 analyzes her escape from an emotionally abusive relationship. As listeners tune in to Claudio’s seductive record, the Miami singer expresses her pain through vivid imagery and intense emotions. She begins the piece by thinking it’s her own fault for being damaged emotionally, but by the end she brokenly accepts that even those who inhabit our hearts can disconnect us from the people we once were and the trust we once held. The album brings up emotions you didn’t think you still felt. It’s lovely, heartbreaking, and real.

While the 23-year-old’s past two full-length albums were categorized as R&B/Soul, this is Claudio’s first official pop record. Though her genre might have changed, over the last three albums Claudio has successfully maintained her style while changing her sound. Each record has carried a theme of its own. In her 2017 record 

e, Claudio’s album was comprised of a narrative full of heavy bass and upbeat tracks. While 

 focuses on the excitement of falling in love, her following 2018 release 

 is a sensual piece that, while an easy listen, is comprised of repetitive beats and lyrics and based on the ending of a relationship. 

 resembles Claudio’s growth as an artist and as a human being, as her latest release is a prime balance between her previous two albums.

In terms of Claudio’s lyrics, melodies and track composition, her piece as a whole vibes with 

 on countless levels. Similar to Eilish, Claudio doesn’t express herself mercifully, but rather, she holds nothing back. Her lyricism dives deep into the dark and broken pockets of her heart, as well as the dopamine-deprived regions of her mind. Her vocals resemble Eilish’s tauntingly beautiful harmonies. And though her music will tear down the walls listeners have tried so hard to keep up, Claudio’s record is about coming to terms with her broken parts and hoping that one day she can figure out how to put herself back together.

From the first track “Take One To the Head,” Claudio doesn’t waste any time and goes off immediately. The introductory track establishes 

 as a darker compilation in contrast to her past albums. As she sings about her toxic relationship, she sings, “Your love’s gone toxic, unresponsive/All your words have slurred/While you’re destroying, I’ll be numbing.” For Claudio, she’s become so acquainted with this abuse that she doesn’t even feel her pain anymore. The album’s lead single “Truth Is” follows the initial track, and could make any listener unlock the watergates and cry a river. Claudio’s incorporation of her Hispanic heritage is prominent in the composition of the track. She also includes a Spanish version of the track as the finale. “Truth Is” is a powerful piece of the record as a whole. It is here where her vocals are in their purest form, and she is the most honest with herself and the listener.

The rest of the album is comprised of Claudio coming to terms with the reality of her relationship. “Hurt People” is a guilt trip-filled track used as an apology to Claudio’s broken love. The simple acoustics and vocals of the track ironically resembles the message behind Claudio’s painful realization: learning how to love is a process of falling apart and taping ourselves back together, even if it starts with good intentions. From the first few measures of “On My Shoulders,” Claudio seduces the listener into following her into the darker consequences of abusive relationships. She transitions to a focus on her mental health, and how her experience with love has been detrimental to it. Similar to Eilish’s style, Claudio describes how her demons have made her possessive due to the lack of security her partner provides her. In “Problem With You,” she acknowledges her issues with obsession and paranoia. The beauty of the song, like the appearance of a relationship, is so distracting that you almost forget the destructive impact these issues have on a person. But by the end of the track the listener realizes the relationship isn’t lovely, but toxic.

Claudio concludes the album with “Holding the Gun” wherein she further stresses the unfortunate reality of manipulative relationships — no matter how much your partner puts you through, you stand by them because you still, despite the abuse, love them. And no matter how hard this album might be for some to listen to because of Claudio’s authentic display of abusive relationships, you will love it, too.

Sabrina Claudio gives fans a cathartic experience on ‘Truth Is’

In contrast to the composition of her past records, Alessia Cara shows a lack of growth in lyrical and musical content on her latest EP, 

. The pop singer, who is now 23, is known for producing archetypal coming-of-age musical passages, wherein she passes down her newly acquired wisdom as she ends one chapter of her life and begins the next. However, such knowledge, or rather lack thereof, has no presence in this EP, which resulted in an overall disappointing experience.

