Widely regarded as one of the breakthrough albums of French house music, let alone one of the classic 1990s house music albums, St. Germain (AKA Ludovic Navarre) premiered on the scene with Boulevard and stunned everybody.
The opening track, “Deep in It,” clocks in over seven minutes and drops killer vibraphone beats from Miguel “Punta” Rios on top of snappy electro-beats to get you deep into the sexy Parisian nightclub at 2am. That track is practically a warmup for “Thank U Mum (4 Everything You Did),” which is over twelve minutes of sizzling percussion and smoky bass and sounds like it samples Lightnin’ Hopkins vocals to make the track even groovier.
“Street Scene (4 Shazz)” has great flute work from Malik throughout it that elevates the 15-plus minutes into a great jam. “Easy to Remember” has a great trumpet line throughout it from Pascal Ohsé. Édouard Labor‘s saxophone takes the lead on “Sentimental Mood” and pairs with Alexandre Destrez‘s poppy piano quite well.
“This is what we call easy listening, underground house music,” someone says on “What’s New?” before the floor-filling dance beat drops. “Dub Experience” is a laid back change of pace from the house beats that have propelled the album through the first six tracks, and the closer, “Forget It” is something you’ll remember thanks to its wicked beats and sensuous grooves.
It’s a classic album that still sounds like it could’ve been released yesterday and set the time for Tourist, which is one of the greatest make-out albums of all time.
Keep your mind open.
[Stroll over to the subscription box while you’re here.]
Dead Pioneers, the Indigenous fronted band from Denver, are back with another transmission from their forthcoming album Wagon Burner, due for release June 26th via Hassle Records.
Titled “Never Alone,” the new single features a vocal collaboration with Aimee Interrupter, vocalist for Californian ska-punk sensations, The Interrupters.“I wish I could express how proud we are about this collaboration, as well as how grateful we are to The Interrupters in their willingness to work with us on this one,” declares frontman Gregg Deal. “In all honesty, this has been in the works in conversation and execution for several years and can’t wait to share the very personal backstory on this.“The very real and palatable feeling of not belonging and finding solace through music, community and found family is something so many of us can understand on multiple levels. I’m a fan of The Interrupters, but also know through their music and first-hand how genuine they are in their mutual feeling and understanding of what this music does. ‘Never Alone’ is a homage to that familiar feeling of finding purpose in one’s self. Finding it through accessible means like music, community and the shared experiences associated with it. To share this with The Interrupters, Aimee, Kevin, Justin and Jesse is a dream. These are four fantastic people that don’t just understand these ideas, but stand by it in their love and compassion for the very human feelings of needing to find your place in the world. We’re super proud to share space with them as family.”
“Never Alone” is a life-affirming, rousing, air punching celebration of community and friendship, with Aimee’s vocals adding a deliciously addictive melodic hook to the song’s stomping groove.
“To hear Aimee’s voice in the chorus is overwhelming, to be sure,” says Gregg. “Besides the fact that she has a powerhouse of a voice, I hear the sound of a six-year friendship with Aimee and the Bivona boys with my own family, that predates Dead Pioneers. I am so grateful to this friendship, especially watching Aimee and my oldest kid Sage become close. When we say ‘Never Alone’, we mean it, knowing that the band, The Interrupters, are friends, hell, family, that truly believe these things along with us. I’m beyond grateful to share this with them, if not outwardly overwhelmed and emotional by it. What an incredible full circle moment.”
As Rare DM, Erin Hoagg fuses moody pop songwriting, vintage synthesis, and striking visuals. The New York City-based artist will release her second full-length, Attention, on May 29, 2026. Today, she shares the pensive and catchy new single “Honey,” which stemmed from the complexity of a budding romance. She ponders the vulnerable rush of admitting you love someone over a meticulous electronic arrangement. A brooding self-directed video, which nods to classic vampire movies, contrasts the euphoric subject matter.
