'GOOD, LIKE IT SHOULD BE' / BER: REVIEW

April 8, 2026

by lauren kovolenko

Good, Like It Should Be is a sonically charged album with joyous moments, but also melancholic tone. With each listen, find yourself deeply intertwined with Ber’s lyrics about life and what it means to, well, live. Upon first listen, I was hooked instantly. Whether it was the beats and sounds of the pop focused indie tracks or the lyrics, Ber has something to appeal to everyone.

The first track opens the album with an upbeat vibe and takes you straight into her life story. She explores themes of love and what is true or real. “Cool, Boy” is an exciting track about trying too hard… with super quirky lyrics. “Don’t act so cool boy, get your ass up and dance!” We did just that. You can’t help yourself!

Metaphors fly throughout this album—maintaining interest through each track. This album is an extremely fun listen. You can’t help but bop your head and shake your hands in the air.

“Who’s This?” is a story of being yourself while faced with adversity. Themes like this trickle through the whole project with each proceeding track.

Halfway through the project shows an album slow down. With more guitar and soft pacing, Ber continues.

“Hey, Bluebird” has some beautifully large moments about respecting yourself and choosing yourself at the end of the day. This song almost feels like a big sister note to yourself. It’s a great reminder we all need when we are, and can be, too harsh on ourselves. The next songs come with themes of proving yourself to a potential love interest, to take a chance on yourself.

“Give It All Away” is a personal favorite of mine. This song has themes that I think many of us can relate to. Finding it tough to live in a society which promotes a culture of putting others wishes first before our own personal health. Debating what’s important or not so much.

At this point in the album, the song melodies are picking up, but the lyrics continue with the same depth we started with. It’s no doubt that Ber is a great storyteller, and extremely relatable. “Next To Me” most definitely belongs in the next coming of age romance movie. Why do opposites attract? A story as old as time.

The rest of the album continues with some more conversations about relationships: what they mean; and what they could turn into. The end track, same as the album title, is a perfect end credit scene.

If there’s anything this album does is make you feel something. An emotion of sadness, longing, or just the opposite—spontaneity or excitement for what the future holds. It’s an extremely dancey album for more reasons than one. Whether you want to feel good, or feel something — this is your album. As a first time listener of Ber, I most definitely am glad to have found this album and enjoyed her talents provided.

She’s going places.

LILY FORTE FINDS BEAUTY IN THE STRUGGLE ON DEBUT ALBUM "DON'T GILD THE LILY"

February 13, 2026

by benwego

Indie powerhouse Lily Forte arrives with her debut album, Don’t Gild the Lily, a clever play on words that intertwines her name with the idea of leaving beauty unaltered and honest. The title immediately establishes the album’s ethos, signaling a body of work rooted in authenticity, patience, and a deep reverence for what already exists beneath the surface rather than forcing excess or perfection.

Across the album, Forte leans into lush floral and picturesque imagery, pairing it with invigorating vocals to build a vintage sonic landscape that pays homage to her musical heroes. She paints with the brush of Old Hollywood glamour, sun faded nostalgia, and diaristic lyricism, creating a world that feels both cinematic and intimately confessional. With just 11 songs, Don’t Gild the Lily offers an impressive amount to unpack, from its striking instrumentals to its California soaked imagery. Each track unfolds like a postcard from another time while remaining firmly grounded in the emotional realities of the present.

The title track opens with the line “there’s living in dying, there’s pleasure in pain,” immediately introducing one of the album’s central themes. The lyric captures the emotional duality that runs throughout the record, the idea that growth and artistry are inseparable from struggle and sacrifice. By acknowledging that joy and suffering coexist, Forte sets the tone for an album that refuses to romanticize the road to success without first confronting its cost. As the song unfolds, its airy falsetto chorus gives way to a jazzy, Amy Winehouse inspired groove where Forte asserts her self worth with the line “and that’s living like a legend,” reframing perseverance itself as an act of triumph. The moment feels both defiant and self affirming, positioning the record as a declaration of identity and a promise to endure whatever it takes to keep creating.