, Cara brings nothing new to the table. Listeners will find the same literal and deliberate lyrical style that defined her 2015 record 

 However, the six tracks on this EP differ from her past releases, as her lyrics feel more like Cara is just speaking through a stream of consciousness – unfiltered to the point where there is a lack of imagery and artistry. By the end of the EP you feel slightly cheated, she simply told the same story as many artists have before her – when it comes to being into somebody else, miscommunication leads to complication, so just speak the hell up. But unfortunately, out of her three major releases, this one lacks grace, originality, and vivid emotional imagery.

For the most part, the record serves as a story line for how boring Cara’s summer went down, and if not her, then the narrative she developed. It all revolves around a guy, 

, and yet, Cara, though in a rather unoriginal manner, twists the story a bit so that the girl isn’t necessarily waiting around for him. In the second track, “What’s on Your Mind?” the artist expresses her frustration with her partner’s lack of ability to communicate his emotions. She sings, “I’m tired of cracking codes,” and therefore demonstrating that she isn’t going to keep waiting for him to say how he feels, but let him come to her when he figures it out for himself.

Though the other tracks on the EP consist of playful beats and are filled with Cara’s talented vocals, the closing record contained the most originality and artistry Alessia’s listeners are used to. The final track “October” stands out the most. The title gives the listener timing context, by which a few weeks have passed since summer, and Cara is preparing to move on from this summer’s events, and turn the present occurrences into memories she plans to reminisce on. As the most artistic song of the album, Cara goes into further detail, and turns the song into a tale of emotional maturement, describing how “every sunrise [heals her]” as she feels “the weight fall off [her] shoulders.” It’s a both warm and solemn closing to the record that is worth a listen.

Despite the undoubted amount of work Cara likely put into the EP, she may have been better off incorporating her newly released tracks into her next album. The EP didn’t prove strong enough to stand on its own, and could have been enhanced with enriched imagery, emotional depth, and a showing-off of Alessia’s undeniably powerful vocals that her listeners know she is capable of.

Alessia Cara fails to shine through with her new EP

As the record continues, there is a clear repetition between each song’s style and mood, and with each track, the lyrics progressively become more cliched.

Never before would you have heard Logic’s name and the word ‘acoustic’ in the same sentence — until now. In his latest album 

, the musician’s work, which usually is considered rap, takes a complete 180, as he turns over to producing post-1960s boy band love song sounds. However, this leap of faith will most likely make listeners lose hope in the artist.

 of the same name, both pieces of media tell“…the tale of a depressed grocery store employee in the suburbs whose ordinary life is disrupted when he stumbles upon a crime scene.” While the majority of the record is comprised of love songs, all of which lack in originality and exhibit excessive repetition, these new releases could be great as mind-easing background noise. But what Logic fails to accomplish with his production he makes up for in his overlooked vocal talent.

Though the majority of the album’s contents serve as perfect examples of cookie-cutter music, certain tracks would surely suffice as fresh additions to a ‘good vibes’ playlist. The record’s opening track “Bohemian Trapsody” sets the stage for the rest of the LP. A complete acoustic change for the artist, the track consists of repetitive guitar and drum rhythms, mixed with digitized beats. However great the risk, by the time you reach the a capella choir-filled bridge, this piece is one of the few that proved to be worth the risk.

As the record continues, there is a clear repetition between each song’s style and mood, and with each track, the lyrics progressively become more cliched. In “Time Machine,” Logic sings for the entire duration of the piece, accompanied by a piano. With a 90s pop-rock sound, he expresses the constant guilt he feels for not being able to save someone. While incredibly repetitive, this track exhibits Logic’s natural vocal talent, and like such a skill, this song shouldn’t be overlooked.

Once you get past the rock style, as well as some guitar riffs thrown into the track “Supermarket,” you’ll notice that almost every track features Logic singing about a girl who he is following around a supermarket. Though there’s an urge to send ‘creep-alert’ signals all around the protagonist of the story’s plot, you can’t help but root for him as well, as it seems this girl is the only light in his life at this point.

