In Review: Volume 7, 2025

El Estoque’s staff review recently released media, ranging from Ken Carson’s surprise release to Maroon 5’s latest single

Samika Bhatkar, Ananya Chaudhary, Sagnik Nag Chowdhury, Jillian Ju, Sana Karkhanis, Vaishnavi Katukam, Giljoon Lee, Samuel Teo, and Kate Yang • May 27, 2025

Graphic | Vaishnavi Katukam

This is Volume 7 (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 seventh volume of mini-reviews.

"More Chaos" By Ken Carson

Atlanta rapper and Opium label member Ken Carson released his fourth album, “More Chaos,” a sequel to his previous project “A Great Chaos.” Consisting of 22 songs, the project boasts aggressive vocals and production in a quick, 61-minute runtime.

Carson’s dark-emo, funk-inspired discography has cemented him as a commander of rage rap, and introductory track “Lord Of Chaos” plays into this image as Carson confidently raps, “I’m the lord of chaos, I got the mosh pit in control.” This narrative of established confidence and ego carries throughout the album, with raucous tracks “Root Of All Evil” and “Blakk Rokkstar” showcasing Carson’s relaxed flow. For the most part, “More Chaos” is a rudimentary attempt at what Carson knows: drugs, money, fame and sex. “More Chaos” affirms Carson’s charismatic reputation, with bouncy tracks like “Trap Jump” and “Lord of Chaos” allowing fans to have a casual yet invigorated listening experience.

While “More Chaos” is consistent with Carson’s hedonism and lyrical prose, its grating production becomes overwhelming and overdone far too quickly. Repetitive hi-hats and 808s bass hits on “Money Spread” and “Thx” are when Carson’s voice clashes most with the instrumentation. The formulaic repetition and meager experimentation leave “More Chaos” as a project defined purely by its sonic mania. Overall, the album lives up to its name, pairing laid-back verses with energizing production but falls victim to messy, repetitive mixing that adds a sense of disorder. Read full review.

RATING: 2.5/5 (Reviewed by Samika Bhatkar)

“Headphones On” by Addison Rae

Despite her disappointing attempt at breaking into the pop industry with her 2023’s EP, “AR,” Addison Rae has been on a hot streak: In addition to her viral single “Diet Pepsi,” she’s been releasing some of the more sonically unique music among rising pop stars like herself. Her latest single, “Headphones On,” while consistent with her recent trend of Lana Del Rey-inspired hazy dream-pop, is far from the best she’s done thus far.

With lyrics like “You can't fix what has already been broken / You just have to surrender to the moment,” “Headphones On” is lyrically nothing remarkable; in fact, they are rather repetitive, full of cliche musings about letting go of things Rae cannot control. However, they are admittedly a refreshing break from her typical topic of choice: sex. But where Rae tends to shine is in the production, especially in the vocals, and “Headphones On” delivers. Heavily inspired by R&B, change to "her vocals are breathy and light, elevated by the pulsating synth-beats in the background.

Although the synth-beats are catchy at first, they ultimately begin to get overwhelmingly repetitive as the song progresses. In “Diet Pepsi,” arguably her best single yet, while the production remains somewhat monotonous, she uses a key change to break up the repetition. In “Headphones On,” Rae and her team make weak attempts to break up the repetition in the pre-choruses and outro, but fall short.

Rae’s voice is genuinely addicting, and the production is syrupy and fresh. However, the song feels one or two minutes too long and the repetitive, shallow lyrics cause it to be mediocre.

RATING: 3/5 (Reviewed by Giljoon Lee)

“I Don’t Know Why (I Just Do)” by Jeff Goldblum & The Mildred Snitzer Orchestra Feat. Ariana Grande

In a delightful blend of old and new, “Wicked” (2024) co-stars Jeff Goldblum and Ariana Grande team up for a smooth, jazz-infused rendition of the classic “I Don’t Know Why (I Just Do).” Released by Goldblum with The Mildred Snitzer Orchestra on April 25, the track features verses sung by Grande.