The album exists in a time machine space, unfolding as a nostalgic yet restless journey shaped by early Lana Del Rey and Lady Gaga inspired wordplay, 60s glamour, and the quiet anxiety of waiting for your moment to arrive. Forte consistently grapples with questions of time, ambition, and survival, particularly on “Stardust.” Here, she reflects on the slow burn of chasing a dream, candidly admitting that “working for the man was never really in my plan,” a line that captures both her defiance and her uncertainty about how long success is supposed to take.

At its core, “Stardust” feels deeply personal, capturing the suspended emotional state of waiting for a breakthrough while clinging tightly to self belief. Lyrics like “fucking up the routine, Florida to LA, is it home or holiday?” expose her internal tug of war between the place that raised her and the place she hopes will transform her. Florida represents familiarity, while Los Angeles embodies ambition, and Forte never pretends the choice between them is simple. Instead, she questions what home really means when the pursuit of becoming someone new pulls you further away from who you once were.

That sense of longing intensifies on “Florida’s Finest,” an existential love letter to youth, roots, and a world before streams and algorithms. When Forte sings “I miss iTunes,” the line lands as more than a throwaway reference. It becomes a symbol of an era when music discovery felt more personal and less transactional. Florida becomes both a physical landscape and a state of mind, sun soaked, bittersweet, and formative. The chorus, “oh the world keeps on turning, that’s the way life goes, it’s a lesson I’m learning, no one ever really knows,” stands out as one of the album’s most emotionally gripping moments, encapsulating the uncertainty that runs throughout the record. Forte continues paying homage to the artists who shaped her worldview, singing “learning from the visionaries, pay them for what they know,” a direct nod to Old Hollywood and the creatives she reveres, positioning herself as both a student and a torchbearer.

As the album drifts west, California sunshine and Ventura Highway imagery take center stage. “Golden Sunshine” is a warm, sun drenched ode to an almost ethereal love, capturing a cloud nine feeling through its euphoric simplicity and emotional realism. Lines like “you said I was your golden sunshine, be my forever and you’ll be mine” channel early Lana Del Rey in both tone and tenderness, balancing romance with emotional fragility.

“Loners on the West” moves fluidly through multiple emotional and sonic landscapes, grounding itself in cinematic melancholy and isolation. A nod to Lana at the opening sets the mood as Forte reflects on the disorienting nature of Hollywood, asking, “this city is strange, with its lowlifes and fame, why does everyone here love to play the game?” The question lingers, revealing both her fascination with and skepticism toward the industry she is trying to make a name in.

Misogyny emerges as another recurring theme on “Loners on the West,” particularly in the biting frustration of the lines, “I’m so sick of fucking wanting what I can’t have, so sick of always wasting time, I see the guys and their perfect lives.” Forte confronts the imbalance she observes around her, where opportunity often seems effortlessly handed to others. This theme continues on the first single from the album “Miles to Go,” a track dedicated to toxic male figures and the exhaustion of shrinking oneself to fit into their worlds. Forte bluntly declares that staying quiet never served her, confessing, “I got a million things I’d rather be doing than hanging with you and your boys on the road.” Her delivery sharpens further with unapologetic jabs like, “you’re so trashy when you’re doing blow, met your match in the pills in those Hollywood hills,” blending both anger and wit.

“Jimi and Janis,” retreats into an imagined inner universe where 70s rock still reigns. It is a place of freedom, rebellion, and eternal music, untouched by modern pressures. When Forte sings, “Jimi and Janis are alive inside my planet, jammin out to Woodstock in my mind,” she creates a vivid psychedelic escape.

The album’s second single, “Out of the Blue,” delivers one of its most emotionally jarring moments, confronting betrayal and hard truths with biting honesty. “Hope you’re sipping something strong when you find out the problem’s you,” Forte sings, addressing a breakup that arrived without warning. The song balances hurt with disbelief, its tongue in cheek delivery cutting deeper as she asks, “baby what the fuck was that? Did you find Jesus on the road? Was it in something that you smoked? And honey who the fuck are you?”

The track flows seamlessly into “The Luckiest,” a dreamy, melancholic reflection that feels like the emotional aftermath. Forte asks her former lover, “did you forget I’m the luckiest damn girl in the world?” while subtly pushing him toward the life he chose over her. Lines like “casting their spell, they got you baby, can’t look at yourself” carry a haunting sense of resignation. Together, these tracks feel sisterly in their message yet contrasting in delivery. This emotional trilogy closes with “Baby Burnt Us Down,” a final moment of romantic isolation and reluctant acceptance as Forte reflects, “baby thinks there’s bigger plans than being the drummer in my rocking band,” acknowledging the quiet heartbreak of being left behind.

