Mackenzie’s Album of the Week: Three. Two. One. by Lennon Stella

Last week, Lennon Stella dropped a 13-track project called Three. Two. One. that has captured the attention of the entire music community. With a mixture of upbeat and melancholic tracks telling stories of complicated relationships and childhood recollections, this release is sweeping listeners off their feet. If you’re someone who is already familiar with Lennon’s career, you know how far she has come as an artist. 

Lennon Stella has been in the spotlight since she launched her acting career in 2012 on the hit country musical-drama series Nashville, where she played Maddie Conrad and sang alongside her on and off screen sister and musical partner, Maisy Stella. Before beginning her solo career, Lennon was known as half of the sister duo Lennon & Maisy that ultimately led to her overall success. After landing a record deal with RECORDS and Columbia, Stella released her first solo project called Love, me that featured tracks like “La Di Da” and “Bad” that first established her unique electro-pop sound. In the year following its release, Stella was featured on The Chainsmokers track “Takeaway” that further expanded her musical range and audience, preparing the world for Three. Two. One. 

Three. Two. One. is a cohesive body of work that was created to help listeners get to know Stella on a very personal level. The time and energy invested into this album is apparent considering the intricate nature of every melody and raw quality of every lyric that passes. With every listen, each track’s meaning grows in significance. 

The album starts off strong with “Much Too Much,” a song about letting go of a very intense, deep relationship, afraid of making the wrong choice. The lyrics are raw and conversational from the first line, “Do you really want this? / Be honest, be honest,” which directly addresses the person the song is about. The repetition of the ends of certain lines in the verse adds to the emotional draw of the track while establishing its catchiness commonly found in classic pop bops. She continues to directly address the person she is scared to lose in the chorus: “Tell me I should stay, tell me that I’m wrong / Maybe if we wait, then all this will be gone / And what if we’re just, just a little too late? / Just a little too little / Haven’t we got a little much too much to lose?”

Stella continues to focus on her experiences with navigating complex relationships in standout tracks, “Kissing Other People,” “Fear Of Being Alone,” and “Golf On TV.”

“Fear Of Being Alone” further delves into the subject of letting go of the toxic relationship that is present in “Much Too Much.” This song acknowledges her fear of being alone as the reason she keeps holding onto this relationship, showing how it has negatively influenced her logic. Stella expresses her internal struggle with letting go, even though she knows that the feelings that once were there are no longer present. She sings, “No, they can’t fix the type of silence that this is / But I can’t take another lifeless, empty kiss / Still, I keep pushing back the time to call it quits.” 

Lead single, “Kissing Other People” follows up on the theme of a failed relationship, describing the moment you realize you’ve moved on from an ex. Meanwhile,“Golf On TV” juxtaposes a healthy relationship with watching golf on TV: two things Stella doesn’t understand. 

“Older Than I Am,” takes the focus off of relationships, fixating on the way stardom at a young age has affected her. This track describes the innocence that she lost at the hands of fame, seething with authentic vulnerability. The depth of this subject is conveyed beautifully through the simplistic production and heart-wrenching vocal performance that peaks in the last chorus. She sings about the consequences of growing up in the spotlight: “Sometimes, I wish I could do something stupid / Be kinda reckless while I can / Say I don’t give a damn / But I’m older than I am.” 

After familiarizing myself with the entirety of Three. Two. One., the quality of its content is of high caliber and was articulately executed. With each track, Stella’s soul wraps tighter and tighter around every element like carefully crafted art and effectively communicates the stories she intended to tell. Lennon Stella has earned this success and if her talent persists, she will continue to do so in the future.

Mackenzie’s Album of the Week: Future Nostalgia by Dua Lipa

With the release of her 2017 self-titled debut, Dua Lipa has shown exponential growth as an artist, earning several awards for songs like “New Rules” and “Electricity,” including Best New Artist at the Grammy’s in 2019. With the new release of disco revival, Future Nostalgia, Dua Lipa proves that she is playing the long game and that she has genuine staying power potential. 

While maintaining the presence of her soulful voice and star-making melodies, Future Nostalgia brings more to the table than ever before. “While her self-titled, 2017 debut established her as a smoky-voiced purveyor of easily digestible Top 40 Hits, it lacked a sense of who Lipa actually was alongside her big personality peers,” according to Rolling Stone. Future Nostalgia sets her apart as an artist with the personal flare that was not present during her first album. 