“I Don’t Know Why (I Just Do)” was originally published in 1931, composed by Fred E. Ahlert with lyrics by Roy Turk. Over the decades, the song has become a standard, recorded by icons such as Frank Sinatra in 1943.

The cover honors the song’s roots while refreshing it with a clean, modern audio aesthetic. Staying true to its jazz heritage, the arrangement gives nearly equal weight to instrumental and vocal elements, focusing more on mood and rhythm than lyrical emphasis.

The track opens with a unified sense of play among the orchestra members. A violin solo introduces a plaintive, drawn-out melody that seamlessly transitions into Grande’s vocals. Her voice is pristine, with a vibrato that blends effortlessly with the ensemble’s texture. Grande demonstrates not only her vocal control but also her ability to adapt to a genre far removed from her usual pop repertoire.

Goldblum’s piano solo is spirited and cohesive, injecting a sense of liveliness and warmth that energizes the track. As the verses progress, Grande’s dynamic control builds naturally alongside the accompaniment — adding emotional depth without ever overpowering the jazz ambience.

This rendition of “I Don’t Know Why (I Just Do)” serves as both a tribute to the jazz-pop crossover era and a showcase of the artists’ versatility. It’s a graceful, vibey reinterpretation that bridges generations with charm and sophistication.

RATING: 4.5/5 (Reviewed by Samuel Teo)

“The Accountant 2”

Ben Affleck returns as Christian Wolff in “The Accountant 2,” a slick, high-stakes sequel that doubles down on the character’s stoic sharp-shooting and number-crunching brilliance. The film follows Wolff as he is pulled into a covert world of violence, as he uncovers a new global conspiracy, while reuniting with his twin brother, Brax.

From the opening scene — a precision-driven extraction mission in a shadowy Eastern European city — it’s clear that Wolff hasn’t lost his lethal edge. The film re-establishes his calculated calm under pressure, leaning into the image of Wolff as a mathematical savant and assassin hybrid who never misses his mark. Affleck, one of the main highlights of the film, takes on this role better than ever, creating a strong balance of providing humor in lighthearted moments but taking on a serious tone to complement the darker parts of the plot. While he is complemented well on screen by his brother, played by Jon Bernthal, none of the other supporting characters really stand out, making the ensemble cast members very forgettable and inconsequential to the story.

The film has a lot of lulls in the script and really takes its time to get going, but when the film finally hits the ground running, it offers stressful and high-octane action sequences, drastically improving from its 2016 predecessor “The Accountant.”

Overall, while the film is a slight improvement from the first one, it still lacks consistent storytelling throughout the film and fails to keep the audience engaged until the final act.

Rating: 2.5/5 (Reviewed by Sagnik Nag Chowdhury)

“What Was That” by Lorde

Following an impromptu mini-concert held in Washington Square Park on April 22, Lorde released her hit single “What Was That” on April 24, taking fans by storm. The song and the mini-concert gave fans a taste of Lorde’s upcoming album “Virgin” and her Ultrasound Tour.

The single starts with a low synth beat — similar to songs from Lorde’s previous album “Melodrama” — bringing back her style of using electronic beats as backing tracks and buildup for the chorus. While the synth does its job by elevating the song and pairing well with Lorde’s voice, it fails to play a powerful role within the track like it did in “Melodrama.” In the previous album, synth was a part of the story, something that is lacking in this single.

Alongside this, Lorde’s lyricism also falters, as her unique style composed of short vivid memories fails to depict a larger picture. “What Was That” is a collection of loosely connected memories, leaving the story void of significant events or revelations, resulting in a slightly mundane and unfinished song.