The album ends on a sweet note, but ultimately proves to be a waste of time to any attentive listener. The record’s purpose is to accompany his debut novel, as it clearly lacks the strength and nerve to stand on its own. That said, unless you are looking for an easy listen, or some nice background music to a top-down drive with someone you’d love to converse with, this record is not the best choice. But in terms of originality, the idea of creating both a book and an accompanying soundtrack earns Logic some extra credit.

Logic doubles down on cheesiness with ‘Supermarket’

, Khalid has graduated from his youth-like, carefree lyrics and now attempts to share matured tales of heartache and loss, while maintaining his ‘summer before college’ vibes. For the most part, the 21-year-old succeeds, providing listeners with an easy-on-the-ear record that makes it feel like there’s sunlight ricocheting off their cheeks. The album is sure to get fans ready for the summer, where free spirits are given the most time to soar.

The album’s introductory track gives listeners a sense of reawakening. It feels as if Khalid is catching his fans up with what they’ve missed out on in his life since his last album. The track also resembles the growth Khalid has experienced since 

, as certain aspects of his lyrics hint to the heartaches and pains he’s endured over the last two years.

“Right Back” is saved by the shift between the first verse to the chorus, initially coming across as a style of storytelling that would have gotten old very quickly. Thankfully, once the chorus picks up, the beat picks up too. The central narrative recounts the main character’s desire to continue his pursuit of a relationship, making for some relatable – but totally cliche — content. Despite this, Khalid’s playful take on the typical tale will make it nearly impossible for listeners to hold back their smiles.

In terms of the record’s fan favorites, such tracks seem to be less ambitious than other overlooked cuts. In songs like “Better” and “Bad Luck,” Khalid often romanticizes youth, including young love and the freedom that comes with a lack of responsibility. He did the same thing on 

, you’re waiting for the singer to take a leap of faith and make a bold move. Sure enough, such anticipations come to fruition throughout the album’s last few tracks.

“Hundred” discusses the rock bottoms and hopeless moments of life, and it feels like Khalid can’t communicate the idea that even when life is most difficult, you have to keep going, enough. With lyrics like, “the world keeps spinning, the sun won’t shine on my face,” and “even dying ain’t free,” this song hits home – hard. When you hit the bridge, Khalid breaks down into a rather monotone repetitive speech, feeling more like the confession of a personal struggle, but it’s the plot point before the climax where the unlikely hero prepares to seize the day.

In the second to last track “Heaven,” Khalid devliers a melancholy performance. It’s a powerful song with a heavy heartbeat carrying the chorus as Khalid allows his vocals to soulfully run rampid with emotion. It exhibits a different side of the artist, one where he is less care-free, and it does him justice.

Though not an incredibly groundbreaking piece of work, this album will please fans who have anticipated the release of a new project from Khalid. 

 feels like a commencement from adolescence to the beginnings of adulthood, where you’re still trying to get a grasp of life. Even if the quality of the record wasn’t top-notch, it’s a comforting listen and a comfortable thought to know that someone like Khalid, who is young but famous, sits in the same emotional boat as the rest of us.

Khalid caters to his fans with ‘Free Spirit’

 is something out of a nightmare. It seeps into the deepest, darkest pockets of your soul, encouraging you to embrace the wicked.

Only 17, Billie Eilish is a star on the rise. She doesn’t beat around the bush, and using her teen-angst to her advantage has proved rewarding. Her debut album further showcases the singer’s artistry and morbid style that has earned her a vast following in such a short period of time.

One of the most anticipated albums of the year, this LP is fresh, each song intertwined with surprising sound bites that make the album come to life. 

 to Eilish, every song is based off of night terrors and her own experiences with sleep paralysis—where, according to her, your deepest, darkest secrets are locked away, only to be released when witching hour strikes the clock. In addition to what keeps her awake at night, Eilish addresses other aspects of her personal life and struggles, including depression. But her songs are not written in an attempt to overcome any mental illness, but rather to accept that it controls certain aspects of her life, and that she’ll need to live with it..