The album closes where it began, circling back to themes of living and dying on “Beauty in Everything.” Forte admits, “it’s hard to see the beauty in everything, but I’m really trying, I’m living and dying,” finding solace in the small and sacred, singing, “I found my heaven in my record collection.” The song functions as a profound ballad about resilience and burnout, capturing the emotional toll of chasing a dream when it feels like no one is listening. Lines like “no one really cares why I sing the blues” and “mascara’s coming down, baby I lost my crown, burnout like a showgirl” lay bare the singer-songwriter’s vulnerability. The record ends on a note that feels both intimate and universal, like flipping through memories on vinyl and realizing they are still spinning the story of who you are becoming.

Don’t Gild the Lily is a promising debut that captures the struggles of an artist navigating Hollywood through a nostalgic lens while wrestling with the weight of uncertainty about what lies ahead. It is a record that honors the past without being trapped by it. Through nostalgia and vulnerability, the record captures the emotional push and pull of chasing a dream while still learning how to survive within it.

CANADIAN DUO MILK & BONE UNLEASH THEIR NEW EP “A LITTLE LUCKY”

December 28, 2025

by jessie eshak

Milk & Bone’s A Little Lucky is a strong and bold EP that leans into nostalgia without feeling stuck in it. Entirely produced by Chromeo, the four-track project blends warm, analog synths with the duo’s airy vocals, creating a sound that feels both dreamy and intentional. The EP centers on tension and contrast, exploring isolation, desire, and the moments where emotional control begins to slip. With Stranger Things once again dominating the cultural conversation, it’s easy to imagine any of these tracks slipping seamlessly into the show’s soundtrack, reinforcing just how timely and cinematic the project feels.

“Hoops” opens the project with bright, danceable energy and strong retro 80s influence, channeling a sense of longing beneath its upbeat surface. “Bloodshot” turns up the intensity, pairing a warmer synth groove with sensual lyrics that capture the rush of attraction. Lyrics like “Send your love to my hips, they've been craving your touch. Your pulse on mine gives me such a rush” feature Laurence Lafond-Beaulne and Camille Poliquin’s seamless vocal harmonies that lift the track forward. It reflects a kind of love that feels so sudden and overwhelming it borders on unreal, yet remains grounded in emotional truth.

“Halfmoon” slows things down into a daydream, reflective and soft, balancing a steady pulse with thoughtful vocals that discuss personal growth and self discovery. Lyrics like “I am the eagle, a gem inside a stone. Under a half lit moon I took a leap of faith” highlight the intention of self discovery within the song. The EP closes on “Blossom Tree,” a quieter, more vulnerable moment that trades momentum for intimacy. Its layered harmonies and nostalgic tone feel like a quiet release after the tension built across the earlier tracks. A Little Lucky succeeds by knowing exactly what it wants to be: a focused, cohesive collaboration that values love, self-love, intention, and connection.

A Little Lucky is available on all digital platforms here.

'EVERYONE'S A STAR!' / 5 SECONDS OF SUMMER: REVIEW

November 18, 2025

by anne-elise tidwell

“Good things come to those who wait,” a line from one of 5 Seconds of Summer’s newest singles, “Boyband,” holds true. After months of ominous Instagram posts, side quests, and teasing fans with the word “soon,” the band is back with their sixth studio album, EVERYONE’S A STAR!

After taking time off to pursue solo endeavors, the band reconvened and created what lead singer Luke Hemmings is calling the best music of their whole lives.

The Australian pop-rock band began the new era earlier this fall with a new label, a fresh bottle of hair dye and their spunky lead single, “NOT OK,” captivating their audience with a spontaneous pop-up performance in Los Angeles to celebrate the record’s announcement.

EVERYONE’S A STAR! confidently embraces the boy band moniker they once rejected, and delivers a mature, introspective commentary on their 15-year career. The record grapples with the “shadow side” of the industry’s glittery facade, exploring themes tied to the disposable nature of stardom.