Future Nostalgia is a vibrant collection of bass-driven bops that succeeds in justifying the presence of 80’s music in 2020. This album is like a breath of fresh air with a bouncy atmosphere that everyone needs during this stressful time. 

With the title track opening the album, there immediately is a strong sense of 80’s and 90’s inspired samples and sounds that draw the listener in within the first 30 seconds. The lyrics, “Like modern architecture, John Lautner coming your way,” specifically reference this era, naming American inventor of the Googie style of architecture, John Lautner. 

Lead singles, “Don’t Start Now,” “Physical,” and “Break My Heart,” drive the momentum of the album in classic break-up dance-pop anthem fashion. These songs are all sturdy in their own right, especially lead hit single “Don’t Start Now,” which gained instant attention after its release in late 2019.

“Levitating” is another stand out that has you looping the infectious chorus in your head for days on end. The rhythmic groove along with the melody in the verses and chorus make it difficult not to bounce to this song. The same can be said about the addicting atmosphere of “Hallucinate.” With an energy pumped chorus and lyrics that scream futuristic fantasy, “Hallucinate” overwhelms the listener with an electrifying presence that can only be described as the feeling of love. 

Future Nostalgia is the type of album that will literally make you feel lighter on your feet with every empowering lyric, funk bassline, and bouncy synth. If you want to find a collection of contemporary pop songs that will simply make you feel good, this is the album for you:

Mackenzie’s Album of the Week: Kid Krow by Conan Gray

After years of releasing singles and an EP, Sunset Season, Conan Gray released his debut 12-track album, Kid Krow, on March 20. As a 21-year-old indie pop artist, Gray is inspired by prolific lyricists and storytellers such as Taylor Swift and Lorde. 

Candidly describing himself as, “not the coolest person on earth,” Conan hopes that Kid Krow reaches people who feel this way so they know it’s okay to be different. This album is a carefully constructed project that was made to convey the feelings of a young man who identifies with being a “crow.” His record label, Republic Records, describes this idea explaining, “In mythology and throughout history, a crow traditionally represents destiny, magic, and eventual rebirth. Clear parallels may be drawn between this mystical creature and Conan Gray.” His chaotic energy intertwined with his authentic lyrics and nostalgic melodies, makes you feel like you’re listening to someone read pages out of their diary. 

The opening song,“Comfort Crowd,” acknowledges the need for social company–a feeling everyone currently practicing social distancing can relate to. Beneath the melancholic tone of the lyrics is an instrumental commanded by spacious harmonies and a prominent bass, making it dazzle with simplicity. On the day of its release, Gray took to Instagram to describe the place he was in when he wrote “Comfort Crowd,” saying, “I was lonely as sh*t. All my friends were back home in Texas and I had just moved to college so didn’t have a single friend. I just remember wishing so badly that I could spend time with my best friend the way we used to. Just sit on our phones and talk.” 

The personal atmosphere of  “Comfort Crowd” continues throughout the duration of Kid Krow, especially on one of the record’s lead singles, “Wish You Were Sober.” “Save me ‘til the party is over / Kiss me in the seat of your Rover / Real sweet, but I wish you were sober,” Gray opens up about a complicated relationship with someone who only says they have feelings for him when they’re drinking. Despite the serious nature of the lyrics, the lively production makes “Wish You Were Sober” the perfect alt-pop hit, with a melody that builds momentum in the verses leading into the explosive chorus. 

The next and possibly most popular track on the album is called “Maniac,” sharing some of the same energetic qualities we love about “Wish You Were Sober” and “Checkmate.” As a whole, “Maniac” is a testament to Conan Gray’s innate songwriting talent. With lines like, “Said you wanted me dead / So, you show up at my home, all alone / With a shovel and a rose / Do you think I’m a joke?,” there’s no denying the positive influences of studying Taylor Swift and Lorde’s music. 

Other tracks that deserve recognition include, “Heather,” “The Story,” and “The Cut That Always Bleeds.” The presence of these songs on the album is profound, possessing the ability to physically make the listener feel the way Gray felt when writing them. This is especially apparent when listening to the lyrics in “The Story.” As the closing track, “The Story” does Kid Krow justice and is a perfect end to the album. After singing about heart-wrenching stories in the verses, Gray wails in the chorus, “Oh, and I’m afraid that’s just the way the world works / It ain’t funny, it ain’t pretty, it ain’t sweet.” This song communicates feeling the pain and frustration of accepting that life isn’t fair while still maintaining a positive outlook for the future.