The track’s introduction, “!!!!!!!” clocks in at 14 seconds, serving as a reminder that despite the horrific imagery captured by her lyrics and the haunting production throughout the record, Eilish is still able to enjoy her work. She talks about taking out her invisalign to sing, laughing as a voice in the background cracks a joke. It’s her own unique, quirky way of expressing her excitement over sharing her deepest thoughts with her fans while hyping her listeners up. The next song on the record,“bad guy” can be described in three words: Sexy. Sinister. Suggestive. This is the kind of track you’d envision as the soundtrack to a show like Netflix’s 

, as Eilish spews bad bitch vibes with every beat. The song’s bass is so heavy it’ll make your earbuds vibrate, and accompanied with Eilish’s chilling vocals, the track would entice listeners to want to be the “bad guy” she sings about; she makes being in control sound much more enticing than going with the flow.

In “Wish You Were Gay,” a mix between an acoustic guitar and sitcom sound bites of “awwww” and laughter introduce the song, in which Eilish draws a mocking image of the typical unrequited love story that usually ends in ‘happily ever after,’ adding her own twist. Shifting into the chorus, the backtrack becomes digitized, turning an emotionally trying situation into a ‘sunny-day’ melody. However, despite the backlash Eilish faced after initially releasing the song back in March for her incorporation of sexual orientation as an excuse for someone not to like her, she has made it clear that was not her intention. Rather, in her song, she hopes that a guy wouldn’t like her 

of his sexual orientation, and not because he just isn’t into her.

As you dive deeper into the album, you go deeper into Eilish’s closet of skeletons. The tenth track on the record, “bury a friend,” carries the record’s title, and has been the headliner of the album’s marketing strategy. The most haunting song of the album, Eilish sings of night terrors that, just by listening to them, could seep into anyone’s sweet dreams, and make you never want to shut your eyes again. So fair warning: do not listen to this track alone in the dark.

One of the last tracks, “listen before i go,” which is arguably the most personal of the album, starts with Eilish’s vocals and a piano. As the lyrics unfold, it becomes apparent she is singing about her non-combative approach to her suicidal thoughts. Eilish beautifully communicates these tragic emotions, which leaves her with nothing more but a desperation to end the pain. Yet, as she sings, she seems to be at peace with the idea of death, saying the only guilt she’d feel is for those who would be hurt if she left.

Billie Eilish is an unpredictable, angst-filled artist that many can’t help but be entranced by. 

, is her baby. Though, arguably, it may actually be the monster under our beds we fear. Eilish’s debut is only the beginning of something that is encouraging this generation to embrace their inner demons and live creatively in cooperation with them.

Billie Eilish’s debut is a nightmarish trip into her mind

Universal Island Records · March 8, 2019

 is the best spoonful of sugar to help the heartbreak go down.

Do you overthink relationships? Are you dying to learn how to live in the moment? Ever have had trouble letting go of relationships, even if it is what’s best for you? Are you done with people telling you who you should be?

Well, if you answered yes to any these questions, then 

Each song in Sigrid’s debut album tells a story about overcoming all of the above. She focuses on the effects of coming to terms with the reality of a relationship, all while providing listeners with golden-hour bops, and new additions to your breakup playlist. The Norwegian singer/songwriter turns emotional baggage into wondrous and relatable jams for all listeners. And in the midst of her work, she uses this opportunity to tackle the demands of the music industry and those who think they know what’s best for her, and her music.

The album’s opening song, “Sucker Punch,” sharing the title of the record, carries a heavy bass throughout the song, truly feeling like a sucker punch to your face and your heart. It sets the tone for the whole album, portraying the classic tale of realizing how much you like someone, with a combination of fearing and anticipating the relationship’s final destination. The following track, “Mine Right Now,” continues the opening song’s themes. Kicking off with an a cappella style, the song showcases Sigrid’s naturally seamless vocals, also carrying the weight of anxiety that comes with the inability to know how a relationship will diminish. But as the pace of the track picks up, so does the artist’s positive outlook. Amongst the uplifting chord arrangements of the song, Sigrid determines that for now, all that matters is what you two are together, so you might as well indulge in one another. Though it’s both a sad and encouraging song at once, the pop beat gives the song life and gives hope to any listener in a similar scenario.

