In Review: Volume 5, 2025

El Estoque’s staff review recently released media, varying from JENNIE’s love hangover to Kendrick Lamar’s controversial Super Bowl Halftime Show

Ananya Chaudhary, Samuel Teo, Raj Thapliyal, Samika Bhatkar, Isabelle Kok, Vaishnavi Katukam, Jillian Ju, and Sophia D • March 10, 2025

Graphic | Benjamin Zhang

This is Volume 5 (2025) of El Estoque’s “Arts & Ent: In Review,” in which staff review recently released media, including albums, movies, EPs, TV shows, books and games. Click the infobox below to see the fifth volume of mini-reviews.

“Love Hangover” by JENNIE

Although K-pop sensation JENNIE and rapper Dominic Fike feel like two characters from separate worlds, their crossover song “Love Hangover” plays to both artists’ strengths, creating a near-perfect collaboration. The song begins with JENNIE singing at a fast pace, repeating phrases such as “fight me” and “who sent you,” as drums play in the background, creating an addictive sound that is unlike any of the artists’ past work. Soon after, the track transitions into the catchy chorus as JENNIE sings about her obsession with her relationship, which is paired with echoing background vocals, creating a harmonious and somewhat warm presence in the song. However, the song is taken to another level with Fike’s introduction, who utilizes his classic rap sound that proliferates across his discography. Although it works in this song, it has fans wondering whether they will ever see Fike pushing past the restrictive genre he has confined himself in. As he raps, JENNIE’s voice remains in the background, blending in with Fike’s voice and keeping the song's flow consistent. "Love Hangover" truly keeps listeners hooked, as the production utilizes several different elements such as instruments, vocal inflection and varying background effects, leaving the lyrics lingering in the audience’s mind long after the song ends, like an unforgettable amazing hangover.

RATING: 4.5/5 (Reviewed by Ananya Chaudhary)

“Born Again” by LISA

In 2021, a demo of “Born Again” recorded by RAYE surfaced online following her departure from German-British record label Polydor. Three years later, it officially debuted, featuring RAYE and Doja Cat, as the fourth single from LISA’s solo album, “Alter Ego,” embodying themes of empowerment and transformation. The song opens with a brief, haunting mini-chorus before a dynamic beat drop propels it into the first verse. LISA and RAYE deliver a seamless duet that builds momentum toward the chorus, where the repeated use of “would’ve” emphasizes the lingering possibilities of relationships that could have been. Doja Cat’s verse introduces fresh texture to the track, with her signature vocal fry and raspy delivery adding depth and contrast. The bridge, marked by a rising harmony and soaring high vocals, stands out as one of the song’s most climactic moments — an unexpected yet striking vocal showcase from these artists. Visually, the music video presents a stark, minimalist aesthetic, with the trio dressed in monochrome outfits while engaging in simple choreography. While the concept is stunning, a more vibrant color palette and dynamic dance sequence could have elevated the visual impact, making the experience more electrifying. Despite the subdued visuals, “Born Again” thrives on its powerful beat drops and evocative lyricism, making it a compelling listen from start to finish.

RATING: 4/5 (Reviewed by Samuel Teo)

“The Influence” by Soulja Boy

Despite Soulja Boy saying that “this album is me reminding the world that I’m still the influence,” the entire album displays Soulja Boy’s outstanding lack of talent and creativity not only in beat, but also in tone, inflection and lyricism. Even though some of the background beats complement Soulja Boy’s voice and pacing, such as in “Trap Kitchen” and “Trap Off My iPhone,” most of the rap songs in the album are mind-numbingly similar to each other due to Soulja Boy’s monotone, raspy voice. In Soulja Boy’s seventh song, “Reason,” there are multiple times when he seems to trip over his own words and give off the impression that he does not know the lyrics to the song. Throughout the album, Soulja Boy puts in noticeable effort to match the ends of his verses to the minor beat drops littered throughout the song. Within his first and eighth song in the album, “Heavy Motion” and “Back in LA,” respectively, there are times when Soulja Boy’s gravelly voice leaks into the chorus of the song, which can be distracting to listeners. In contrast to one of his earliest hit songs, “Crank That,” within “The Influence,” Soulja Boy consistently exhibits a void of enthusiasm with a combination of rudimentary beats and rough delivery.

