Alessi Rose Sings The Stories We Swallow With Her EP Voyeur

Alessi Rose has ultimately created the soundtrack for the world of toxic relationships with her newest EP, Voyeur. With her early 2000s coming-of-age musical atmosphere, each track has a cinematic feeling, as if they are being told through the silver screen.

This movie-esque effect allows the listener to romanticize their own similar experiences in a lighter way, one that gives them both hope and validation. Fostering a connection between her and her audience in this way further conveys Rose’s concept of "voyeurism," in which she is inviting us to watch with her, and in doing so makes our own messes feel a little more beautiful. 

Same Mouth

We open with an airy, upbeat acoustic number that revolves around the idea of being fully aware of someone’s detrimental flaws and actions, but intentionally pushing that to the side just to relish in the good, yet brief moments. The power in Rose’s voice subtly strengthens throughout the song, from the first pre-chorus to the second, making it apparent that she is feeling the effect of the words more and more. With lyrics like, “It’s kinda masochistic / I’ll hurt myself so you’ll fix it,” listeners can see she is putting herself and well-being at risk just so this person will show some affection for her: 

“You tell me that it’s alright / You whisper it in my ear / But when I need someone / No one’s gonna be here,” Rose emotionally belts in the bridge, understanding the cold-hard fact that this person only cares about her when it benefits them. They love her when it’s physical, and leave her when it’s emotional.

Take it or Leave it

Already grabbing the listener’s attention with her small choir of heavenly “ah’s” and humble claps, Rose gracefully sets the flow of the EP. This is where we first bear witness to her stimulating use of imagery: “I’ll give you brutal honesty / You’re stuck in my teeth / It’s disgusting, I need it out.” When Rose sings this chorus, she portrays how desperately she needs this person pulled out of her mind because they are ingrained deep within her. 

“I feel like a voyeur / Watching you breathe / Wish I could do it for ya,” Rose sings, showing her intense infatuation with this person. Along with the exciting EP title drop in this lyric, her words express how much this borderline obsession affects her. This emotionally intense situation essentially requires the word choices to be graphic and intense, Rose wants to be this person’s lungs and breathe for them. 

Everything Anything

Rose opens with this, quite frankly, cool energy with the lower guitar beat and her slightly deeper voice. There’s a sense of indifference along with her seemingly apathetic amusement at her situation. Rose sings with a slight sarcastic twinge, which really cements the laughable fact of how her and this person went from intimate lovers to awkward strangers: “The fact we never talked about it / It’s actually absurd.” 

Her strong falsetto singing, “What’s wrong with you?” and dropping into, “Oh, we used to have sex now my calls won’t go through” in a way represents the abrupt highs and lows that this person put her through. The ridiculousness of this breakup aftermath is truly something so many people can attest to, and it brings power to one’s heart knowing they can now belt these lyrics with someone who went through the same thing. 

Stella

With this simple, yet passionate acoustic-heavy ballad, Rose broadens the overall EP concept by reflecting on her toxic friend breakup. She opens up about the demeaning effect that being left out can have on a person: “Cos I don’t get the joke every time you’re around.” Then effortlessly slides into how she is clinging on to the optimistic hope that this friend will say something, anything, that alludes to a deeper reason as to why she is treating her like this.

“And I still hold hope you’ll say something profound / But sometimes the girls just aren’t nice.” 

Even with the floaty musicality of the song, Rose’s strength, both emotional and vocal, manages to weave itself into every line. Considering this is such a universal experience for women growing up, it’s admirable that Rose writes about it from such an open and honest place. 

That Could Be Me

This track is the absolute stadium-shaking anthem of the EP. A screechy, feedback-ridden guitar inches up, setting the angsty energy of the song. The angst is not only apparent in the instrumentals, but also in the overarching theme of the emotional tug-of-war between the fantasy and reality of Rose’s situation. Within the first chorus, the guitars fade to the back, bringing the steady bass drum to the forefront to pair with Rose’s forceful voice as she sings, “Rip out my heart / Throw it out on the concrete baby.” This, yet again, showcasing her talent for expressive lyricism. 

