From acoustic ballads to angsty pop-punk, BETWEEN FRIENDS leave no stone unturned on sprawling debut album I Love My Girl, She’s My Boy
BETWEEN FRIENDS have marked their arrival with debut album I Love My Girl, She’s My Boy. A 14-track collection detailing the throes of adolescence and anchored by an indie-pop flair, the album spans tales of heartbreak and love, as soundtracked by an array of distinct sounds.
Speaking of the album’s diverse signature, which treads almost every corner of pop music with finesse, BETWEEN FRIENDS said “it reminded us of stealing a CD from a friend’s car that was a compilation of everything we liked the best when we were 15.”
It’s a fitting description that matches the tumultuous nature of growing up, where the duo — composed of siblings Brandon and Savannah Hudson — borrow from an array of sounds as if trying on the multiple personalities we all assume while coming-of-age.
The project begins with the irresistible pop-punk attitude of Stalker. Seemingly pulled from the soundtrack of an aughities teen movie, the opener coasts on a groovy bassline and talky delivery reminiscent of an Olivia Rodrigo cut.
There’s a dazzling level of ear-catching flairs on Stalker, from the glitch of a backing synth to panning vocal asides and fuzzy guitar strums.
Later, Savannah sings atop applauding sound effects, and delivers the kind of jazzy outro you might hear in a ‘50s speakeasy.
This commitment to sonic diversity continues on Bruise, where BETWEEN FRIENDS slow down proceedings for a reflection on self-talk, running in circles, and wanting to be desired.
The track features welcome interjections courtesy of Brandon’s raspy delivery, and an ear-splitting bass section on the pre-chorus.
Opting out of the cliched heartbreak, the pair cleverly sing of a relationship that left the heart bruised, with an airy bridge and the return of spacey synths.
The longing on Bruise, which sees Savannah pine for someone to “want me”, is extended on Haircut, where the duo sing of a restyled hairdo as the ultimate sign of devotion in a relationship.
The track leans into the intimacy of a bedroom pop, making for a quieter entry complete with almost-hushed vocals and breezy electric guitar.
Leaving no pop stone unturned, BETWEEN FRIENDS dip into electronica on Lotto, with autoned adlibs and laser-like synths, before hitting a groovier stride on What’s Up.
The latter track serves as an ode to sliding into a crush’s DM’s, with production purpose-built for an afternoon bike ride.
After a blistering breakup voicemail interlude in the form of Sorry, BETWEEN FRIENDS enlist the breakneck cadences of Teezo Touchdown for Redlight.
Here, the Texas rapper brings a hip-hop flair to the record, serving as a welcome accompaniment to the duo’s call-and-response vocals and belting final chorus.
Elsewhere, I Love My Girl, She’s My Boy heads to acoustic pop territory on Smiley, which pairs Savannah’s angelic lyrics and simple guitar melodies with the type of diaristic lyricism you might hear on a BENEE record.
The true testament BETWEEN FRIENDS’ chameleonic power arrives on Self destruct, which somehow sounds like Evanescence and Stella Donnelly without feeling like a mish-mash.
The track’s message around self-sabotage is emblematic of teenagehood, but the latter half of the album isn’t all doom and gloom.
On Sloppy stella, the duo add to their repertoire with a surf-rock cut that’ll undoubtedly join your road trip playlist, while penultimate track Bb veers into electronic balladry with assists from Irish singer EDEN.
BETWEEN FRIENDS make their most experimental statement on the final title track, which is anchored by Savannah’s talk-sing verses and a ballroom-like chorus seemingly built for late-night voguing in a techno club.
I Love My Girl, She’s My Boy collates an eclectic array of sounds without parodying them, which itself feels fitting for an album that incisively recalls the blissful mess that is growing up.
Listen to BETWEEN FRIENDS’ debut album below, and head here to find the duo on Instagram.