Since social distancing is becoming the new normal around the world, leaving us with more time to spend with ourselves, I would strongly suggest taking the time to listen to Conan Gray’s Kid Krow. If you want to hear a collection of music that will make you jump, scream, dance, and cry, this album is for you: 

BIRN Album Review: hole in the bottle by Kelsea Ballerini

With the upcoming release of her self-titled third studio album kelsea approaching, country-pop singer/songwriter Kelsea Ballerini has gifted listeners with an EP titled hole in the bottle. 

Kelsea Ballerini represents a new era of country music that has left the overreliance on male performers in the past for a world where women are subject instead of objects, capable of changing the narrative. Since the release of her 2015 debut album The First Time, her career skyrocketed beyond the confines of the country world. Featuring on The Chainsmokers song This Feeling with over 300 million streams, Ballerini solidified her position in both pop and country. 

Kelsea continues to deliver high-caliber country-pop fusion with hole in the bottle, maintaining fresh pop elements that shine in the production while giving listeners a taste of her country roots with the title track “hole in the bottle.” The track starts with a sampled monologue of a woman speaking about drinking atop a hip-hop inspired hi-hat leading into the verse. The candor and relatability of the lyrics blended with nashville-inspired instrumentation makes this feel-good title track the perfect song to jam to as we transition into the spring. 

The next song on the list is called “la” which focuses on the relationship Ballerini has with Los Angeles. Throughout the song, she vividly describes the effect LA has on her behavior and self confidence with lines like, “I’ve got a love and hate relationship with LA / Off the plane, paint my face in the car, park my heart at the valet.” She continues to communicate the way she fits into the drinking and partying scene in the song “club” that features a hard-hitting pop chorus blended with her country twang. “Club” is the type of song that says everything that most people are too scared to say when it comes to the party scene. After coming down from the chorus, Ballerini strikes a chord with the second verse saying, “I already know it ain’t worth it in the morning / And yeah I like the high I just don’t like paying for it / I’m stressing over conversations / But now that’s anxiety that I’m erasing / cause lately I don’t wanna go to the club.” 

The last song on this brief EP is called “homecoming queen?”. Although very similar in theme compared to the other tracks, “homecoming queen?” touches on one of the most thought provoking subject matters a songwriter could write about. The goal in writing this song was to change the perspective of the listener, giving them insight on the life of a homecoming queen. In an interview with billboard, Ballerini said, “Everyone’s human. It’s important for people to know that we’re all allowed to break down. We’re allowed to have bad days, and we don’t always have thick skin.” 

Kelsea Ballerini stayed true to herself with this release, focusing on topics that surpass the depth of the usual love songs we see on the charts today. With the anticipation of her third full album growing, her presence and love for music will not fade away anytime soon.

Listen to Night Sessions with Brooke Annibale and Haylee Sabella Tonight on BIRN1

Don’t forget to tune in to BIRN 1 tonight at 8:00 p.m. for a special in-studio performance and interview with two amazing songwriters, Brooke Annibale and Hayley Sabella. Click here to listen to the show on Birn1.

Pittsburgh native Brooke Annibale found her passion for songwriting and musicianship at a young age, growing up in a family who owned a music store. Learning guitar from her grandfather, her music has evolved from a folkier sound to a sound that is more unique to her. With her magnetic voice and expressive songwriting capabilities, she offers a fusion of textured electronic and traditional instrumentation while remaining true to her acoustic beginnings. Annibale’s latest full-length album titled Hold to the Light continues to push sonic boundaries with songs that portray memories of pain and joy with a perspective suspended in the past, making her messages even more effective.

As an indie-folk artist, Hayley Sabella combines gripping melodies with intimate lyrics to create a sonic landscape that feel the way her native New England coastline makes you feel described by Rolling Stone Country as, “sometimes cold and deadly, other times refreshing and full of life.” Her distinct style has led her to several opportunities supporting legendary artists such as Emmylou Harris, Ry Cooder and Ryley Walker. In 2018, Hayley released her second full-length album, Forgive the Birds, which received acclaim from Billboard, Rolling Stone Country, and The Bluegrass Situation. Forgive the Birds was inspired by the dramatic landscape of Cape Cod with its vast seasonal changes with songs that touch on themes of death and rebirth, vulnerability, strength, pain, and love. Sabella’s upcoming EP, Flew the Nest, is a continuation of this story serving as an EP of transition sonically and thematically, stirring feelings of nostalgia that generally come in a period of transition.