RATING: 2/5 (Reviewed by Raj Thapliyal)

“Life is Beautiful” by Larry June & 2 Chainz

Devoid of booming drums and punchy instrumentals, a typical base for current hip hop, “Life is Beautiful” takes listeners on a blissful, jazzy trip. San Francisco-born rapper Larry June and producer The Alchemist return for another psychedelic and minimal project, this time with 2010s trap veteran 2 Chainz. The latter artist seems to undergo a career rebirth into an introspective rapper, as “Life is Beautiful” is riddled with magnetic and loose verses from both himself and June, all over Alchemist’s placid and tinkering production. June’s laid back disposition meshes appropriately with Chainz’s forward diction, especially on the track “I Been,” where the mellow synths transition into a serene vocal sample. While the project is breezy and soulful, it reaches a state of disengagement and catatonia too quickly. By the last few tracks of the album, 2 Chainz takes his foot off the gas pedal, and his animated and flamboyant energy is washed away by June’s monotone flow. Furthermore, “Life is Beautiful” prides itself in being a casual listen but desperately needs some rhythmic buoyancy to keep it afloat. While The Alchemist shines with the project’s loop-heavy and faded production, the formulaic delivery from June and Chainz drowns it out.

RATING: 3/5 (Reviewed by Samika Bhatkar)

Kendrick Lamar's Superbowl Halftime Show

For a performance expected to simply showcase rap icon Kendrick Lamar’s shiny hits and serve as a new level of embarrassment for Drake, Lamar transcended this expectation and did what he knows best: storytelling. This year’s Super Bowl Halftime Show was a clear political message to America: Lamar has had enough of this country’s exploitation of Black Americans. Intentional symbolism was integral to the performance, such as Samuel L. Jackson playing Uncle Sam — a critique of what being a “typical” American patriot means — and a group of dancers forming the American flag with their coordinated attire, a simple statement that the U.S. was built off the labor of Black Americans. The electrifying performances and dynamic formations of the dance crew fully paired with Lamar’s setlist, most notably on “peekaboo” and “squabble up.” Furthermore, Lamar’s interactions with his dance crew, such as his bouncy footwork and back-and-forth exchange during “Not Like Us,” added unexpected variety to his setlist. The only pitfalls to the show were the low volume and that his performances with SZA felt too short, most likely from his limited, 15-minute performance time. Despite this, Lamar’s star-studded show and observant narratives made for a compelling watch.

RATING: 4.5/5 (Reviewed by Samika Bhatkar)

“Claire” by Déyyess

A gauzy montage of wistful pining, high school limerence and bittersweet coming-of-age, indie-pop artist Déyyess’ extended play “Claire” offers all the candidness and tear-stained sincerity of teenage diary entries scrawled in glittery gel pen. Throughout the EP’s four tracks, Déyyess offers a scrapbooked tribute to young romance, illustrating the crush of her “cherry flavoured high” in the title track and reflecting on toxic infatuation in “every time.” The tracklist of “Claire,” though short, is the perfect scoop of sapphic sweetness, softened by hazy, dreamlike vocals and layered instrumentals that blanket listeners with delicate fragility. However, the EP’s brevity might serve it well — Déyyess remains faithful to her pastel dream pop soundscape, a pattern that builds an immersive character but quickly wears down each track’s individual charm with redundancy. Déyyess’ unique auditory collages have an addictive luminance, and despite some repetition, she signs off on “Claire” as a complete picture of the magnetism of youth.

RATING: 4/5 (Reviewed by Isabelle Kok)

“Automatic” by The Lumineers

In 11 songs, band members Wesley Schultz and Jeremiah Fraites of the indie folk band The Lumineers convey emotions that are personal and raw. This doesn’t mean they’re simplistic, but rather the band sings directly to its audience, as if they were all sitting around a campfire. The first track, “Same old Song,” sets the mood for the rest of the record with themes of loneliness and yearning. The artists discuss the circularity of life, with lyrics like “We sing the same old, same sad song,” referring to the repetitive nature of their lives and melancholy they experience. The title track, “Automatic,” extends this message further in its chorus, with the lyrics “Oh, my lover, is it ever gonna be enough / Automatic / It’s automatic.” The Lumineers repeatedly bring up boredom, regret and the want for something more as they question the world around them, including themselves and their relationships with others. These initial tracks are effective in how they use their lyrics to advance and enhance the emotion of the song, especially because of the specific experiences they bring up.

The album starts strong, but as it progresses, the power of the lyrics starts to fade, feeling repetitive. It is apparent that each song is trying to have depth, but it is presented vaguely. The lyrics come across as surface-level, as the musicians do not sing about any particular experience. The heartfelt and soothing mood of this album may also be boring, especially because it lacks any distinguishing aspect that makes this project unique, whether that be with the lyrics or melody. Despite these flaws, Schultz’s voice makes everything he says sound more beautiful and purposeful than it is. His voice fuses with the drums, guitar and piano to make each song feel homey and personal. This ability to sing with such emotion carries this album, providing depth that the lyrics could not have upheld on their own. “So Long” brings the record to a close, redeeming “Automatic” with a more cinematic production, diverting from the repetitive nature of the previous few songs. The drums and guitar are stronger in “So Long,” which, alongside the lyrics, makes this the perfect goodbye. Singing “Tell it on the mountain / He's arrived / Maybe we'll be famous when we die / So long,” The Lumineers connect back to the beginning where they questioned life and death. Ultimately, even with intense vocals and touching lyrics, “Automatic” lacks any distinct qualities that make it extraordinary.

