughters.” However, the light-hearted, country-like instrumentals take away from the seriousness of the lyrics, making it more difficult for listeners to receive the political message.

“Hail to the Queen” is one of the album’s highlights, as it is the closest song on 

 to Grouplove’s original sound. It is followed by “Burial” and “This is Everything,” which both offer dynamic elements to the album as a whole. At the end of the former, frontman Christian Zucconi’s shouted vocals add a layer of anguish that fits the song’s theme: “I’m broken but you can’t break me.” In the latter, Hooper and Zucconi give fans a personal look into their lives together as partners and parents of their only child. Their voices mesh well throughout the chorus, and Zucconi’s vocals feel authentic as he sings, “Crawl to me inside, yeah / Talk to me tonight, yeah / Fall into my eyes, yeah.”

For an album that took inspiration from such heavy topics as immigration and brain surgery, it’s surprising that the album’s sound doesn’t match its themes. Yet, as Grouplove matures as a band and as individuals, it’s logical that their sound has moved away from the traditional alt indie sound. While 

 lacks in some ways, it certainly proves that Grouplove practices what it preaches: finding the good even in the worst moments of life.

Grouplove finds the good in the worst of times on ‘Healer’

The Committee for Sound & Mind · February 21, 2020

, COIN maintains their upbeat indie pop sound while diving deep into serious topics such as heartbreak, loss, and struggling to know yourself. The energy they possess throughout all 14 tracks is one that inspires their listeners to let themselves simply feel. Despite the many challenges that life presents, 

“Simple Romance,” “Cemetery,” “I Want It All,” “Crash My Car,” “Let It All Out (10:05),” “Youuu,” and “Valentine” were all released as singles between 2018 and 2020 prior to the album’s release. However, when listened to within the context of the full album, each track helps to create a cohesive narrative.

The first few songs of the album are simple. They are anthems about romance and how loving someone can feel easy when in reality it is complicated. In “I Want It All,” Chase Lawrence’s vocals feel honest as he declares “I know your heart’s still beating / And I want it all, I want it all / Or nothing at all.” He is ready to give everything he has to the person he loves, even if it hurts him in the end.

“Dreamland Sequence,” the album’s first of two interludes, introduces feminine vocals, string instruments, and an airy sound that juxtaposes the edgier songs preceding it. It leads into the album’s more serious songs in which Lawrence sings of pain and loss.

In “Cemetery,” Lawrence wonders if money is more important than happiness. He tells his listeners that the richest man in the cemetery “built a kingdom out of salt and blood,” alluding to the white and red colors of COIN’s first two album covers. The kingdom he refers to is likely COIN’s fanbase, which continues to grow especially after their release of 

“Youuu” and “Valentine” both deal with the darker sides of relationships. In the former, Lawrence begs his ex-partner not to move on, singing, “She moves just like you / And she tastes just like you / But it’s always been you.” The song features synth instrumentals that seamlessly mesh with Lawrence’s vocals.

, “There’s an overarching theme of committing yourself to something so much you let it hurt you, I know that sounds maybe kinda backwards but there’s something so beautiful and it’s such a power in losing control and just submitting to the feeling so that song comes from that.”

Despite dealing with more serious issues, COIN never loses sight of their original indie roots. Many of their tracks are instrumentally creative, while maintaining an 80s pop feel. Lawrence sings about being conflicted emotionally; he wants and doesn’t want change at the same time.

“Lately III” calls back to “Lately” from their first self-titled album 

, and “Lately II” from their second album, 

. All three songs offer a different perspective about the loss of Lawrence’s nephew. In this addition, he attempts to come to terms with the loss while also feeling guilty about moving on.

The second and final interlude of the album, “Heaven Hearted,” comes just before the final track. In it, a distorted voice repeats, “Oh, tell me if it’s real” and finally commands “Rearrange me.”

As the album comes to an end, it is clear that Lawrence has not solved the problems he is facing. Instead, he is accepting those difficulties and using them to push forward in life. “Let It All Out (10:05)” features an acoustic guitar and choir-like vocals against an electronic background. Somewhere in the disorder, the members of COIN as well as their listeners fnd clarity. “Every move you make is apocalypse,” he declares to those dancing along with him.

COIN inspires listeners to truly feel their emotions on ‘Dreamland’

After “Prom Queen,” from Beach Bunny’s third EP with the same name, went viral on Tik Tok, singer/songwriter Lili Trifilio has returned with an even stronger portrayal of what it means to be a woman in today’s society. In their first LP, 

, Beach Bunny dives through themes of love, heartbreak, and insecurity, without losing their familiar upbeat indie pop energy.

Trifilio’s lyrics are simple, but meaningful. They make you feel like reading her diary, and it is her vulnerability that captivates the listener for the album’s entire 25 minutes. Despite being a shorter LP, Beach Bunny makes up for it by making every second count.