Weakened Friends – The BIRN Interview

Coming from Portland, Maine, Weakened Friends is a rock band using music as a low pressure outlet for expressing volatile emotions. Their latest release and full-length debut Common Blah delves into the chaos and confusion that often comes with the arrival of adulthood.

Today, we’re chatting with Weakened Friends members Sonia Sturino, Annie Hoffman, and Adam Hand, to learn more about their songwriting process, the story behind Weakened Friends’ formation, and their album Common Blah. 

Where did you get the inspiration for your band name and what does it mean to you? 

It’s just a weird play-on-words name. It really doesn’t have a big meaning or anything. No one knows how to spell it right, so we find ourselves constantly explaining it to people! Like “we’re Weakened Friends … you know weak like someone hurt you.”

 What is your songwriting process? Do you write together most of the time or does one person write the songs? 

A lot of times I’ll (Sonia) write the basis for the song on my own and have most of the melody, lyrics and structure together before bringing it to a band setting. Eventually, Annie and Adam who are big musical brains will help really shape it and make it “smarter” and will flush out the final arrangement. Although the initial writing happens on my own we do really work together to get the song in it’s final form. I never went to a music school or got formal training/education in music, so I mostly just do what I do by ear or feel. Annie and Adam both went to Berklee and are like super smart with how music works, so it’s always interesting to hear how the ideas I come up with actually make sense. Not to mention Annie and Adam are both engineers and kick ass in a studio setting both with engineering and production. It’s a real treat to get to work with great musicians who just get what you’re trying to accomplish with a song and work with you to help take it there and honestly beyond.

How would you describe your sound? Did you go through different phases before you found your sound or was it naturally there? 

I don’t really love the “tell us about your sound question” if I’m being honest, it makes me feel like I’m talking to my hair dresser or a distant relative. Music is audible and art is subjective. Everyone will have their own take on it and I think that’s all I have to say here is, if you’re reading this just go check it out and listen to it and describe the sound for yourself.

Who are your inspirations and how do they influence your music?

It’s always changing and it can be anything at any time. Most times, I’m really inspired by our peers and bands we actually are friends with who are out there working hard and making great music. They are struggling just like us to get by and get their art out, knowing that there are people out here doing what were doing in this crazy messed up industry makes me feel less alone and also is super inspiring.

(Let’s talk about your 2018 album Common Blah) What inspired you to choose to name your album Common Blah and what was the general message/vibe of the album? 

I thought it was a funny pun at the time. I kinda hate it now. I’m just excited to make a new record at this point. The songs have a lot to do with feeling stuck in a bad spot in life and working hard to get past that place.

What was your process when selecting the songs on the album? 

They were the only ones we had done! We’ve had a line up change since that record came out, so on this next one, I think we’ll actually have a bulk of work to choose from and less of just a taking what we can get.

Where did the idea for the “Blue Again” music video come from? Was it as fun to make as it was to watch? 

We didn’t have much of a budget so we just wanted to make something that looked weird and cool. Our friend Randy actually lives in the space it was filmed in which is this old church he’s converted into a music space/home. Smashing things with a bat was pretty therapeutic!

How has signing to Don Giovanni records impacted your band’s outlook? What kind of things are you able to do now that you couldn’t do yourself?

Joe, who runs the label, is really cool. They are a smaller indie label but they are well connected and have a good relationship with a lot of folks in the industry. Honestly, the age old ” MY BAND GOT SIGNED LOOK AT ME, MOM, WE MADE IT” is total bullshit… we still very much grind for any sort of opportunity. A good DIY or indie label are just partners in that grind. I like that they believe in us and our music and are willing to take the platform they’ve built for themselves and share it with our band.

Recently you worked with Jay Mascis from dinosour jr. What led to that collaboration and how much of an influence were they on your sound? 

At the time, we were on the same management as J, so that kinda got pushed together by our then-manager.  I love Dinosaur Jr. so it was really neat to say, “hey J played on our song.”