Rose’s vivid word choices bring in a tactile element that has proven to be a staple within this EP. Midway through, Rose transforms her voice to a softer falsetto to prove that she is willing to reshape and dilute herself for this person: “I can be perfect and pretty / Never too much / Not too clingy.” These lyrics have such a connectable quality for women listening, considering the contradictory expectations put on girls to be the “perfect” romantic partner. 

Then comes the bridge. Everything hushes. Rose’s voice turns airy as she confesses how “sick and twisted” her desire is to stay with someone so toxic. But quickly, the energy mounts, the guitar builds, background vocals swell, the kick drum returns with force — all of which blend together to build that emotional crescendo. The climax hits hard as Rose and her layered vocals yell, “That should be me / I told ya!” It’s a cathartic eruption that is only intensified by the added crashing symbols. It’s a track that is meant to be screamed out from the top of your lungs.

RIP

This is one of most poetic “f*ck you” songs I have ever had the pleasure of hearing. Every lyric is a relatable masterpiece that Rose delivers with a voice that is dripping with a bitter, yet defeated nonchalance. The opening lines are already jarring: “I wanna die / When you say you love me it’s cloaked in necessity / It’s not what you mean.” It immediately sets the emotional tone — one of desensitization that grows when love is offered out of obligation, not sincerity. The lyrics are swirling with an exhaustion, the kind that festers when someone’s constantly overcompensating and projecting. 

“And you wrote the book on how to deny your involvement / But you’ve been protesting too much,” Rose sings, highlighting the narcissistic cycles she’s clearly learned to spot. Instrumentally, the blend of gentle acoustic strumming, a whisper of electric guitar, and the subtle pulse of an egg shaker offers a softness that contrasts with the song’s lyrical sting. So many lyrics pack a brutal punch, but her dragging out the line, “And you’re so devoid of any real love / You just kept me to prove to yourself you can feel,” conveys such a crippling ache when having the emotional awareness of why this person is using her. This ache takes a new form through the booming bridge. Guitar feedback creeps in like a warning. Sudden stops in the drums and guitar build suspense, giving each word Rose sings a heavy punch. The song closes on a daring, defiant note: “Do it.” It’s not a plea, it’s a challenge; A final mic drop to a relationship that’s already lost.

Bittersweet

The infamous oxymoron of the word “bittersweet," the specific, contradicting feeling after a breakup. You want to hate the person, because that would be a simpler emotion, but that love and affection are still buried in your heart: “I’m not happy / I’m not sad / I’m in between / I’m bittersweet.” 

Not only is there a back-and-forth between your leftover feelings for the other person, but now there’s this internal dilemma of the part you had to play and if you were the real villain. Rose’s strong, yet smooth, voice sings out, “I get defensive like you mean something to me,” which further pushes this confusing, emotional war going on. This quicker paced acoustic tune, with an addition of light drum fills in the chorus, expresses the battle between the heart and the head.

Dumb Girl

A flawless choice by Rose to end on this song, “Dumb Girl” manages to encapsulate the overall concept of Voyeur, along with the individual stories told throughout. Rose reinforces the self-aware narrative by alluding to herself as a “dumb girl.” 

“One foot out the door / There’ll be some other dumb girl there to get you off,” Rose sings. 

She’s constantly enticing the listener with her way of singing, for example, in the verses Rose uses a singing-talking voice on the ending words. This offers a grounding effect for the listener, making us remember that this is a real person opening up about her experiences, and it’s not just a song. Throughout the track, we hear how Rose’s toxic lover uses affection as a form of manipulation, “And I break down in your arms I’m going under. You kiss me just to make me stop,” and it’s simply a devastating line that really stays with the listener. The emotion that comes out in the song is palpable, and the use of backing vocals towards the end is nothing short of soul-stirring. Coming down from Rose’s belting voice in the last chorus, you can hear the smirk in her voice as she casually says, “F*ck it.” It’s this form of acceptance for Rose’s own vicious cycle that closes the EP, and she does it with a lovable charisma. 

With Voyeaur, Alessi Rose doesn’t just give us a collection of songs — she hands us a mirror. Every track serves as a vignette of self-awareness, heartbreak and emotional reckoning, stitched together by her sharp wit and raw vulnerability. Her ability to blend cinematic storytelling with bruised emotion makes this EP a cathartic experience for anyone who’s ever loved too hard, lost themselves in the process, and lived to sing about it.