Despite these flaws, the single remains a hit due to Lorde’s powerful voice, shouting at the end of the chorus and frequently using inflection to convey her frustrated emotions. Additionally, the parallels between this and “Melodrama” are sure to spark excitement in fans who are eager to revisit that era of Lorde, with many noticing similarities in composition and connections in lyrics, fueling a popular theory that “Virgin” will serve as a “Melodrama Part 2.”

Overall, while the single falters in a variety of isolated ways, when held in comparison to Lorde’s past works, it spurs anticipation for her upcoming album and confirms to fans that a “Lorde Summer” is officially on the way.

Rating: 3.5/5 (Reviewed by Sana Karkhanis)

“Why Not More?” by Coco Jones

RNB artist, Coco Jones’ first studio album “Why Not More?” is sultry and alluring yet fun and confident, perfectly showcasing Jones’ captivating vocals with catchy lyrics.Although Coco Jones debuted as a singer back in 2012, her first studio album “Why Not More?” was released on April 25. Due to her long history in the music industry — 13 years since her debut — this record doesn’t feel as experimental or unsure as other artists’ first albums, as they are typically still finding their personal style. Instead, Jones is confident with who she is and what her artistic strengths are. Her attitude carries into her smooth, hypnotic voice, conveying emotions that transport listeners into her world and enhances her music overall.

In “Thang 4 U” she sings “I know I’m a boss, Ima always lock in even though a tough girl needs lovin.” The confident character Jones embodies and maintains through her direct lyricism is what makes the album so enjoyable — it's casual but strong. The album perfectly balances her smooth vocals and more aggressive instrumentals. Jones connects with the audience through her delivery — her higher, lighter and softer notes when she’s expressing love contrast with breathier and raspier vocals. Even at times when she is more vulnerable and unsure, her voice remains poised.

However, “Why Not More?” neglects to explore Jones’ experiences beyond love and romantic relationships. This doesn’t actively work for or against the album because of how capable of a vocalist Jones is, but the debut would have been more interesting had she explored other aspects of herself. The vibes are immaculate, each song is fun and confident. Overall, “Why Not More?” is a perfect transition into summer as it creates a space for positivity and confidence, and good vibes overall.

Rating: 4/5 (Reviewed by Vaishnavi Katukam)

“Gnarly” by KATSEYE

KATSEYE debuted with “SIS (Soft Is Strong)” — a trendy, catchy and unforgettable album. However, their continuation with “Gnarly” does a complete 180 from their previous concept, leaving much to be desired from the fledgling yet promising girl group. “Gnarly”’s blaring beats, dubious lyricism, absence of a core theme and contentious allusions to pop culture are barely saved by impeccable visuals and KATSEYE’s strong stage presence. The single presents itself as a failed attempt to channel the “camp” and “quirky” style of current pop music to the likes of Charli XCX’s “brat” or Addison Rae’s “Aquamarine.”

“Gnarly” begins with a drab and slow-paced rap segment from youngest member Yoonchae, who sings of “gnarly” things — “Boba tea,” “Tesla[s],” “this song,” and “parties in the Hollywood Hills.” This confusing entry into the track is compounded by further disconcerted lyricism from vocalist Lara and center and visual Manon, who rap “gang gang gang gang gang” — incomprehensible messaging that is lost on top of a noisy backtrack, leaving little opportunity for KATSEYE to creatively grow throughout the song.

KATSEYE attempts to save “Gnarly” from incoherency with an eccentric, empowering chorus that emphasizes that KATSEYE is “the s—,” coupled with electrifying choreography and visuals of parties and cars. However, this messaging is almost completely erased with incomprehensible lyricism that demeans fans as “gnarly,” “boring dumb b—” that are “jealous of [KATSEYE’s] mansion,” placing KATSEYE and “Gnarly” on a pedestal of societal superiority rather than of true empowerment. “Gnarly” concludes its short runtime as weakly as it began, held up only by KATSEYE’s stage presence and demeaned by questionable usage of AI and inappropriate imagery. While “Gnarly” seems to be an effort from KATSEYE to spread their wings in a creative direction away from the lovable yet formulaic nature of TikTok smash-hit “Touch,” their inability to adapt to new genres in a way that isn’t reminiscent of a failed cosplay leaves much to be desired.