Trifilio’s voice is reminiscent of Paramore’s Hayley Williams, and her style is reflective of Snail Mail. Throughout the album, there are hints of Best Coast, Charly Bliss, and The Beths. Still, Trifilio and the rest of Beach Bunny have created their own distinct sound. From powerful one-liners like “rose-colored lenses eventually crack” to rock instrumentals and distorted keyboards, 

 is honest, relatable, and hard not to dance along with.

The album opens with “Promises,” a tribute to how breakups can leave you with mixed emotions. “A part of me still wants you / A part of me wants to fall asleep,” Trifilio tells. Her ideas aren’t original; everybody is forced to deal with confusing emotions at one point or another. Yet, she frames this universal feeling in a new way, and it’s almost like the audience experiences it with her for the first time.

“Cuffing Season” and “April” are both testaments to the difficulties that come with dating. “I’m not overthinkin’, but I think about you a lot / And maybe I am just an afterthought,” she sings on the latter. Trifilio’s lyrics rely on stereotypical female problems, like loving someone who loves someone else. In “Ms. California,” she admits, “She sleeps in your t-shirts / It hurts, I wish I was with her.” Her verses are playful, followed by powerful, rock choruses. Even though the themes are overused and cliche, her listeners feel her pain.

In “Racetrack,” a short, ballad-like track close to the album’s end, Trifilio compares love to a race. “I always end up in second place.” In the final two songs, however, she seems more confident. In “Dream Boy,” she declares, “If you’re gonna love me, make sure that you do it right.”

The album ends, figuratively and literally, on “Cloud 9.” It deals with being too reliant on someone else to feel good about yourself. Trifilio is able to capture the difficulties of self-love and the internalized misogyny that makes it difficult for many women to feel complete without being in a relationship. She demonstrates her talent by making her individual experience understood by all who listen to her.

Beach Bunny certainly established their sound with 

. All four members improved in their own way since their last EP was released in 2018 and have distinguished themselves as a persuasive force in the alternative genre. As the band continues to grow, it will be interesting to see how their style grows with them. If Trifilio can continue to be authentic while exploring different ideas in her songwriting, there is no stopping how far Beach Bunny can go.

‘Honeymoon’ distinguishes Beach Bunny as a persuasive force in the alt genre

Arista Records & Syco Music · January 31, 2020

Despite his attempt to break out of the boy band mold, former One Direction member Louis Tomlinson seems to still be clinging to the past. While he tries to be authentic in his debut album 

, he instead ends up making music for his fans but not for himself.

 opens with “Kill My Mind,” an interesting, but ultimately worthwhile choice as the album’s first song. Largely inspired by the rock style of Oasis, “Kill My Mind” provides excitement to an otherwise repetitive and boring LP.

Tomlinson is clearly inspired by his history with One Direction, which is obvious by his vague positivity and lack of individuality in his lyrics. “Don’t Let it Break Your Heart,” “Too Young,” and “Perfect Now” are a few examples that emphasize his continued connection to his old boy band. They feature lyrics such as, “You say to me your jeans don’t fit / you don’t feel pretty and it’s hard to miss” and “We were too young to know we had everything.” Tomlinson fails to get personal with his listeners, leaving a feeling of disconnect with the music.

Regarding “Perfect Now,” Tomlinson tells Apple Music, “Lyrically, it’s kind of an extension of ‘What Makes You Beautiful,’ One Direction’s first single. It was written quite deliberately as an attempt to write a fan favorite song.” It seems as though 

 was written with the intention to please former One Direction fans, rather than for Tomlinson to discover and develop his style as a solo artist.

rely on similar guitar instrumentals and background harmonies, but Tomlinson’s voice is certainly suited for the Britpop style he experiments with throughout the album. Yet, in the album’s title track “Walls,” Tomlinson’s voice is overshadowed by those very instrumentals. He keeps coming back to the ideas of hope and optimism, telling the listener, “These high walls never broke my soul.” However, nothing about the song’s production allows it to stand out enough that his listeners will remember these themes.

“Two of Us” is the most authentic song on 

. In it, Tomlinson remembers his mother, Johannah Deakin, who died from cancer in 2016 at the age of 43. By sharing these feelings with his fans, he not only honors his mother’s memory, but allows his listeners to understand him on a deeper level. When he sings, “I can feel your blood run through me,” his listeners can’t help but feel his pain with him.

Throughout his LP, Tomlinson reflects on his youth, his experiences with love, and the challenges he has overcome. He looks to the future with hope, a mindset that could inspire his fans. However, he presents this hope in a mostly shallow way, relying on impersonal lyrics and pop production. Still, like Tomlinson has hope for the future, there is still hope for the future of his career. As this is only his first solo album, it only makes sense that he will only continue to grow as an artist and learn how to more authentically share the hope he holds inside.

Louis Tomlinson clings onto the past on ‘Walls’

The second studio album from Cigarettes After Sex, 

 explores the sexual fantasies of vocalist, guitarist, and writer Greg Gonzalez with a level of vulnerability their fans may not have been looking for. Still, the mostly shallow lyrics are accompanied by familiar melodies, guitar lines, and synth beats that place the listener in a dreamland – so long as they don’t listen too closely.

