Game Night from Tufts Jackson Jills is excessive and obsessive. Excessive in its riches all around and the depths at which it occasionally plummets (for me). And obsessive because after poo-pooing it earlier in the year, I cannot stop listening to this album. As of this writing, after nearly three months from my initial listening for both RARB and CARAs consideration (when I did not like it) — now I cannot stop. I CANNOT STOP. Not a night goes by that I don't play it somehow or at least think about several of the tracks by having choruses or motifs running through my brain or spontaneously dancing (yeah, I'm talking about you, Automatic, Criminal, and Drink You Away) for various and sundry reasons. I'm glad I don't put those videos up on TikTok. It's become a game with my brain, and my brain is winning! For once in my life I'm just hoping that the chain of this album will not be my doomsday. It's criminal how much nothing else matters on those days.

All the tracks have stellar arrangements. There's something interesting or quirky about each of them, like the stylistic shift in the middle of The Weather (especially in both how jarring it is initially, but a few seconds later, how utterly irresistible that change is). A bold move to cover the most hated group (Lawrence) on TikTok, the gospel revival house ending to The Weather is probably the perfect way to end this uproarious album. Even the opening of the song that must not be named (ends with the name of a "month") is effectively engaging and sets the tone for a joyous ride right from the jump.

This Nothing Else Matters is probably the third best version of the song out there. Naturally, the first two are Metallica's original and then the live version by Basix. If you were lucky enough to hear the latter in person at SoJam, you know exactly what I'm talking about — and with the Jills coming in third, you know these ladies are boots down. Soloist Layla Hoffman is the definition of ridiculous. She is iconic.

Associative listening is apparent with two other tracks as well. Outside of Fiona Apple, the Loreleis pretty much own Criminal from their 1999-2000 Caged album (with a little nod to the grit of Treble's Fast as You Can from TCB). And again the Jills come in third. Still a bronze, still blasting out my speakers on the daily when I'm not singing it in my head. And as great as The Chain's starkness and thump-thumping is ... I can't help but wax nostalgic for Capital Blend's awesome version.

Unfortunately, For Once in My Life just doesn't fit with the rest of the album. It's an okay track: interesting in parts, well-sung overall, with really impressive trumpets. But it sticks out like a sore thumb sandwiched between the two rock songs The Chain and Drink You Away (or country rock if you factor in the remake by Justin Timberlake and Chris Stapleton). We know that most albums are little more than a collection of singles nowadays, especially in the collegiate realms, so that means track sequencing is given a backseat — but it's probably even more important when you are going to release a thoughtful album. I mean, the Jills were already pushing it by having two Timberlake-led songs on the release.

There is an oddly nitpicky issue that I have with one track on Game Night, which is just a personal preference but still stems from my being a voice and articulation professor. Being an '80s Pointer Sisters fan (first off, a 21st century group singing the Pointer Sisters is absolutely mind-blowing), Automatic was on continued rotation during middle school. So much so, that a single syllable pronunciation change takes me out of the song every time — yet it does not stop me from smiling and praising this recording. During the choral cascade of "Au-to-ma-tic", I've always heard the second syllable as "toe", whereas this group is stressing a hard "tah". I'm jarred but not pressed because again, it is a fantastic arrangement and performance of the song. I can't stop, won't stop.

Listen to the wind blow by picking up a copy of Game Night. Roll the dice, play some pong, drink your sorrows away, or do the wobble, it'll be a grand night regardless of the weather.

The Jackson Jills named this release Game Night, a perfectly assembled collection of guilty pleasure songs and jams that simply slay. I love it. Game nights are indoor events, but this whole thing feels like you've got a front row seat at an outdoor summer concert, tank top, cold drink, and fist pumps for the local band, the mighty Jackson Jills.