RATING: 3.5/5 (Reviewed by Vaishnavi Katukam)

“Rearrange My World” & “There’s A Field (That’s Only Yours)” by Daniel Caesar & Rex Orange County

The posts teasing this collaboration were filled with comments like “ima cry to this” and “OH WE WON WE WONNNN,” and for good reason — Rex Orange County and Daniel Caesar are two sentimental musicians who each bring their vulnerable vocal touches to the project. They’ve distilled all the good parts of February — like concision, moody weather and, occasionally, Valentine’s Day — into a moving pair of songs that don’t overstay their welcome.

“Rearrange My World” hesitantly slides the listener into its scenery, whether it’s through Rex Orange County confessing, “I live above a bar I’ve never been,” or Daniel Caesar singing, “The people keep moving farther / Something’s in the air.” The halting notes in the background draw attention to the distance emphasized in the lyrics, bringing nuance to a track that otherwise embraces the subtle changes that come with being in love.

But the star of the track is the pre-chorus: “My mother called me in the early afternoon / Couldn't hear her yellin' while I was watching you / I told her that I loved her the way I tell you.” It’s such an honest confession that barely needs unique delivery to shine, although, of course, both artists layer it with a waxy, heartfelt urgency.

Bottomless synths accompany the pair in the chorus and through the ending. It’s that lingering tenderness that drops the listener straight into “There’s a Field (That’s Only Yours),” which begins with faster strumming and Caesar describing a relationship slowly drifting apart. Although the abstract lyrics add to the release’s vulnerability, they also prevent the songs from feeling as grounded as they could be. The lines tend to meander between stronger, concrete images and vague suggestions about love and connection, and the latter often feels like a detour from the more compelling content. Still, these two tracks plunge listeners straight into the complexities that come with navigating love — they sound like a late-night Valentine dessert, whether you had a date or not.

RATING: 4/5 (Reviewed by Jillian Ju)

“DETOX” by ONE OK ROCK

Fusing rock and pop in their latest album, Japanese band ONE OK ROCK released “DETOX” on Feb. 21. Though the songs showcase impressive vocal variation and technique, particularly with the vocal fry characteristic of rock, the album lacks depth and originality. Three of the 11 tracks — “Dystopia,” “Delusion:All” and “Puppets Can’t Control You” — are theme songs for different TV shows, including a news television program, a film adaptation of a manga series and a TBS drama series. While they’re satisfyingly catchy and upbeat, their storylines of overcoming the odds and fighting oppressive governments are cliche and repetitive — perfect for TV, but underdeveloped for an album release. Admittedly, there is some interesting wordplay, such as with the song title “Delusion:All” and the line “Bunch of wolves and we're reppin' sheep's fashion” in “NASTY.” However, “NASTY” also includes an off-putting moan in the repeated instrumental break, an extremely inapt choice in an otherwise catchy song, and the screams in multiple other songs feel similarly out of place. While the band manages to tackle more emotional songs with quiet wistfulness and lyrics such as “It's not the first time that you left, it's the first time you didn't come back” in “Tiny Pieces,” it does so with the same frustrating banality as the TV theme songs. Combined with the overall lack of depth, the variation throughout the album makes it feel disjointed — a hodgepodge of passably catchy background music.

RATING: 2.5/5 (Reviewed by Sophia D'Sa)

About the Contributors

Ananya Chaudhary, Editor-in-Chief

Ananya is currently a senior and Editor-in-Chief for El Estoque. When she isn’t reporting for El Estoque, you can find her binging her favorite shows: “Gilmore Girls” (only the first four seasons), “Grey’s Anatomy” (the first six seasons) and “How I Met Your Mother” (all nine seasons). Ananya likes to spend most of her time within the bounds of her room, where she likes to jam to music, call her friends or — and most probably — sleep.

Samuel Teo, Staff Writer

Samuel is a senior and staff writer for El Estoque. He enjoys playing the violin, listening to a wide variety of music, classical to pop, and exercising.

Raj Thapliyal, Staff Writer

Raj is a junior and a staff writer. He enjoys playing volleyball, table tennis, playing video games and taking his dog out on walks.

Samika Bhatkar, Editor-in-Chief

Samika is currently a senior and Editor in Chief for El Estoque. She loves listening to hip-hop and rap music and playing with her dog. In her free time, Samika watches NBA games or cooks with her family.

Isabelle Kok, Arts & Entertainment Editor

Isabelle Kok is currently a junior and an arts and entertainment editor for El Estoque. In her free time she loves to eat BLTA bagels without the A, take naps and make matcha mug cakes.