Monthly Music Recap: June ‘25
June has come to its end, which not only means summer is in full swing, but also signifies the half-way point of the year.
Zooming in on each month, it’s easy to list fantastic comebacks from big names in indie, rock and pop and stunning debuts from rising stars. The trend continued this month, with long-awaited releases and fresh voices alike scattering the scene to soundtrack the summer.
Portugal. The Man and Lucius serve up sonic satisfaction in “Silver Spoons”
If the bands Portugal. The Man and Lucius’s most popular songs were back to back on a playlist, I’d be very confused as to what the vibe of said playlist is. Portugal. The Man’s “Feel It Still” bombarded the radio in 2017 with its bass-driven, psychedelic pop sound, while Lucius’s “Two of Us On the Run” is marked by its harmony-rich, acoustic melodies. Yet, when the nine musicians come together on a rambunctious alternative rock anthem, the result makes perfect sense. The collaborative “Silver Spoons” is a standout track on Portugal. The Man’s surprise EP, uLu Selects Vol #2.
With its catchy chorus and loud nature, “Silver Spoons” perfectly executes the formula for an ear worm while still teeming with grit. A discordant guitar melody opens the track, coupled with a fast-paced drum beat and hyper bass line that build tension throughout the verses. Though still edgy, the fuller production of the chorus provides a sense of relief, as if all the verses’ pent of energy was released with the twist of a lid. Thematically, the bands poke fun at privilege with witty and satiric lyrics. “I was born with a silver spoon in my mouth / Hard to get along with when you only think about yourself,” Portugal. The Man’s lead vocalist John Baldwin Gourley sings, referencing the classic idiom of being born into a life of luxury. Other lines like “Standing on a rock when the system clamped down” further the metaphor and showcase his cleverness with words.
What I love about “Silver Spoons” is that there are two ways to listen to it. The first is with a careful ear tuned to the social critique the sharp minds behind the song offer. The second is with the recognition that the track is just pure fun, delivered by two bands that provide a sense of nostalgia and know how to get heads bobbing.
Panda Bear reprises with dynamism in bonus B-side
Listen to “Virginia Tech” on YouTube.
Fresh off the February release of his seventh studio album, Sinister Grift, psych rock artist Panda Bear gifted fans with a bonus track to accompany a slew of tour dates. Oozing with quirk, “Virginia Tech” tastefully goes beyond the signature surf rock sound the Baltimore native has cemented over the years.
Understanding the dwindling attention economy, Panda Bear — with the help of co-producer and Animal Collective bandmate Deakin — lures listeners in within the first 20 seconds of the track. Echoing snippets of synth grow and grow until the sonic curtain is pulled back and, in reverbed multi-part harmony, Panda Bear sings, “Don’t wanna lose my connection.” Musically, the captivation continues throughout the track’s unpredictable four minutes. Lyrically, his songwriting is abstract yet intriguing. Throughout the verses, every other line comes back to the idea of direction: “Trying to trace / My direction / Give it some space / My direction.” But by the final verse, the trend changes so subtly I didn’t even realize it until looking up the lyrics: “Trying to mend / My depression / Seeing the end / My depression.” The song goes from carrying an air of hopeful affirmation to giving up completely, perhaps reflecting burnout, hence its collegiate title.
It’s percussive, it’s dissonant and, at times, cacophonous, but “Virginia Tech” is true to the storied musician’s nature and offers a refreshing break from convention.
Lorde redefines authenticity in new album, closing track
It’s hard to believe Lorde has been releasing music for over a decade. Though her smash success debut record, Pure Heroine, was teeming with sophistication in 2013 — when she was only 16 years old — each subsequent album has seen the pop icon grow sonically, lyrically and personally. Yet with her long-awaited fourth LP, Virgin, the way such growth has been chronicled is more visceral than ever. The album ends with “David,” a cohesive closer that puts an exclamation mark on the unabashedly candid 11 tracks.
Throughout the song, Lorde oscillates between crafting provocative metaphors and spitting straight truths, a balance that seems to perfectly encapsulate the artist fans have come to resonate with. “Was I just someone to dominate? / Worthy opponent, flint to my blade / Now we’re playing with shadows,” she croons, her illustrative lyricism reflecting the superpower of cleverness she sings of. Yet lines like “If I had virginity I would have given it too,” leave no room for questions of meaning. In the middle are lyrics like “Pure heroine mistaken for featherweight,” the reference to her debut symbolizing the self-awareness laden throughout Virgin. Though the sparse production lets Lorde’s words cut through like a knife, the steadily growing synths in “David” lay an extremely powerful foundation. Having worked with artists like Charli xcx and Caroline Polacheck, producer Jim-E Stack’s work on “David” is an example of the thoughtful production that supports Lorde’s artistry on Virgin.