Rating: 1/5 (Reviewed by Kate Yang)

"Priceless” by Maroon 5 Feat. LISA

With a catchy beat and lyrics that easily get stuck in your head, pop band Maroon 5 released “Priceless,” a single featuring K-pop star LISA, on Friday, May 2. The pair, while unexpected, complement each other’s musical styles perfectly — LISA’s soothing voice echoes in the background of lead singer Adam Levine’s calm yet strong vocals. Their voices gel together to create an addictive sound, elevated by LISA’s beautiful solo in the middle. The lyrics are simple, yet dynamic when paired with the background drums and guitar. A rhythmic foundation keeps the song’s energy high, and the melody flowing gets the words of the song running through listeners’ minds indefinitely.

However, the downfall of the song comes from the awkwardly placed autotune on Levine’s voice, a tactic that strays away from the band’s past work. The autotune creates a somewhat robotic feel that poorly contrasts Levine’s naturally smooth vocals. However, the autotune perfectly fits LISA’s style, saving the song.

Despite its minor flaws, the duo pricelessly delivers a collaboration and chorus that satisfies listeners.

Rating: 4/5 (Reviewed by Ananya Chaudhary)

"ANGIE" by spill tab

Alt-pop artist spill tab brings heart, warmth and an infectious energy to her debut studio album, “ANGIE.” Defined by its hazy instrumentals and fun twist on bedroom pop, the album’s carefree attitude is displayed throughout the album. From the randomly capitalized titles to the two tracks exclusively in French, “ANGIE” showcases a bubbly personality that isn’t afraid to contend with darker themes.

The first track, “PINK LEMONADE,” immediately sets the light tone — synthetic whistles flit in the background as spill tab describes passing out on a couch. Although the creative rhymes, like “crusty bandy-aid” and “Kaiser Permanente,” are slightly unserious, they add a whimsical texture to the track. It’s clear that lyricism takes a backseat to the instrumentals, even as themes of unrequited love and personal dissatisfaction pervade the album.

“ANGIE” successfully attempts a range of moods — “Adore Me” is smooth and vulnerable, while “De Guerre” makes a scene out of its crackling, aggressive drums. But no matter the instrumentals, each track makes full use of spill tab’s vocal and artistic range, allowing the album’s 30-minute runtime to feel sharp and snappy. “ANGIE” is a little fluffy, but its airy confidence and rich production make it shine like a halogen dream.

Rating: 4/5 (Reviewed by Jillian Ju)

About the Contributors

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.

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.

Sagnik Nag Chowdhury, Arts & Entertainment Editor

Sagnik Nag Chowdhury is currently a senior and an Arts and Entertainment editor for El Estoque. In his free time, he likes updating his Letterboxd, driving his friends around and trying new food places in the Bay.

Jillian Ju, Arts & Entertainment Editor

Jillian Ju is a junior and Arts & Entertainment editor for El Estoque. They enjoy taking long naps and eating complicated fruit, like a bear might.

Sana Karkhanis, Staff Writer

Sana Karkhanis is a sophomore and a staff writer at El Estoque. In her free time she enjoys camping and taking walks with her dog.

Vaishnavi Katukam, Staff Writer

Vaishnavi is currently a junior and a staff writer for El Estoque. She enjoys reading and binge-watching sitcoms in her free time.

Giljoon Lee, News Editor

Giljoon Lee is a junior and a news editor at El Estoque. He is also an editor and a co-PR Lead at La Pluma.

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.

Kate Yang, Staff Writer

Kate is currently a junior and a staff writer for El Estoque. Outside of writing, she enjoys finishing homework, trying new hot pot flavors and indulging in her fifth rewatch of “The Good Place.”