“Strangers” and “Don’t Kill My Vibe,” the artist’s most recent singles, are featured in the album. Though the two tracks continue to circulate among radio stations, and being repetitive tracks, are the least ambitious of the album. Despite considering the two as easy-fan favorites, comprised of catchy lyrics and predictable transitions, neither song beholds Sigrid’s authenticity or displays true purpose. Additionally, though the lyrics are repeated ten-times over, some are difficult to understand or interpret.

The last half of the album carries the most weight. Track eight, “In Vain,” consists of guitar chords accompanying Sigrid’s vocals for the majority of the song, which she uses to demonstrate the disheartening struggle of letting go of the person you love, especially as you continue to take more hits to your heart the longer you stay with them. By the time you reach the bridge the song takes a completely different turn, transitioning into a digitized version with the heavy addition of bass and echoing lyrics.

The record concludes with its rawest track, “Dynamite.” The piano accompanied ballad is simple, yet full of pure emotion. Even though the song is slightly repetitive, each verse carries beautiful melancholy images which capture accepting the fact that some people are too different to be together, no matter how they feel about each other. However difficult a note to end the album on, the placement of the track resembles the heartbreaking notes of which relationships end on as well.

 is the best spoonful of sugar to help the heartbreak go down. It guides listeners through emotional phases through ironically upbeat melodies, but also teaches listeners to forgo their worries on their future with their current someone.

Sigrid releases debut full-length ‘Sucker Punch’

Though both of the night’s performances were not what one may have expected, the night was a wholesome, acoustics-filled joy to watch.

The red ambiance set by the stage lights at Brighton Music Hall made it clear that it would be an intimate night. Sure enough, Jonathan Wilson’s acoustic strumming would soon fill the room, evoking a lay in the grass on a lazy Sunday with someone you love.

Opening for Wilson was Michael Nau, whose soulful vocals were only accompanied by a guitar. Though he is a lesser known artist, Nau captured the audience from the second he put his fingers on the strings. With melodies resembling those of Vance Joy or the Lumineers, his echoing voice sent chills down the crowd’s spines, taking us back to a time when love, fear and raw emotion was all that mattered. Though his performance only lasted for half-an-hour, his music seemed to blend into one, blocking out the concept of time.

Wearing a loose violet long-sleeve, Jonathan Wilson gave off a casual vibe, keeping his outfit as minimal as his music. Wilson opened with a slowed down version of a fan favorite, “Loving You,” laying down the brick path that the audience would go down as the night wore on. Sitting on a stool holding his guitar, tuning the instrument between each song, Wilson would openly converse with the audience, discussing a wide range of things, including the difficulty of traveling to Boston and his newfound appreciation of the influence his North Carolina upbringing has had on his music and lifestyle. Any person in that room, whether they had listened to him every day, or just walked into the venue randomly, felt like they had found a friend in Wilson. He even shared that this tour was his first one as a solo artist, and because of that, he wanted it to be about 

His performance of “Living With Myself” received great applause, putting the crowd in a trance. With his soulful vocals, Wilson transcends language; even if you didn’t understand his lyrics, you’d understand him and the purpose of his beautifully haunting form of communication.

Once he switched over to a keyboard, “Sunset Blvd” and “49 Hairflips” strung at audience members’ heartstrings as the slow, reminiscent melodies caught hold of our emotions.

Switching back to guitar, Wilson announced he’d play a new, unreleased song. The piece stood out from every other tune of the night; the bridge featured a swift key and beat change, garnering the largest applause of the night. Closing with “Ballad of Pines,” Wilson managed to go full circle with the laid back vibe the show began with.

