March ‘25 in Music
Inside: LE SSERAFIM, Sabrina Carpenter, Quadeca and more.
This is a monthly segment where I selectively discuss music that piqued my interest within the month. We cover new and older releases alike. Literally whatever’s been on rotation. You can find February’s post here.
Artists:
Tennis
For as long as I’ve known of Tennis’ music, it’s occupied the summer part of my brain. I’m certain this association crystallized around summer 2019 when I discovered (gorgeous, perfect) “Ladies Don’t Play Guitar” and ran it to the absolute ground. Coincidentally, that might’ve been the worst summer of my life — accident or design, at least I had beautiful, melancholic music to romanticize my way through it to. I’ve been running that song to the ground again, courtesy of the temperature rising by approximately three degrees and the springtime sun finally being out — either that or trying to will it into emergence through groovy basslines and whimsical vocals on the odd rainy day.
The wife-and-husband indie pop duo have what’s apparently going to be their last record as a band coming out on April 25, which is a decision I can both respect and sulk over. The singles from this rollout have been delightful thus far, but during this fit of once again craving the sound that represents the definition of comfort to me, I’ve also gone back to some of their recent projects I’d missed at the time of release (2020’s Swimmer, 2023’s Pollen) and revisited Yours Conditionally (2017) which remains breezy, heartfelt, timeless and flawless.
Françoise Hardy
Between coming across (mother) POiSON GiRL FRiEND’s rehashing of an old Twitter post featuring a selection of formative albums and being unable to get that one scene from Attenberg (2010) out of my head after recently seeing it, Françoise entered my rotation seamlessly, and along with her, several french pop discoveries and rediscoveries. Perhaps a result of spring springing, some form of feminine energy has re-entered the chat and nothing quite embraces and channels it like the French songstresses and their quaint melodies. Besides your guitar-led Jane Birkins and Carla Brunis, though, I personally urge you to give a new and improved generation the time of day — Lou-Adriane Cassidy, who experiments with orchestral production and nostalgic sensibilities turned on their heads, has delivered one of the most engaging pop records of the year thus far.
The beginning of this blurb specifically refers to Hardy’s La question (1971) and, of course, the classic “Tous les garçons et les filles” from the same-titled 1962 record — one of those every hot girl has a listening history with. I specifically can’t get enough of “Viens” or “Ça a Raté” these days — opposite moods on the surface yet both songs that will make you walk along streets you’ve walked a thousand times before differently.
Songs:
Elias Rønnenfelt, FAUZIA – “Close” (The Dare Remix)
I myself don’t even understand why I’ve latched onto this track in the way I have, specifically the remix which trades off the original version’s lethargic guitars for a sleek house beat. Frankly, that doesn't make a lot of sense — the downbeat recording on Rønnenfelt’s solo debut Heavy Glory does the song’s concept (which I find so darling) a lot of justice, really bringing out the emotionality in “Anybody not close to you is no friend of mine.” For better or worse, a breezier production might’ve been just what “Close” needed to Trojan horse itself into my spring playlists.
Heavy Glory, too, is a record I enjoyed, though I’m in no position to declare whether the Iceage frontman is our generation’s Bob Dylan like the tapped-in online crowds like to joke. In spite of the album’s main sonic throughline of folksy indie rock, I’m more of a fan of the moments where Rønnenfelt’s Dean Blunt influence comes through crystal clear and “Close” is definitely one of them, if not the main highlight. If the fact the two’s joint project lucre hasn’t left my rotation since February (with track “5” already occupying a spot in the year’s “Best Of” list) means anything, it’s that I want more of that in my life.
For as little as I enjoy The Dare’s own catalog, his occasional production contributions to other artists’ work seem to have things to offer. Was also put onto FAUZIA via this and currently fiercely replaying “it’s ok.”