On the single, Rare DM shares:“’Honey’ is my first happy love song. I wrote it during the uncertain time before saying the words ‘I love you’ – you’re in a constant state of butterflies: it’s sweet, vulnerable and a little scary. I wrote it in my old studio in Bushwick when I was being swept up, and really got into the symphony of things, percussive polyrhythms; chopping up my vocals. ‘Honey’ is one of the first songs I finished with producer Ross Fish aka Moffenzeef Modular (also from 4MS). I’m thrilled with how it turned out – super wide and swirly. I really enjoyed dialing in the finishing touches together. It’s one of my favorite songs to perform live.
‘Honey’ the video is leaning into the best part of being in love: having fun and being silly. Dating is a lot of sifting through trash, looking in the wrong places, getting caught up in games, battling decision paralysis… there are so many fish in the sea, you have to be willing to make a fool of yourself to find the right one. I am a strong believer that the most important part of a relationship is making each other laugh. The world is too serious.”
Over the last year the Portland band Growing Pains have become one of the most buzzed about bands in the Pacific Northwest. Composed of Jack Havrilla, Kyle Kraft, Kalia Storer and Carl Taylor — the band began popping up on bills around when they were still teenagers, and in more recent times have toured up and down the West Coast while sharing stages with bands like MX Lonely, Alien Boy, Been Stellar, Water From Your Eyes, Beabadoobee and Dutch Interior.
Despite the recent buzz around the band, Growing Pains haven’t released any new music since a 2023 EP that came out while they were still in high school. Today, the band are announcing their signing to the label Photo Finish, and sharing their first single since that EP, a track called “Swimming.”
“Swimming” is as an immediate and streamlined guitar pop track with the melodic heft to read like a lost early oughts alternative radio hit. Recalling ’90s icons like Liz Phair and Julianna Hatfield as re-imagined by Joyce Manor, the single is an immensely promising first statement from an ambitious young band determined to meet their moment.
Storer says of the track: “This song is about the helpless feeling that comes from being romantically incompetent. I wrote it after going on a date and they put their arm around me and it felt wrong. I left and went to the airport to watch the planes fly and drink a beer on my truck. Then all of the words came to me—this was the night before our last day of recording.”
Leenalchi (EEE-nal-chi) — the seven-piece Seoul-based band led by bassist Jang Young Gyu — announce their Luaka Bop debut, a new EP entitled Here Comes That Crow, out June 12th, and a North American tour. In conjunction with today’s announcements, they present the video for lead single and title track, “Here Comes That Crow.” The music of Leenalchi is taken from pansori, a traditional Korean style of musical storytelling often compared to opera. Rooted in shamanism and developed during the Joseon Dynasty (17th century), these songs tell epic tales of love, virtue, sorrow, and dragon kings. As if reverberating in our ears from a spiritual plane, the sounds emitting from Leenalchi’s singers are transcendent. Their line-up, as singular as their sound, features two bassists, drums, keys, no guitar, and four singers.
The psychedelic riffs found in Leenalchi’s songs are courtesy of Jang, the band’s enigmatic leader, who looms large in the country’s small but dedicated indie music scene. An NPR Tiny Desk concert of one of his former bands, SsingSsing, racked up 9.9 million views on YouTube and was praised by Tiny Desk founder Bob Boilen as “one of my most memorable Tiny Desk Concerts of all time.” He’s also a prestigious film composer, scoring soundtracks for some of Korea’s most celebrated movies like Train to Busan, The Wailing, and The Good, the Bad, the Weird.
Jang’s work with pansori began in 2007, after composing for choreographer Ahn Eun-me’s piece, Bari. With musicians from that project, Jang went on to form groups such as BIBING, SsingSsing, and eventually Leenalchi.
On “Here Comes That Crow,” as on most Leenalchi songs, Jang wordlessly directs his vision of cross-cultural funk with a collaborative spirit. First comes the rhythm section, developed with drummer Oh Hyung Suk, which sets the foundation for a song, then, singers Park Soo Bum, Ahn Yi Ho, Ra Seo Jin, and Choi Su In draw from the repertoire of pansori songs to discover the most distinctive and fitting sounds.
