The Playlist is a brand new column for Pop Break celebrating the songs we love at this very moment, and we think you, our readers, should be putting in your life as well! This column features recommendations from the writers, podcasters and photographers of Pop Break as well as our friends from the world of journalism, entertainment, podcasting and our everyday lives.
Justin Mancini (Co-host of Podelay!)
Song: “How Glass Is Made”
Artist: Tori Amos
I’m a relative newbie to Tori’s music, but I instantly connected with the emotional depth of her poetry and songwriting. This elegant track from her 2021 album Ocean to Ocean has curled up in a cozy spot in my brain since I first heard it, featuring Tori’s deliberate vocal phrasings and a light country/soft rock sound that buoys a tale of fragility and regret. So carefully is the music coordinated here, a countermeasure perhaps to a perceived lack of care taken by our protagonist in her past experience with love. But Tori’s evocative oceanic imagery suggests a great beauty within the hurt, perhaps a universal one, where our emotional vulnerability stands to be our salvation just as much as our downfall. Suffice to say, glass is not made gently—it requires heat, pressure, stress. We stand to reap love’s rewards as much as its agonies. It’s the deal we make.
Nynoshka Vazquez-Suazo (Staff Writer for The Pop Break & The Underground Edit)
Song: “Ultimate”
Artist: Lindsey Lohan
This month has been full of nostalgia, of the romantic kind! Filled with love, family, and new growth and with that came a random reminiscing of my favorite childhood memories. One being the film Freaky Friday. The song “Ultimate” which in the film is played at the end at her mothers wedding, brings back the classic pop-rock genre of the early 2000s. A big hit with these coming of age films.
The lyrics read:
“You’re it / You’re the ultimate
It’s automatic, I’m sure of it
No lie / So don’t even try
To tell me that you’re not the guy
‘Cause I’ve been waiting all my life
For someone just like you
But you’re it / You’re the ultimate, you.”
I COULD MELT WITH THE JOY THIS BRINGS ME! As I gently celebrated an anniversary with my man, these lyrics have never been more relatable. It’s been a nonstop repeat track this month and I hope it inspires some reminiscing.
Amanda Rivas (Co-Host of The Socially Distanced Podcast & Anime x Pop Podcast)
Song: “The Warning – Nine Inch Noize Version”
Artist: Nine Inch Nails (NIN), Boys Noize
Like the rest of the nation, I was captivated by Nine Inch Noize’s debut at Coachella 2026 not only because of the incredible visuals, but because of the setlists for both weekends. One song in particular is dominating my playlist this month and that is the reimagined version of 2007’s “The Warning” from NIN’s Year Zero album.
The original song’s lyrics and melody were already haunting, foreboding, and still unfortunately as true today as they were in 2007. Hearing the reimagined version of one of my favorite NIN songs took my breath away! This is a great fusion of the original version’s unique elements with Boys Noize’s signature style while still feeling very much like a NIN song. The beat is signature EDM and a bop, but brings more intensity and a fresh edgier sound to remind us that many of the issues addressed in the lyrics about the state of the world are still with us today. A beautiful fusion of industrial, rock, and EDM components that truly compliment each other! I highly recommend listening to the full album and watching the Coachella performance if you can. The reimagined Heresy also is an honorable mention for the month of April.
Bill Bodkin (Editor-in-Chief of The Pop Break, Co-Host of TV Break, Bill vs. The MCU and Socially Distanced)
Song: “Born to Kill”
Artist: Social Distortion
“Born to Kill” is 100% unfiltered, pure Social Distortion. While lead singer may be 64 and is recovered from tonsil cancer, this song feels as it though it came off the band’s self-titled 1990 landmark record. It’s got the speed, it’s got that punk rock swagger with all the trappings of 1950s blues-laden rock ‘n’ roll that ingrained Social D into the musical tapestry of the 1990s (and beyond). While it feels it could’ve come off the now 36 year old record that doesn’t mean this is a relic of a track. “Born to Kill” feels fresh, new and incredibly exhilarating. It does not feel like a copy of a copy of a copy that recent Social D songs have felt like. This is an anthem that is perfect to roll your windows down and blast down the highway as the spring sunshine melts away the turgid winter weather.