What have been your favorite gigs to play and why? Do you prefer more intimate or larger crowds? 

I prefer larger crowds and anyone that tells you otherwise I truly believe is bullshit. I think the goal is to reach as many people as you can, this is coming from someone who still had to stomach playing to empty rooms. Fest in Gainesville, FL this year was so awesome to play, we also got to open for the band PUP at Halifax Pop Explosion this year which was out of this world… the crowd was massive and so into our set. We played a festival in May in Europe called London Calling in Amsterdam and it was one of my favorites of the year as well.  Back in June, though, we had a super special moment: we were supposed to support this band Slothrust at Port City Music Hall up in Portland… but the singer got sick and canceled day-of. So, we told people we were playing a secret set and told them to ask us for the address (we had to stop giving it out because the number of guests started getting scary) and we had a small show in the basement of our home!! We crammed like 60 people into the space and it was magic!

What was the hardest song for you to write on the album? What was the most satisfying song to complete? Can you (each) tell me what your favorite song on the album and why?

I (Sonia) really like the songs Not Doing Good and Early. They’re the most emotional to me. Blue Again I think is a overall favorite. Ever since Adam joined the band back in May I think all the songs really pop and come to life in a really great way, his playing kinda adds the final touches to the tunes, even though he didn’t play on the record.

Annie – When I hear that record, I always play Not Doing Good twice. I think Sonia really captured a very specific and visceral moment that hits people in the after-shock of a significant relationship’s ending. That song really hits me in the guts. Plus, it’s so much fun to play live.

Can you tell us the story of when you all met and formed the band? Name one special thing that each band member brings to the table that you couldn’t live without.

The band started in the summer of 2015. With myself, Annie and our original drummer, Cam. I had been friends with Cam for a while and we played in other bands together, and Annie was in a band that our old band played shows with from time to time. And yeah, I asked Annie and Cam to play on my new project and it was really fun!! Like I mentioned, Adam joined the band recently in May, but it was a really quick fit since Annie and Adam played in bands for years before that and we all like the same kind of music. I actually, outside of playing in the band, manage the band and essentially keep everything organized. Annie engineers and produces all of our recorded music. Adam has now joined in on the engineering AND he knows how to essentially fix or build anything musical equipment related.

(Let’s talk about your new single “What You Like.”) Can you talk about how this song was conceived and what it means to you?

“What You Like” is a song about embracing the feeling of inadequacy or feeling as though you’re constantly the underdog no matter how hard you work or how far you’ve come. When I wrote this song, we had just released a record and there’s a great deal of pressure and anxiety that comes along with that. I remember thinking, “Wow. What if it sucks? What if everyone hates it?” I took that feeling and ran with it. I told myself, “You know what? Screw it. Sure, you’re not always going to please everyone. You may feel like inadequate, but rather than cower, go scream it from the roof tops. ‘I’M NOT PERFECT AND I DON’T CARE!’” I wanted to craft an anthem for all of my fellow self-deprecating and anxiety-ridden folks. We need one.

What are your current goals for the upcoming new year? Any new year’s resolutions? 

The same thing we say every year: Make a new record and take over the world.

What advice would you give Berklee students about pursuing a music career?

There’s no rules, there’s no playbook or textbook (lol I realize you’re literally in school for this stuff, but seriously, its the wild fucking west out there). Just do you, keep inspired and creative, and keep going. There is going to be times you’re broke as hell, you’re hungry, you feel like you can’t keep doing it. Get used to hearing no and always saying yes. Also don’t try to make everything so technical… we get it, you’re good at music … but songs that speak to people can be simple. That’s all.

Thank you, Weakened Friends!

Be sure to check out the Weakened Friends performance on birnCORE live, coming up at 8PM on December 5! The show will also feature Mom Rock and Lady Pills. Tickets are on sale now:

Show Review: Emily Bear at Cafe 939 (11/8)

On Friday night, Emily Bear captivated a loyal audience of friends, family, and fans that filled the room at Café 939. On tour promoting her new Emotions EP, Emily Bear reinvented the atmosphere of Cafe 939 in a way that was uniquely her own. 

From beginning to end, Bear immediately broke down the walls that separate the artist from the audience with her casual demeanor and charming personality, converting strangers into fans. With every song came personal stories with themes ranging from feeling the pain of heartbreak to owning that same pain and repurposing it in a positive way. She moved the audience with these stories, illustrating them with transparency proving her emotional depth.

