Any longtime fan of the musical trio Boygenius could tell you that after their 2018 self-titled EP, any chance for new music from the group was slim at best. That was until January of this year. The all-female group — composed of musicians Julian Baker, Phoebe Bridgers and Lucy Dacus — released their first album, “The Record,” March 31, along with an accompanying short film directed by Kristen Stewart. 

The three artists never pass up an opportunity to speak about their friendship. They each have a very important bond with each other, something they convey through their music. Their songs are raw and very personal. Each artist is able to incorporate her own unique style into the songs throughout the album. They take turns leading the tracks, not only with vocals, but with the arrangements taking elements from each respective artist’s solo music. 

“The Record” opens with a celebration of human connection in “Without You Without Them.” It’s stripped down and the shortest of the 12 songs. It sets the tone for the album — an a capella track that lets the three voices blend and work together. Though the rest of the songs incorporate more than just vocals, this song sums up the themes of connections and togetherness that is found throughout. If, for whatever reason, anyone was doubting the vocal or lyrical talent of these women, they banish any reservations with this song. 

Before the official release of the album, Boygenius released three singles: “$20,” “Emily I’m Sorry” and “True Blue.” Each is starkly different from the other, giving a preview of the duality of the album. “$20” features lead vocals from Baker and leans towards rock sonically with heavier drums and guitars than the majority of the album. It’s complete with Bridgers full-on screaming at the end, something fans may recognize from her popular solo song, “I Know the End.” “Emily I’m Sorry” is led by Bridgers on vocals and is the polar opposite of her aggression on the previous track. “True Blue” is the most explicit in its message about the value of friendship. Dacus takes lead vocals on a track that can only be described as heartwarming. “It feels good to be known so well,” she sings — a sentiment that can be shared by a listener while hearing a song that captures the warm, fuzzy feeling experienced around loved ones. 

The accompanying short film that was released with the album features the aforementioned three singles. Each song also focuses on the person who leads the vocals of the song, which I thought was a nice way to divide up the film. First, Baker explores her presumed childhood neighborhood with a younger version of Bridgers and Dacus to “$20.” The three run around and engage in some mischievous youthful antics, all while avoiding Baker’s mother. Eventually Baker is joined by the adult versions of her bandmates as the song comes to a close. Bridgers stars in the next segment, singing “Emily I’m Sorry” in the middle of an arena. Behind her, two monster trucks fly over jumps. By the end of the song, Dacus and Baker are revealed to have been driving the trucks, and return to Bridger’s side to harmonize with her. The final song of the film is “True Blue,” where Dacus paints a room (fittingly) blue, accompanied by her bandmates. As a whole, it’s a touching love letter to the friendship of the band. 

One of my favorite things about “The Record” is how I was never bored while listening. There’s never any point where I felt the need to skip a song. The album is arranged so you’re able to go from different styles from track to track, keeping the overall sound from becoming too stagnant. Each song is distinguishable and stands alone from the rest. The way they alternate lead vocals helps with this as well. We are able to hear solos from each member, as well as different combinations of harmonies throughout. 

The members of Boygenius have all been stuffed into the box of so-called “sad-girl music” at one point or another. However, on “The Record,” they take that label — often used in a dismissive context — and reclaim it. Life and love make us sad sometimes, but Baker, Bridgers and Dacus know that the sadness is more than acceptable — it’s something to embrace. As Dacus sings on “We’re in Love,” “You could absolutely break my heart / that’s how I know we’re in love.” Part of any relationship is allowing yourself to be vulnerable and show someone the ugly parts of yourself. Boygenius expresses this sentiment in a beautiful and poetic manner. 

One of the album’s best touches came in the closing track, “Letter to an Old Poet.” It calls back to an old Boygenius song, “Me and My Dog,” taking several lyrics from the old song and changing them slightly. This time around, the message is one of optimism and hope, rather than the more pessimistic tone of the older one. It’s a satisfying conclusion to the album, highlighting the growth the musicians have gone through in the past five years. 

This album was raw and captivating. It took the best parts of each artist’s music and blended them into something spectacular. If you’re going to take time out of your day to listen to music, make sure that it is this album. “The Record,” is proof that Boygenius has earned their title as a “musical supergroup,” because that is exactly what this album is: super. 

“The Record:” ★★★★★