Marisa Carpico (Film Editor of The Pop Break, Co-Host of The Awards Girlies Podcast & …And The Winner Still is)
Song: “Joy”
Artist: Raye
British singer Raye’s second studio album, This Music May Contain Hope is a staggering piece of work. Filled with big band sounds and even bigger vocals, every song feels like a daring experiment, the work of an artist finally in control of her sound and determined to show off just how much she can do. Whether it’s unexpected features like Al Green’s vocals on “Goodbye Henry” or the cinematic scope of Hans Zimmer collab, “Click Clack Symphony,” the album joins recent works like Lily Allen’s West End Girl that feel like they were conceived as a complete work and must be consumed in a single sitting.
While Raye’s confessional, soul-baring lyrical style carries over from her first album, as the title suggests, This Music May Contain Hope is more upbeat. That tone culminates in the album’s most exuberant—and manic—track, “Joy.” Bolstered by a blasting horns section and a relentless beat, “Joy” is a mad mix of praise music, disco and pop that recreates what it must have been like to snort a line of coke just as a night at Studio 54 hit its peak. While “Joy” may end up being the album’s most exciting song, it’s hardly the only one with breakout potential (first single “Where is My Husband” already proved that). Well, maybe except for Fin”, the six and a half minute final track that serves as Raye’s “thank you” section. That one is best reserved for the full play-through.
Ronnie Gorham (Staff Writer at The Pop Break)
Song: “Anything But Me’
Artist: MUNA
One of the coolest pop bands I stumbled upon during the pandemic and haven’t stopped blasting since, including in the shower is a trio called MUNA. The group is Catherine Gavin on lead vocals, Josette Maskin shredding on guitar, and Naomi McPherson holding down backup vocals, guitar, and keyboard.Together they’re this dynamic, kickass unit that blends glossy indie‑pop with an ’80s‑tinged electronic vibe that just hits you right in the chest.One of my favorites is “Anything But Me,” which has one of the funniest, most self-aware lines in modern pop: “You’re gonna say that I’m on a high horse, I think that my horse is regular sized.” It’s that perfect mix of humor, honesty, and emotional chaos that MUNA does really well.
Their songs talk about heartbreak, joy, queer love, messy relationships, and the kind of life stuff everyone trips over at some point. Their music is fun, cathartic, and grounding, they’re kind of band you put on to unwind, dance, or just feel a little more human.
Randy Allain (Co-Host of Podelay!, Host of The Media/Lit Podcast)
Song: “Ride Lonesome”
Artist: Beck
Beck Hansen fans have been waiting for a new album since 2019’s Hyperspace, and the king of 90s alt-rock sure seems to be positioning himself for a big return. Mere days ago, Beck dropped his new single, “Ride Lonesome,” and announced a tour of the same name. Nobody can shift from psychedelic hip-hop funk to mournful, intimate ballads like Beck, and this new track seems to promise a softer touch than we got in Hyperspace.
While we certainly haven’t been promised a new album just yet, “Ride Lonesome” is here to offer the perfect vehicle for a downtrodden soul looking to ride out the bad vibes until they can see hope on the horizon. Industry folks are already citing Sea Change (2003) and Morning Phase (2014), but true believers know that this sort of echoing, bittersweet meditation has been baked into Beck’s musical DNA since he was providing his own percussion on the back of an acoustic guitar between other artists’ sets in early-90s Los Angeles. Folks, we’re back.
Wanna get hyped for the new tour? Join us over on Podelay: A Beck Hansen Appreciation Podcast!
Kris Ingersoll (Co-Host Batman by the Numbers Podcast, Co-Host of Podelay!, Co-Host of The Media/Lit Podcast)
Song: “A Whole New Wurst”
Artist: Punk Rock Factory
It’s April, which means school breaks will have the parks at Disney World all but bursting with families doing their best to treat the kids to some magic. Now, I love a good Disney ballad as much as the next girl dad but I’d be lying if I said I am not desperate to mix it up once in a while. So this month, I’ve got a treat for all the millennial parents who feel like me: “A Whole New Wurst” by Punk Rock Factory.
Coming together in 2014, Punk Rock Factory united a handful of punk rockers around their love for music and culture. Combining all the signature sounds of the ’90s and 2000s punk scene, PRF exploded onto the UK charts with their 2020 album A Whole New Wurst.
