Embracing a newfound lyrical vulnerability, everything’s coming up for “rosie.”

The member of K-pop group turned international sensation BLACKPINK, ROSÉ reignited her career as a soloist with the release of “rosie” on Friday. Totaling 12 tracks and 36-minute runtime, the vocalist’s first full-length studio album sparkles with its candid lyrics. Throughout an exploration of exes and lost flames, ROSÉ crafts a fresh story that is tongue-in-cheek without becoming vicious. However, the album leaves listeners craving more with short tracks and repeated verses.

Barring the two pre-released singles “APT.” and “number one girl,” “toxic till the end” is by far the album’s strongest track. With punchy strums and a glowing background melody, the song cathartically soundtracks a mutually toxic relationship. Rather than using her role as a songwriter to place herself on a pedestal, ROSÉ mirrors the chorus’ sentence structure to criticize herself and “The Ex” in the same breath. After proclaiming “I can forgive you for a lot of things / For not giving me back my Tiffany rings,” ROSÉ delivers one final punch in the bridge before a stripped-back chorus rounds out a standout track that feels raw and human.

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Serenely rhythmic, “gameboy” radiates a laid-back and carefree atmosphere. Complete with playful rhymes, the chorus is an airy taunt that creates a breezy track. However, lyrical references to “two years” feel tonally at odds with the track of the same name. Taking a more forlorn approach, “two years” is difficult to resonate with during subsequent listens because it’s positioned within an album primarily about romantic toxicity. Remarking “Maybe I’m just sick / And this is how it’s gonna be,” the bridge comes closest to becoming self-aware of this lack of cohesion.

Evocative and profound, opening track “number one girl” pulls from the depths of ROSÉ’s emotional and musical toolbox. A candid ballad fit for a cinematic moment in the moonlight, ROSÉ’s siren smooth vocals encapsulate the ache she details as she pleads “Isn’t it lonely?” However, in her pursuit of number one, ROSÉ finds herself in a precarious position. As a standalone narrative, “number one girl” ends on a low note, leaving listeners in the trenches of an emotional abyss. It remains to be seen whether ROSÉ’s stripped-back honesty will make her audience feel seen, or echo a problematic anthem of external validation in the name of a flawed love.

Recounting the story of friends caught in the in between, “drinks or coffee” has a titillating instrumental with a flirtatious fizz from ROSÉ’s intoxicating verses. While the track has a consistent bubbly build with its rhythmic ebbs and flows, “3am” reaches its best by the second verse. Its opening lyric, “I just saw a red flag / Gonna pretend I didn’t see that” seems bound to become a tired TikTok trend, and the chanted chorus also threatens the viability of future listens. However, ROSÉ’s dream-like delivery of “I just want it to be you” provides a welcomed respite that proves the song may be better suited to a live rendition.

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With a catchy chorus and upbeat melody, “APT.” aptly rocked the internet with the fun-spirited fervor of its namesake. The Bruno Mars collaboration samples Toni Basil’s “Mickey” in its chorus, creating a sense of nostalgia that enhances the retro-punk aesthetic present in its music video. Since its release, ROSÉ has performed the track with and without Mars, yet each live session has felt like a fresh iteration through ROSÉ’s varied musical personas and note changes. A testament to ROSÉ’s craft, this trend throughout her live performances is sure to continue with the release of the full album.

Rounding out the latter ballad-heavy part of the album, ROSÉ hits an emotional high note with “too bad for us” and “stay a little longer.” Reminiscent of Rihanna’s “Love On The Brain,” the latter’s gooey instrumental is accentuated with pain-soaked lyrics such as “I’m fragile, I’m speechless, don’t leave me in pieces.” However, despite being some of the longest tracks on the album, the final songs blend together in a slurry of unfinished thoughts. Among these is “call it the end,” which is promising with its crossroad imagery, but ultimately poses repeated borderline comedic questions. Already short, the album still would benefit from combining its lyrical gems into more impactful tracks, without the filler.

Weeding out its fluff, “rosie” marks the alluring first blooms of ROSÉ’s reinvigorated artistic identity.