“To still be friends, and to still [be] doing s*** like this is pretty amazing,” Hemmings said at the 5SOS Press Conference in Melbourne.

Conceptually, EVERYONE’S A STAR! is presented like a performance art piece and stands as the group’s most thematically driven and ambitious project to date. This album’s rollout has showcased 5SOS’s innate ability to outwardly poke fun at the concept of a boy band, while also taking themselves and their artistry seriously.

“If a boy band is what we are, then we are going to do it in the best way possible,” guitarist Michael Clifford said in a promotional interview.

The record is a sonic journey and an honest testament to the band’s versatile craftsmanship. It begins with hypnotic, atmospheric sounds in the song “Everyone’s A Star!,” impeccably setting the tone for the rest of the record. It also naturally delves into heavier, hard-hitting rock influences, akin to early Paramore, that can be heard on tracks like “The Rocks.”

Through over-the-top stunts, the album's narrative is able to extend well beyond the music itself and pushes the boundaries of the record's creative direction. Dramatic entrances in obnoxious pink limos; performances inside giant plastic-wrapped toy boxes; and a comical, tabloid-esque media outlet the band created called “The Daily Sauce” all serve as audacious promotional tactics and integral pieces of the record’s larger commentary on fame and identity.

The record is not only sonically well-rounded, but lyrically profound, self-reflective and personal. The pre-chorus of “Boyband” articulates the band’s insight well. The song references many facets that come along with being in the public eye, including a lack of autonomy, constant and inescapable scrutiny, and intense pressure to appease a parasocial audience.

“Boy in a boyband / make that monkey dance / let me see you clap your hands / it’s your favorite boyband.”

Their creative direction is seemingly boundless and can be pushed as far as the band is willing to go. They said their upcoming EVERYONE’S A STAR! world tour “truly encompasses” the over-the-top concept, leaning more into a theatrical performance than a traditional concert. The group compared the tour’s production scale to a Lady Gaga or AC/DC show.

The European leg of the tour is set to start March 2026 in Belfast, UK with North American and Oceania following shortly after and will conclude in Perth, Australia next November.

SEVENTEEN IN SUNRISE, FL

November 5, 2025

by ryan-samuel borromeo

K-pop group SEVENTEEN makes their return to the world stage on October 26, 2025, at the Amerant Bank Arena in Sunrise, FL. Even before doors opened for the show, SEVENTEEN’s fandom, AKA Carat, was excited to see their favorite Korean boy band. Fans lined up as early as five in the morning to purchase merchandise and share in the show's hype. As soon as the doors opened, fans packed out the frigid venue clad in cute, pastel-themed concert fits that reflect the Seventeen Carat aesthetic.

At the peak of audience anticipation, SEVENTEEN takes the stage with their remixed song “Bad Influence” to a vibe much reminiscent of a vogue runway. No words can honestly describe the environment at this time, except maybe 'aura.' Fans screaming their hearts out whenever their boy band bias appeared on the venue’s jumbo-sized screens. This level of intensity remained consistent throughout the two days. SEVENTEEN’s tour at Sunrise is a true testament to their talent and the fun energy they bring to their fans.

A pleasant surprise for the writer, along with a plethora of group-centered songs that SEVENTEEN performs, the group also gives its members a chance to shine as individual artists, with solo performances sprinkled throughout. Each individual member has the opportunity to showcase their own artistry; however, I was most impressed by Joshua’s solo performance of “Fortunate Change.” A poetic and heartfelt song about how new love can transform one’s view of the world. Something that reflects how I view the band as a whole now, through exploring each member’s personal musical style.

I can say that there isn’t a boy band quite like SEVENTEEN, especially when it comes to interacting with fans. Their fan interactions are truly unique, and I’m sure it was worth every penny for Carats to get seats as close to the barricade as possible. But the love doesn’t stop there for SEVENTEEN; they made the whole arena truly feel special those two days, which was quite pleasing to witness.

Overall, SEVENTEEN is a must-see talent not only for K-pop fans but for general audiences alike. Their music truly transcends language barriers, and the aura can be felt by everyone. They continue to leave it all on stage for the fans, and I can’t wait to see them return to South Florida.