Quadeca – “GODSTAINED”
The official first taste of Ben Lasky’s upcoming album Vanisher is here and it’s feeling like the LA-bred songwriter knows he’s got something momentous up his sleeve. If you tuned into Of The Moment’s Best Songs of 2024, you may recall that SCRAPYARD’s “GUIDE DOG” was featured in my Top 10. I remain convinced we should be talking about Lasky all the damn time, especially in regards to his singular production skills.
No release from the last couple of years I can think of (besides, perhaps, Quadeca’s own “EASIER”) sounds like “GODSTAINED,” a piece that channels Lasky’s ridiculously successful genre-blending sensibility at a transcendental frequency, fusing rap and Beach Boys-esque harmonies into a hypnotic bossa nova framework with a palpable emotional core. This guy has a gift of making his recordings sound both experimental and well-structured, scrapped together yet deeply intentional. His is a trajectory I’m particularly curious to see unfold. Do watch this space.
Now that I’ve gotten my in-the-know picks out of the way and you trust my opinion enough — March, at its heart, was pop girl month. What follows is a selection of the pop singles I couldn’t let rest throughout:
Lexie Liu – “POP GIRL”
Ahem. Well. I’ve enjoyed Lexie Liu’s darker, more imaginative and high-concept productions in the past which I’d normally argue in favor of, however… I can’t describe to you how glad I am to know she “covers magazines after nine hours of sleep.” Like, say that. Apologies for repeating my figure of speech, but as far as Trojan horse releases go — and if this is Lexie’s intention — this may be as good as it gets. “POP GIRL” is silly, straightforward, catchy, holding me hostage, and should be taking off.
LE SSERAFIM – “Come Over”
Things were so simple a few years ago when if you heard an overtly familiar sound in a K-pop song everyone would silently acknowledge the rip-off and move on. Nowadays, you check the song credits and oh, what do you mean this wasn’t concocted bar for bar in the Hybe basements with a hyper-specific moodboard and they paid legit, actual Jungle’s producer instead?
Plenty of summers have shown that Northern hemisphere temperature and K-pop’s quality levels are proportional variables which goes to say K-pop is kind of pretty good right now. Besides LE SSERAFIM’s funky, retro-tinged dance pop credited to genre connoisseurs, SM’s newest girl group Hearts2Hearts had an outstanding debut single written by the FLO girls and NMIXX are finding their footing in lustrous, sophisticated R&B — all releases that have secured permanent spots in my spring rotation.
Sabrina Carpenter – “Busy Woman”
Like I said, I’m feeling lighter, the sun is shining, I’m running around having fun and finally clicking with Sabrina Carpenter’s twangy, saccharine pop. This is for sure laced with something (FUN) — I can’t even remember when was the last time I heard chorus harmonies this euphoric, or a line as cheekily hilarious as “My openings are super tight.”
Tate McRae – “Dear god”
Speaking of girls I’m beginning to click with, what do you know about Tate MacRae’s best song to date? If the Canadian performer whose grip on the dance community I’m already growing jaded with is to stay, let it be with more of this lush, spunky R&B pop.
Kilo Kish – “reprogram”
It’s always a good time when Kilo goes pop princess. Her upcoming EP has a Miguel collaboration on the way and if this single as well as “digital emotional” are any indication, it is shaping up to be one of the most creatively rich pop projects of the year. I’ll try to refrain from saying you’ll like this if you enjoyed Eusexua. This is me refraining. Give this a couple of good listens and catch your face light up every subsequent time it comes on shuffle.
Playlist (Themed):
And because I run this business and nothing can stop me, I’m gonna share another playlist with you besides the regular monthly one (linked at the bottom of the piece). There was a window around late February/early March where I got to revisit my roots of creating conceptual playlists again. Seriously need to brush up on those skills, as I find myself getting lazy with monthly roundup lists lately — nevertheless, it’s become a yearly habit to welcome spring with a curated mix.
This is music that will make you feel cool while walking around with a matcha now that the weather’s getting warmer. Shuffle and enjoy: