IT’S NOT REAL – A Track-by-Track Review of the One-Of-A-Kind Debut Album From Ella Red

By Kyla Lemieux 

What do you get when you cross powerful pop anthems with dark electronic themes? The answer is Ella Red. With the release of her debut album,  IT’S NOT REAL, Red has made it clear that she’s not here to play around. It’s relatively rare for an artist to have a fully thought-out, unique sound by the time they release their first album, but Red has already proved that she has no intentions to make music that sounds anything like any other artist.

1. “Parasite” 

The project opens with “Parasite,” a hauntingly compelling song telling the story of the demons living in Red’s head. While the song uses strong metaphors to depict the feeling of the anxiety she’s singing about, Red finds a way to make you feel and understand every word. Then, the entire sonic mood of the album suddenly changes, showing the true range that Red possesses.

2. “Ball and Chain” 

Track two, “Ball and Chain,” tells of similar woes as “Parasite,” but its punk-inspired guitar riffs and hammering bass beats could not be more different. The almost warped vocal effects that Red utilizes on this track seems like an auditory representation of the “glass on the floor” that Red mentions in the song, before stating “I think it hit my brain.” 

3. “We’re All Gonna Die” 

The third track, once again, proves the impressive diversity in Red’s musical toolbox. “We’re All Gonna Die” brings attention to the ages-old revelation that nothing lasts forever. Though the lyrics, such as “in the end, were we really alive?” shows off Red’s love for weaving morbid analogies into her music, the song itself is comparable to those of No Doubt, featuring a thundering rock-and-roll number,  a striking electric guitar part and conspicuous vocals.

4. “Funeral” 

As the album progresses onto track four, we get a better sense of Reds lyricism. “Funeral” is the anti-people-pleasing song we all needed. While the song once again incorporates Red’s signature electronic instrumental support, the lyrical significance is the true highlight of the song. Stating “I let you paint me the villain” and “here lies the girl, clinging to her own self sabotage,” Red tells of her past of people-pleasing. But throughout the song, it becomes clear that she’s left this version of herself behind, proudly recalling, “I really don’t wanna hear it, ‘I’m sorry’ burns like it’s searing, my last nerve just hit the ceiling.” 

5. “He Asked For It” 

The fifth track, fittingly titled “He Asked for It,” is one of those songs that is not just a piece of music, but also a song that plays an entire movie in your mind when you listen. Red didn’t even consider holding back on this song, opening the number by immediately stating, “I squished his head like a berry would pop between my thumb,” and setting the tone for an intense, but slightly too engaging song about the (hopefully) metaphorical murder of Ella’s problematic ex-lover.

6. “Predator” 

The past has proven that some artists use the midpoints of their albums to put filler songs, but Red did the exact opposite with this album. Track six, dubbed “Predator,” is an extension of the strength previously shown on the album. Filled with dramatic beat drops, speedy vocals, and even a strategically placed knife sheathing effect, “Predator” draws once again on the themes of violence and revenge already prominent in the preceding song. In the chorus of “Predator,” Red declares “I am the parasite under your skin,” making a reference to the opening track of the album.

7. “Party Animal” 

When I first heard the intro of track seven, entitled “Party Animal,” I couldn’t help but be reminded of the iconic 2010s music of superstar Ke$ha. Opening with an unforgettable growling noise, the techno-pop anthem tells the story of an extroverted socialite who can only be described as “the main attraction.” In the track, Red sings about all the ways the subject of the song is superior, calling her “so cool” and “the only woman in the room.” The song exudes confident it-girl vibes, though at one point Red does express emotions of slight jealousy, admitting, “I think I wanna be her, too.” Though it’s impossible to choose one “best” song on the album, I personally might have to call “Party Animal” my favorite, the bad b*tch energy of the song making it impossible for me to ignore.