Composed entirely of covers of iconic Disney hits, you’ll feel right at home belting the lyrics with vocalists Peej and Kob. They come out swinging with their take on “Let It Go,” quickly proving that they’re not afraid to swing for the fences on a modern classic. They don’t play generational favorites though as the album explores Disney through-the-ages – throwing it way back Mary Poppins with “Supercalifragilisticexpialidocious,” spending plenty of time in the ’90s with hits like A Whole New World and Under the Sea, and then pumping up the Lin-Manuel Miranda fans with “How Far I’ll Go” and “You’re Welcome.” Each one more punk-tastic than the last!
My personal favorite track is “I Just Can’t Wait to Be King.” Full of raw energy and stripped down instrumentation, the song absolutely rips from start to finish. They turned the opening marimba/vibraphone sounds into an instantly iconic punk guitar riff and never looked back. With the added cheekiness of the Zazu parts, this song feels like it was destined for punk rock make-over.
So whether you’re a die-hard punk fan or a Disney-crazed parent in need of a sonic escape, A Whole Wurst may be just the magic carpet you’re looking for.
Gabrielle Sangataldo (Pop BReak Staff Writer, Co-Editor-in-Chief of The Underground Edit)
Song: “Wild One”
Artist: Cat Clyde
“Wild One” is the perfect blend of modern folk twang and jazz-like melodies, making for a flawless combination of past and present in one song. The walking drive in the verses slows down to a crooning chorus, where Clyde laments, “Wild one / Lay with me under the rays of soft sun,” the simplicity of which is a jarring but welcome contrast to the mild intensity of the rest of the song. The push and pull of this alone solidifies the addictive quality of this track, and lyrics from Leonard Cohen’s iconic “Hallelujah” even make an appearance in the third verse, proving that this song is the epitome of loss, longing, and heartbreak all wrapped up in rustic sound.
Joshua Jacob (Rutgers Spring Writing Program)
Song: “Outcast”
Artist: DizzyEight
In honor of the second season of its live action adaptation on Netflix back in March, you know I had to talk a little more about the ever-growing popularity of One Piece. Ever since I discovered more anime during Quarantine, I also discovered artists who like to sing and rap about characters of those franchises. But one in particular I listen to a lot is rapper DizzyEight.
On June 8 of 2025, DizzyEight posted a song which clearly talks about the fluffy cotton-candy loving doctor of the Straw Hat Crew: Tony Tony Chopper. While this lovable character is often seen by many as the cute pet of the Straw Hats, many people forget the sad backstory that gets reintroduced to fans (or seen for the first time by new fans) in the recent season. This song in turn also portrays the sad history that poor Chopper had to go through.
One lyric that really stands out is “I was never good enough, never met the standard. That they tried to paint my picture, I can’t fit inside your canvas.” This speaks volumes because it’s reminding audiences that Chopper was not accepted by other reindeers due to being different after eating the Human-Human Fruit. If you think this is similar to Rudolph being discriminated against by other normal reindeers for his red nose, this was much worse. While it already is sad to think about how poor Chopper got discriminated against, the next lyrics give a bit of hope to the listener: “Who knew that me being damaged be the reason I’m advancing? Man, that’s crazy, maybe this part of why God made me. Like me being different a gift that my God gave me.”
Through his multiple transformations, his medical knowledge, and ability to communicate with animals and translate for his human friends, Chopper sees himself as someone of importance for both his crew and others he meets along the way. If not for the love and acceptance of Dr. Hiriluk and the Straw Hats, who knows how depressed and lonely Chopper would have been while trying to be accepted by those around him on Drum Island.
This song really resonates with me because there are times where I felt like Chopper myself. As an Indian who doesn’t speak Hindi, Malayalam or any other Indian language, I felt very disconnected from my culture, which also doesn’t help with the fact that I have a passion for music and media in comparison to those from my church who pursued the STEM field. Honestly, it made me question why God made me the way I am instead of making me “normal.”
It also makes me relate to Chopper’s character more because just like how Chopper found a new family with Luffy and the Straw Hats, I found a similar feeling from my college roommates and other best friends who accept that I’m different. Now thanks to them, I pushed myself to go beyond the depressed introvert I used to be and aspire to be someone great, such as working on turning an old school project into a novel and manage multiple clubs in one semester, feats that my old self would not have been capable of doing if he kept focusing on how others viewed him and being seen as an outcast.