Adapted from a pansori tale about the Chinese warlord Cao Cao’s most decisive battle, “Here Comes That Crow” is an allegory about life’s precariousness. Ahn, together with his fellow Leenalchi members, wrote a poem to help listeners interpret the song’s meaning:
도용도용은 작은 배가 물위를 떠가는 모양을 그린 말이다. 조조도 조자룡도 쫓기는 자도 쫓는 자도 멈출수는 없다. 판자때기 아래가 저승인데 어느 누가 멈춰 설 수 있겠는가!
Doyung doyung goes the small boat seen floating down the river. Whether the chased or the chaser, no one can stop—just beneath the boards lies the underworld!
As part of their training, pansori singers are required to spend time singing next to a waterfall, tasked to carefully observe and mimic the sonic nuances of water. The Korean language is full of onomatopoeias. The repetition in these words create their own rhythmic unit, each word functioning like a tiny song: Kwal-kwal (콸콸) is the sound of a running stream; gaegul-gaegul (개굴개굴) goes the frog; and mimetic words (a slippery floor is mikkeul-maekkeul (미끌매끌); sol-sol (솔솔) is a kind of gentle and subtle slowness).
The band counts many fellow artists as fans, including Brian Eno, Robyn, Japanese Breakfast, and Merrill Garbus (of Tune-Yards), who studied pansori while part of the group Roomful of Teeth.
This summer, Leenalchi will embark on their first-ever North American tour, making stops in Canada and the West coast, including Stern Grove Festival in San Francisco where they’ll support Japanese Breakfast, and a free show at The Getty in Los Angeles presented by KCRW. Tickets for all dates are on-sale now and available here.
Here Comes That Crow Tracklist: 1. Hihi Haha 2. Bird 3. Here Comes That Crow 4. Let’s Live for Today 5. Look At Me Look At Me 6. Ultimate Prescription
Leenalchi 2026 Tour Dates: Fri. May 29 – Incheon, SK @ Asian Pop Festival @ Paradise City Sun. June 21 – Ottawa, ON @ Ottawa Jazz Thu. June 25 – Toronto, ON @ Lee’s Palace Fri. June 26 – Montreal, QC @ Montreal Jazz Festival Sat. June 27 – Vancouver, BC @ Vancouver Jazz Festival Sun. June 28 – San Francisco, CA @ Stern Grove Festival (w/ Japanese Breakfast) Wed. July 8 – Seattle, WA @ Vera Project (presented by KEXP) Sat. July 11 – Los Angeles, CA @ The Getty (presented by KCRW) Thu. Nov. 12 – Amsterdam, NL @ Paradiso Fri. Nov. 13 – Rotterdam, NL @ Grounds Sun. Nov. 15 – Berlin, DE @ Gretchen Tue. Nov. 17 – Hamburg, DE @ Knust Wed. Nov. 18 – Copenhagen, DK @ VEGA Musikkens Hus Fri. Nov. 20 – Aarhus, DK @ Turkis Sat. Nov. 21 – Groningen, NL @ VERA Tue. Nov. 24 – Dublin, IE @ Whelan’s Thu. Nov. 26 – London, UK @ Jazz Cafe Fri. Nov. 27 – Bristol, UK @ The Jam Jar Sat. Nov. 28 – Leeds, UK @ Brudenell Social Club Sun. Nov. 29 – Manchester, UK @ Band on the Wall
We’ve reached the top 15 of albums I reviewed (not released) over the last five years. Read on to see who made the list!
#15: Maquina – Prata (2024)
That cover image pretty much sums up the sound of this wild post-punk / noise rock / dance rock album. It’s a stunning record, and I’m happy to report they’re close to releasing a new one.
#14: Lair – Ngélar (2024)
Indonesian psych-rock? Yes, please. Funky, groovy, weird, and playful. This is a delight from start to finish.