8. “Aphrodite” 

Track eight, “Aphrodite,” is an absolutely stunning power ballad, showing us that Red is not singularly a rock-and-roll girl. Here, Red sings about her personal issues with body image, voicing her fear that she’s being used by others for unfair reasons. The reference to the Greek goddess Aphrodite is Red’s way of symbolizing beauty as she begs to know, “Aphrodite…were you as lonely as me?” She once again examines her feelings of unintentional jealousy towards others and explores the ways that women are discriminated against and judged because of their bodies.

9. “Cupid” 

The album’s ninth track, named “Cupid,” is another slower song, but it does anything but bore the listener. Arguably the most vulnerable track on the album, Red tells the painful story of the breakup she experienced with the person she considers to be “the love of her life.” The powerfully heartbreaking shaky vocals paired with the exposed yet articulate lyrics make for a perfect song to cry to while reminiscing about a past relationship. Even if you can’t relate, the toned-down production of the song makes it impossible not to feel Red’s emotions as you listen. Perhaps the most devastating aspect of the song is the way you hear Red’s self-doubt coming through, wondering, “did I love too much or not enough?” Though the album as a whole is a more upbeat, revenge-heavy project, including such a powerfully sensitive song to the mix is an effective way of making an album even more indelible.

10. “Always the Artist” 

Continuing the trend of slower songs, “Always the Artist,” the tenth track on the album, is an almost hollow-sounding song about never being “the muse.” While the song is somewhat less sonically riveting than some of the others on the album, the lyrical mastery more than makes up for it. Another effort focusing on self-doubt and the feeling of not being enough, this tune is beautifully crafted to bring a sense of validation to those who spend countless hours longing for something while never feeling longed for themselves.

11. “Religion”

With track eleven, we find ourselves back in the realm of the vibe we all associate with Red: brooding, expressionist music. “Religion” is a song about finding someone who seems almost too good to be true and feeling completely consumed by the wonder of that relationship. As Red sings about being drawn into her latest romantic affair, she draws us even deeper into the world she’s created with her music. Exuding an almost cathartic feeling, “Religion” is a flawless way to bounce back after the previous three-song string of ballads.

12. “Spider String”

As we arrive at the penultimate track on the album, we are met with another macabre using the metaphor of death to convey Ella’s feelings about existence as well as revenge. She sings here about “decaying” but never disappearing, instead coming back to haunt those who have wronged her. Stating “you’ll see me when you blink,” Red makes it clear that she’ll ruin your life if you ever dare to hurt her.

13. “IT’S NOT REAL”

And just like that, we’re brought to the final track on the album. An unbelievably unique title track, “IT’S NOT REAL” is a song that brings light to the flaws of humanity. Though these themes are present throughout the album, Red finally delves deeper into her worries of an end that she feels is always in sight. The song is laced with themes of impending doom, and the all-consuming panic of figuring out what you’re “meant” to do with your life. The verses of the song are formatted in an almost rap-like spoken word style, adding yet another facet to an already diverse project. By the end of the second verse, it seems as though Red is having a sort of spoken panic attack, her emotions coming through in lines such as “we’re all pointless, it’s all pointless, everything always has an end. Why can’t just one’s logic bend?” The ominous instrumentals complete the foreboding feeling of the song.

 

Before the long-anticipated release of IT’S NOT REAL, Red had already earned the title of fresh, unique, up-and-coming artist. But since the world has finally been graced with this album, she has cemented her place in the industry. Though she hasn’t quite reached breakout status yet, I have a feeling that this will change soon. She’s already accumulated over 1 million monthly listeners on Spotify, and this number is growing every day. Despite the fact that IT’S NOT REAL only hit streaming services on January 23, 2026, Red already has a busy year planned out. With her first headlining tour beginning on February 17th in Houston, Texas. It is clear that she’s ready to leave her impression on the music industry. There may already be countless talented artists rising at the moment, but if you’re looking to add a distinctive dark techno-pop sound to your playlist, then I absolutely recommend that you give Red a listen.

 

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