After 34 minutes of raw expression, Lorde ends the album with the questions, “Am I ever gonna love again? / Will you ever feel like a friend? / Am I ever gonna love again / Do you understand?” The lyrics seem to put a bandaid on a bullet wound of a record, but I can think of no better way to truthfully end the transformative piece of art that is Virgin.
Florence Road delivers a summer anthem with “Goodnight”
Watch the music video for “Goodnight” on YouTube.
Despite only have a six-song discography, Irish indie rock group Florence Road has the polished sound of a band four albums into their career. After gaining traction on TikTok and signing with Warner, the quartet dropped their debut EP, Fall Back, this month. Full of ambition, “Goodnight” stands out as a biting track on the record that certainly pulls the band beyond TikTok fame and into musical legitimacy, as they told Rolling Stone they wished to do.
Though the positive reaction to Fall Back is proof Florence Road should be taken seriously, “Goodnight” is an example of the bangers that can come from a band that doesn’t always take itself too seriously. The impassioned track acts as a post-breakup door-slam in the face, with comically blunt lyrics like “Sorry that I took all our friends / But, in fairness, you shoulda put up a better defense.” The extremely catchy chorus — “This time I’m gonna get it right / I’ll leave the past behind / And your bags outside” — is anthemic and apt for screaming along in the car with the wind whipping in your face. Complete with hand claps, an impressively moving bass line and gang vocals, “Goodnight” delivers infectious energy sure to get you on your feet.
With producers like Dan Nigro behind them and an opening set for Olivia Rodrigo under their belt, Florence Road is a band bound for success.
Staff Picks:
Seay Howell - “Electric Blue” by Valley James
Jack Kolpitcke - “nada” by boylife and Porches
Tabita Bernardus - “car” by Royel Otis
Reegan Johnson - “Fingers and Clothes” by Jake Minch
Check out some of our June coverage!
Live Shows:
“House lights go down and stage spotlights go on, the instrumentalists take their positions, and in a blur of white, a bubbling singer dashes from stage left. The bright grin from the bleach blonde reverberated across the venue walls as she giggled out, ‘I always forget to say this, but my name is Meg Elsier!’” - Peyton Mott on Meg Elsier in Toronto
“Midway through the set, the band stops to happily threaten the crowd with pausing the show, declaring that the audience needs to form a conga line before they’ll start the next song, ‘Favorite Song.’ Dutifully falling into line, a conga line quickly forms in the crowd and the set continues with the audience dancing along.” - Alex Stefan on Honey Revenge in Toronto.
Festivals:
“Whether you first discovered MARINA through a dreamy WeHeartIt post in 2012 or experienced her electric mainstage performance at Gov Ball 2025, one thing is certain: she’s an artist who continues to evolve while maintaining a timeless appeal.” - April Bredael on MARINA at Gov Ball
“Gritty In Pink offers a place for community and growth within a male-dominated music industry, highlighting talent and resisting inequality and disrespect towards non-men who want to make music, and giving them creative spaces to be themselves. Sweet Pill was a significant addition to this lineup, ending the show with as much excitement as it started.” - Mia Barić on Sweet Pill at Gritty In Pink
New Music Reviews:
“In an era of music disappointingly devoid of boybands, Weston Estate brings something fresh, and almost necessary, to the pop indie genre.” - Nymisha Mattapalli on Weston Estate’s SUPERBLOOM
“This debut EP has the attitude of a Charli XCX track with Lily Allen lyrics. It is an exploration of the fun and frustration of the modern woman.” - Sinead Cochrane on Girl Group’s Think They’re Looking, Let’s Perform
Interviews:
“I think the idea of a rock star is kind of mythologized. I don't think that a real rock star even really exists nowadays. I guess it's an attitude. I know for me, it's a persona that I have when I am j solomon. It’s a confidence, and the music to go along with it.” - j solomon in an interview with Tabita Bernardus
“Normally I'm very honest and whatever is in my head and whatever I'm going through, I just write. I always try to refrain from saying anything that feels untrue.” - Laura Spencer Smith in an interview with Emma Hug Rosenstein
Music Extras: