Every summer, once the novelty of sunshine and beach trips fades, I’m confronted with the weight of the summers of my past and all the versions of myself I’ve been. Midway through June, I can always count on myself to slump into a state of pensive reflection, even when it’s beautiful outside.
All that is to dramatically say that I love a good melancholic playlist in the summertime. And my favorite musical discoveries of June certainly prove that to be true.
“you seem pretty sad for a girl so in love” by Olivia Rodrigo
Olivia Rodrigo’s third studio album, “you seem pretty sad for a girl so in love,” has completely enraptured me since its June 12 release. Although I’ve always admired her talent and recognized her potential, none of her work had ever resonated with me the way this album has.
The album captures the chronological life cycle of a romantic relationship, split into two sections. The first half, through melodramatic tracks like “stupid song” and “honeybee,” captures the butterflies of falling in love, fraught with the anticipatory grief of mourning a relationship that’s fated to end. The back half of the album chronicles the spiraling dissolution and ensuing aftermath of a breakup, with Rodrigo struggling to untangle her sense of identity from her role in the relationship, a sentiment expressed most ardently through standouts “the cure” and “what’s wrong with me.” There’s a consistent theme of being in love as an affliction, its intensity inciting physical symptoms much like a real illness would. To Rodrigo, love is a dire ailment that feels both terminal and exhilarating.
This record also marks a significant maturation of Rodrigo’s sound, moving away from the pop-punk angst she debuted with and into a more new wave, Britpop-inspired sound that leans closer to The Cure than Avril Lavigne. To me, one of the greatest successes of this record is her ability to clearly channel her musical influences without copying or distilling them, culminating in music that still sounds authentic to her. The jangly guitar riffs of “maggots for brains,” for one, are clearly The Cure-inspired but avoid sounding reiterative, nodding to Rodrigo’s deep appreciation for her influences without trying to imitate them.
Overall, the improvements in Rodrigo’s writing and musicality are showcased in full force on this album, making it what I believe to be her most impressive artistic accomplishment thus far. I’m in awe of her talent and I’m excited to watch her evolve even more.
“EURO-COUNTRY” by CMAT
There were so many good albums released last year that I wasn’t able to keep up with all of them, and CMAT’s “EURO-COUNTRY,” released in August 2025, was one of the records that escaped me. But last month my curiosity led me to listen to the entire album beyond the couple of songs I already knew, and I was impressed.
From CMAT’s heavy accent to the nods to Irish culture and politics in its title track, this album is unabashedly Irish. Rather than diluting her cultural perspective for a broader audience, she fully embraces it, celebrating her Irish identity while telling stories that feel universally relatable. It’s a clever and intensely affecting body of work all at once.
“When a Good Man Cries” is what I believe to be one of the strongest tracks on this album, showcasing CMAT’s lyrical prowess and powerful, transcendent vocal performance. The layered harmonies of this song’s soaring bridge and outro are reminiscent of a soulful church choir, making for a listening experience that feels truly spiritual.
Another standout track is “Lord, Let That Tesla Crash,” which paints an anguished portrait of longing for someone who’s passed, provoked by all the tiny memories that make waves of grief feel all-consuming. The song’s outro, which laments that “My memories are loaded with what I wanted / But I couldn’t have with you,” is heavy with a dull ache of regret that feels palpable. Despite its tongue-in-cheek title, this is truly one of the most devastating songs I’ve ever heard.
“Lost Boys” by Phoebe Bridgers
On Friday, Phoebe Bridgers released “Lost Boys,” her first solo single since 2022, and the lead single for her upcoming album “Lost Weekend,” set to be released Aug. 13. Spearheading her first solo studio album in six years, this song really excites me for what’s to come.
With its lively production giving it a more upbeat sound than most of her previous work, this song signals an interesting evolution in her sound. It’s a song about constantly attracting “lost boys,” a certain archetype of sad, somewhat pathetic men that Bridgers is no stranger to singing about. Featuring an eclectic collective of lyrical and vocal contributions from her boygenius bandmates, Alex G, Bo Burnham and other musical peers, this song also marks her first collaboration with producer Jack Antonoff. Blending a host of live instrument sounds with Bridgers’ signature understated voice, I think this is a fresh, interesting entry into his catalog of production credits, which notably includes his work with Taylor Swift and Lorde.
Although I don’t think this is the strongest song she’s ever released, listening to it made me emotional for the sheer fact that I missed hearing from her. I have a deep personal connection with her previous works, specifically “Punisher,” and getting to experience a piece of art delivered from her solo perspective again after so long felt so special. My favorite part of this song comes near the end, when she and her collaborators break down into a cacophony of shouts and screams that harken back to a familiar catharsis expressed in some of my favorite Bridgers songs.