Jonathan Wilson brings raw emotion to Brighton Music Hall

WRBB’s Paige Stern chatted with Kevin Shannon, Trish Chisholm, and Tara Mayer of The End of the Ocean about their new album 

, their love of Paprika Pringles, and tour so far.

How and when did the band originally come together?

Kevin Shannon: The band formed almost a decade ago. It started as a little ambient project between Ryan and me, and it just blossomed from there! We got bored of the bedroom “chill” sounds and wanted more of a full band experience. We grew from there, and here we are now.

 was released. What’s the response been like from previous listeners?

Trish Chisholm: We’ve gotten really good feedback so far!

KS: Yeah, it’s definitely a different record than everything we’ve done. It’s got its own sound that’s separate from our previous work. We were curious to see the overall response, and I think it’s been super positive.

You guys have been touring for a week now. What’s it been like, being a few years since you all toured together?

Tara Mayer: Despite the fact that it was seven years ago since we really hit the road hard, we know what we’re doing. It’s just a matter of showing the label that we can do it, toughen up on the cold days, but it’s been a good time.

Have there been any moments that have really stood out so far, even in the last week?

TM: I’d say every show has been pretty excellent in its own way. If something doesn’t go exactly as we planned, we take advantage of the next night and play even harder the next show.

Are there any things from your last tour experience that you are trying to do differently this time around?

KS: I think we’re trying to really take this trip in a lot more, give ourselves time to actually enjoy it, and not beat the scene immediately after the next show or city, sleep for three hours, and then drive, like the “super-hustle” thing. While trying to enjoy the cities more, we’re actually exploring a bit, too, which is nice.

Any noteworthy experiences as you’ve begun to explore more?

KS: A lot of food exploration, for sure! Sights and stuff, we previously did the whole Liberty Bell thing in Philly, the popular monuments and things like that. Unfortunately, we don’t have a ton of time, which is the weird double-edged sword of touring. It’s not totally a vacation where you can just wander and do you what want.

Any foods in particular you’ve really enjoyed?

KS: Wes and I are big fans of Paprika Pringles in Europe. They are crucial, clutch, and unfortunately, are not sold in the U.S. They’re so good! Amazon does have them for seven bucks a can with free shipping, and it takes a week and a half to show up, but you gotta feed the beast, you know?

Instrumental periods make up the entirety of your music, with no lyrics at all. What lead you to choose that style of music from the very beginning?

KS: It’s a weird-fun challenge to convey a story or emotion with no words. Definitely very challenging, but it feels rewarding to actually make it happen. It was decided from the start our music was going to be completely instrumental.

As some of you were undergoing difficult life experiences over the last few years, are there any songs in your latest album that bring you back to one of those particular difficulties?

TM: Absolutely. I would definitely say, some of the standouts included in our set, “Jubilant,” “Desire,” and “Forsaken” have very poignant meanings we can all refer to at some point during the writing process, or our personal lives, where something was going on.

 album cover, which is also featured in the “Desire” music video, what is it and what does it resemble?

TM: First of all, the image is spooky, and we like spooky stuff. It’s kind of an ambiguous representation of our own humanity, our spirit-selves. A lot of the song titles are based on the human experience, or human emotion, which are huge cornerstones of everyone’s life. We wanted an ambiguous figure to represent the anguish, the torture, and the exuberance it takes to be a human.

 with Metal Insider, you were hoping for the chance to tour Europe again. How are those chances looking right now?

TM: We have no clue! [laughs] Yeah, at least not yet. We have high hopes that it will happen. This band is very “roll with the punches, roll as it comes.” And luckily we’ve been hit up quite a bit to do different projects, try different runs on the road. We’re excited to branch out and see what happens.

When was the moment you guys decided to create another album?

, we always planned on cutting another full-length album. We’re all adults, life gets super busy, everybody has got their hands on multiple projects, so it was mainly figuring out when it could happen. It’s always been in the books for sure. We started seriously writing for it about two years ago, and it went from there.

Thank you so much, I hope you continue to enjoy the tour, get your hands on another can of Paprika Pringles, and I’ll see you tomorrow night at the Great Scott!

Paige Ardill