One of the most interesting elements of Emily’s performance was the way she utilized her classical piano background to compliment her more contemporary pop songs. With the support of her band (Max Gerl, Kyle Thornton, and Nathan Hicks), her swift piano phrases merged effortlessly with her rich voice. As the show progressed, the intimate nature of the performance was heightened by the distinct chemistry Emily had with her band. During every solo, each band member displayed their reverence for one another, flashing faces of approval as if in a jam session. Some of my favorite moments involved her moving from the center stage keyboard to the grand piano that hung back with the band. It was special to witness her pouring all her energy into complex classical arrangements after being astonished by the tremendous piano skills she maintained while singing her original music. 

The room was especially impressed by her rendition of Elvis Presley’s, “I Can’t Help Falling in Love With You,” and The Beach Boys’, “God Only Knows,” showcasing her voice in a way unlike any of the other songs. Throughout the show, Emily progressively proved her songwriting prowess, with every original sounding different from the last. Her capabilities were even more notable when she sang a new original called “Ghosted” that she had only performed once the night before. With relatable lyrical content that elevated in the pre-chorus atop a bassline driven arrangement, “Ghosted” is a strong representation of Emily Bear’s songwriting chops.

 With an exceedingly high level of talent and character, Emily Bear is down-to-earth and carries herself with grace, possessing the potential to command the world stage. As an experienced musician, songwriter, and vocalist, she brings a heavy arsenal to the table and is able to wear a lot of hats. The capability she has to achieve greatness was apparent at her show on Friday and I hope to see more from her in the future.

BIRN Album Review: Pony by Rex Orange County

After releasing albums Bcos U Will Never B Free (2015) and Apricot Princess (2017), singer-songwriter Alex O’Connor most commonly known as Rex Orange County, has returned with the release of his third full-length album Pony. Writing and recording the entirety of the album with help from producer Ben Baptie, the 21-year-old has outdone himself with an engaging soundscape of bedroom soul that illustrates his feelings from a more juvenile perspective.

Listening to the music of Rex Orange County persuades listeners into believing that they truly know him. As someone who maintains an uncommon sense of creative individuality while also possessing the familiarity to attract listeners, Rex Orange County cannot be held by the confines of genre. His musical personality is precisely described as, “the amalgamation of bedroom pop cosplayers, Odd Future apologists, and old souls.”

From the beginning to the end of Pony, Rex Orange County is transparent with his emotions, utilizing lyrics that make you feel like you’re eavesdropping on his thoughts. In the opening track “10/10,” he candidly admits to having a difficult year and feeling down. Then, with an undertone of hope, he acknowledges how a change of attitude could change his mindset, singing, “I feel like a five, I can’t pretend / but if I get my shit together this year maybe I’ll be a ten.” He continues to acknowledge his journey to a place of stability in the song “Always,” while harnessing a boyish mindset that craves dependency, singing, “But until somebody sits me down / And tells me that I’m different now / I’ll always be the way I always am.” Rex Orange County shamelessly revisits this adolescent outlook throughout the album to communicate the way most 21-year olds feel at this time in their lives.

His focus starts to shift on songs like “Face to Face” and “Stressed Out.” Both songs talk about trust issues but are illustrated in different ways. “Face to Face” uses the theme of a long distance relationship to describe being in a place outside of his comfort zone and not knowing who to trust, longing to be back with her. “Stressed Out” is an extension of this feeling. “They wanna take what’s yours / They wanna go to dinner on your name / I let them take control and take me for a fool / It’s such a shame,” describes the way he lets people use him even though he can’t trust them. Rex Orange County approaches the close of the album with an uplifting tone that exudes positivity. With strong rhythmic drive and layered vocals that soar through orchestral strings, “It Gets Better” is one of the album’s best and most honest love songs about his long-term girlfriend Thea. The final song on the album, “It’s Not The Same Anymore,” revisits the overall theme of Pony but is observed through a different lens. “I’ll keep the pictures saved in a safe place / Wow, I look so weird here / My face has changed now,” acknowledges the reality that he has grown up and his life will never be as simple as it once was. This song is meant to conclude the “boy inside my thoughts” perspective Rex Orange County has maintained throughout the album, closing one chapter and opening a new one.