A lot of these tunes are now instant re-classics. We get some wildly playful nostalgic tunes delivered with fresh feistiness in It's Gonna Be Me and ...Baby One More Time. Enjoy the huge group singing and fun mixer Ed Boyer had on Automatic. Fiona Apple even returns to us through Layla Hoffmann, a lead who can sell the hell out of Criminal with a voice that drips mood and sizzle (I do believe Fiona herself would blush). Arrangements like Doomsday really show off the range, blend, and ensemble capabilities of the Jackson Jills, who will also delight you with their skills on For Once in My Life with a featured spot-on vocal trumpet solo. And the performance presence on Drink You Away … palpable.

If you thought all that was fun, wait for the big hitters in the back half. This was the right era of the Jackson Jills for this presentation of The Chain. We get an evocative work-song opening and the delight of hearing Abby Sommers, principal arranger for Game Night, rocking the lead microphone with her perfectly paired duet partner Katie Nova. You'll get chills on the power swells, the harmonies, the razzle dazzle finish, damn near everything. Along the way, the group drops Metallica (!!) with Nothing Else Matters. To me, this is as big as Divisi singing Yeah!. Also, and this is not commented on enough in a cappella, but what delightful diction from lead Hoffmann. And finally, the big finish with CARA darling The Weather. Stunning leads from Gwen Draut and Clara Scheutz, gentle production that beautifully frames the voices, those high embellishments in the highest voices, my stars … and then a swift transition into a breakout powerhouse gospel choir. That's how you end things.

A lot of song styles, a lot of ideas, but one unifying factor: the release is absolutely joyful. The voices are authentically happy when the song calls for it, and authentically intense when you need it. The sonic work is full and vibrant, and you're guaranteed to love at least a few of these songs immediately. Enjoy the heck out of this one; the Jackson Jills certainly did.

Game Night is a jovial project by the Tufts Jackson Jills that is inspiring and impassioned. The moment the Jackson Jills get going, the listener is brought into a world full of crisp vocals, meticulous processing, and a hearty selection of tracks that represent the group well. You would be hard-pressed to find a sturdier, more effective collective group sound. But there are moments on Game Night that leave me torn on whether the project's other elements are as solid as the backing sound.

There is a charm and charisma to the sound of the Jackson Jills. Perhaps because each track, even the less thrilling ones, are so refined. Chances are good that you have heard NSYNC's It's Gonna Be Me, but I am willing to bet not in the way the group performs it. The arrangement mixes heavy undertones with the original's naturally playful vocal stylings to create a semiserious artistic palette to show off skilled vocals. As a whole, the song feels like it could be bigger, but it is a fun opener to invite listeners in.

Other tracks follow a similar pattern to It's Gonna Be Me with gutsy vocals and moments of artistic appeal. ...Baby One More Time and The Chain are good examples. ...Baby One More Time is funky with a vocal zest that is both created and managed by a lively group sound. The Chain leans more on its soulful rock nature, showcasing stunning harmonies and an extravagant pulse. Both tracks, however, suffer with momentum and from not enough big moments to hold the listener's attention until the end.

While some tracks on Game Night are lacking a few elements, such as sustained creativity on The Chain due to repetitive ideas, lack of dynamic variance on ...Baby One More Time, and a greater push for the lead to be as assertive as the backing group on Doomsday, the complete group sound of the Jackson Jills is the highlight of nearly every track. The latter example is a moment where every part has to truly elevate their game.

The album is not without its home-runs. Automatic and Nothing Else Matters are absolute gems! The entire experience of Automatic is hip, exciting, and audibly creative. The enhancements to the rhythmic vocal lines just add so much character to the song. The Jackson Jills capture the spirited nature of the Pointer Sisters through full-sounding chorus sections, body percussion, and a beautiful blend between lead and backing group.

Nothing Else Matters also leans on one of the best solo performances on the album with Layla Hoffmann's grungy and deeply affectionate singing. Her vocals pair perfectly with the aggressive rock percussion, the group's massive chords, and the masterful editing heard throughout the track. The track is an absolute win for the Jackson Jills!

Stylistically, Game Night has some balance issues, but as a collective the Jackson Jills are on top of their game. Their ability to sing as one unit is impressive, and it resonates through the music they have created on their latest release.