#13: Sextile – yes, please. (2025)
Possibly the best dance-punk album of 2025. This record slams non-stop and gets you moving whether you want to or not.
#12: Ki Oni – A Leisurely Swim to Everlasting Life (2023)
A beautiful album about grief, our continued, changed existence after death, and a salute to Ki Oni’s late grandmother all wrapped up in lush ambient music.
#11: No Joy – Bugland (2025)
A brilliant return for No Joy and their shoegaze rock. This album sprinted into the top ten of 2025 for me the first time I heard it.
Speaking of the top ten, come back tomorrow to see who’s in the top ten of the last five years!
Miss Grit‘s new album, Under My Umbrella, is an album about loneliness – both the embrace of it and the sadness of it. Loneliness can be liberating at times. It can feel great to be on your own with endless possibilities before you. It can also feel crushing, like your world has stopped and no one even thinks to look for you while they’re rushing around outside.
The pulsing, symphonic synths of “Tourist Mind” build to an upbeat outlook as you drop the car into drive and head out for a solo road trip to wherever you’d like (as Miss Grit / Margaret Sohn did around North America during a tour). When they sing, “I never wanted to be so alone,” you can’t tell if they’re happy or sad about it. It could be both depending on the moment. “Mind Disaster” sizzles with electric hums and Sohn’s modulated voice sounding like a robot awakening from a weird dream about someone they can’t place but whose presence they can still feel.
“I Won’t Count on You” has Sohn embracing the idea of not having to rely on someone (“I’m going to enjoy this. I won’t count on you.”). “It Feels Like” could be a shoegaze track if you swap the synthesizers for distorted guitars. “Where Is My Head?” is a hypnotizing trip-hop track with Sohn repeating simple lyrics like “You’re all so free.” and “You’ll never see inside of me.” as bubbling, brewing beats and bass surround them.
“Stranger” has Sohn feeling alone as a lover grows detached from them and they’re just trying to keep up before the race is finished. “You Will Change” seems to be about making your way out of the maze of grief with lyrics like “And one day it could all change. While you wait for pain, your heart will go on pushed into another day.” The track (appropriately) flows into “Overflow” – a song about wondering if you’ll know when it’s time to leave a relationship or if you’ll only realize after the other half has left.
The album ends with “Waste Me.” It’s a bit upbeat even though Sohn’s lyrics are sprinkled with sadness (“And it’s very me to feel misunderstood, but I barely try to explain myself to you.”). Sohn is facing the fact that they’re going to be alone, again, for a while, and that might be okay. They’ll just have to ride it out.
It’s all any of us can do, really, but this album helps you navigate it by not feeling so alone.
Keep your mind open.
[Subscribing for music news and reviews might help alleviate loneliness.]
Here we are at the top 20 albums I reviewed over the last five years. Read on to see who made the list!
#20: BODEGA – Broken Equipment(2022)
Sharp, witty post-punk that the world needed then and still needs now. Songs like “Doers” both poke fun at and slap around over-achievers and the work grind, while “All Past Lovers” is a heartfelt love song.
#19: Dry Cleaning – New Long Leg(2021)
Speaking of good post-punk, Dry Cleaning’s first full-length album was a great dose of it. Weird guitar, heavy bass, funky drumming, and odd spoken lyrics? I’m all in.
#18: TV Priest – Uppers(2021)
More damn good heavy post-punk here from these Londoners. The whole album is sweaty, gritty, and growling.
#17: Bonnie Trash – Mourning You(2025)
Holy cow. This record is heavy in both tone and emotion. It’s an album about grief and how it can crush you if you’re not careful. There is beauty here. It’s not just gloom. It’s a stunner that captures all of the emotions you feel after a heavy loss.
#16: Meatbodies – Flora Ocean Tiger Bloom(2024)
These guys were my favorite discovery of 2024. It’s groovy, heavy, and trippy psych-rock that we need more of in this day and age.
Come back tomorrow to see who’s in the top fifteen!