The opening track, “Don’t Let Me Go,” is a preview to the soft, slow sound that continues throughout the album. It is a tranquil call to an old lover, but with such a focus on the past that it feels strange as the opening song. Its lyrics feel honest but one-dimensional, something that turns out to be a theme throughout 

Frontman Gonzalez views the album as a “film” connecting the ideas of “romance, beauty, and sexuality,” according to Pitchfork. 

 will not disappoint if listeners are looking for explicit sexuality. In “Kiss It Off Me,” sexy meets sadness in a narrative that seems to over-sexualize the woman in question. With lyrics like “

Drinkin’ a Slurpee / In a peach baseball cap / Fallin’ in my lap / You were so thirsty,

” it is obvious what Gonzalez is aiming to get out of this relationship.

Next comes “Heavenly,” the album’s first single released back in August. It feels more authentic than the first two, as Gonzalez implores his lover, “

Tell me it’s love, tell me it’s real / Touch me with a kiss

.” However, the following song, “You’re the Only Good Thing in My Life,” removes the listener from the band’s traditional lullaby-feel with allusions to Playboy and tanning naked by a swimming pool.

“Touch” feels like an ode to lust and depression rather than romance. With simple lyrics, the only thing keeping the listener engaged is the same dream-pop style characterizing all their other songs. “Hentai” unsurprisingly expands on this desperation, as Gonzalez relays to the audience how he told a girl about a hentai video he watched and is now waiting for her to fall in love with him.

“Cry” and “Falling in Love” both feel more honest and romantic. The former, holding the same name as the LP, features Gonzalez being vulnerable about his flaws: “

My heart just can’t be faithful for long / I swear I’ll only make you cry

.” In the latter, he talks about going on dates and holding hands, a more wholesome approach to love than he has taken thus far into the album. The lyrics still lack depth, but they align better with the overall tone of the accompanying instrumentals.

The title of the final song, “Pure,” seems to juxtapose the very content within it. The lines between love and lust are blurred as he describes engaging sexually with a girl wearing a white bodysuit and soaking wet hair, displaying a level of openness that still feels empty. The final seconds of the song are instrumental, subtly reminding the listener how all of their songs sound essentially the same.

Gonzalez internalized the success of Cigarettes After Sex’s self-titled album of 2017 and clung to it. 

 does not display any progression or growth, but for the fans who were infatuated with Gonzalez’s dreamy, whispery voice and instrumentals that create an ethereal aura, 

 will transport them to this very same world. Those who deem it important to connect with the lyrics, however, might be wise to listen solely to the background music – or else, find another album.

Cigarettes After Sex release a shallow, stagnant LP

In his first EP, FINNEAS showcases the songwriting and production skills that had previously been praised through the work of his sister, Billie Eilish. Following a collection of singles released over the past three years, 

 allows FINNEAS to develop a voice of his own throughout the seven songs, while also giving him the opportunity to evolve his unique musical style.

The EP opens with “I Lost a Friend,” a dreamy and tranquil preview to the rest of the album. In it, he discusses the struggles of friendship, but seamlessly fits this universal idea into his personal life. He talks about how nobody believes the difficulties he is facing, further emphasized by the line “I know that he don’t need me/‘cause he made a little too much money to be twenty and sad.” He subtly reminds his listeners that even though he lives a life that seems perfect from the outside, he is still human like anyone else.

FINNEAS makes use of this soft, almost melancholic vibe in other songs, too. In “Lost My Mind,” he shows off his clear, but still raspy vocals as he bares his feelings about a potential romantic partner in his life. “Partners in Crime” takes this vulnerability even further, as the romance that once was is now history. Even though it doesn’t seem like this EP tells a strict narrative, the ideas still feel very fluid as they comment on universal experiences in love and friendship.

While all of the songs tend to follow a similar structure, building up the energy in the chorus and toning down the instrumental in the song’s final moments, many of them do this in an upbeat way. “Shelter” has pop elements, but FINNEAS’ use of the guitar proves to maintain his individuality. However, by the EP’s end, it feels like his risks follow a formula.

“I Don’t Miss You At All” and “Let’s Fall in Love for the Night” both use this structure, but are the riskiest, and ultimately the most memorable songs. In the former, it is clear where Billie Eilish finds her inspiration, when around a minute into the song, an edgier beat is introduced unexpectedly. The latter is flirty and showcases FINNEAS’ high range beautifully.

The EP’s final song “Die Alone” was marked as popular by Apple Music. It still incorporates the theme of relationships and allows FINNEAS to be truly open with his fans, but the song stands out from the rest of the album. It is focused more on vocals than instrumentals, with powerful harmonies throughout, and mainly uses piano rather than the guitar. By crafting it this way, FINNEAS is able to capture the listener’s attention with heart-wrenching lyrics like “I think I’d rather die alone, together,” and “I wasn’t looking for you, but you found me.” He is emotional, and this lets his fans connect to him in a way that makes them want to come back for more.

Leah Cussen