"Drugstore June" Soundtrack Lyrics

"Drugstore June — Songs & Original Score" Soundtrack Description

Overview

What sounds right for a Gen-Z sleuth who overshares and overcommits? This film pairs a throwback-tinted synth/indie spine (The Voidz, Com Truise, Ian Boddy) with punchy hip-hop and vintage AM-radio cuts (Loretta Lynn; Gary Lewis & The Playboys). The original score is by Alex Geringas. Facts confirmed via Wikipedia and Film Music Reporter.

There’s no commercial score album as of now, but the director circulated a curated playlist with many featured songs; timestamped scene notes are documented by Soundtracki, and individual track credits appear on IMDb. Functionally, bright electronic textures track June’s online persona and sleuthing montages, while oldies and country needle-drops place her squarely in small-town spaces where everyone knows everyone—and her phone.

Questions & Answers

Is there an official soundtrack album?

No full score album yet. Songs circulate via the director’s curated playlist; the score is by Alex Geringas.

Who composed the score?

Alex Geringas.

Who supervised the music?

Trish Bock and Jolene Pellant are credited as music supervisors.

What plays over the opening credits?

“Leave It In My Dreams” — The Voidz (~00:02), non-diegetic.

What’s the pool-hall needle-drop?

“Fist City” — Loretta Lynn (~00:43), diegetic vibe for the location.

What closes the movie?

“Badonthebeat” — Malibu Babie (~01:26), end credits.

Is the soundtrack mostly retro?

It sounds retro; most cuts are modern releases with 80s/90s coloration.

Notes & Trivia

• The original score is by Alex Geringas; no retail OST has been announced.
• Two credited music supervisors: Trish Bock and Jolene Pellant.
• Trailer music includes “Gia Would” (Gia Woods) and “PUNK TACTICS” (Joey Valence & Brae).
• Filming ran 19 days around Los Angeles; the synth palette helps sell a “timeless teen-caper” mood.
• Trusted sources mentioned: Wikipedia; Film Music Reporter; IMDb; Soundtracki.

Genres & Themes

Retro-modern synth & art-punk: The Voidz and Com Truise give June’s narration and fantasies a neon hum—new tracks built to feel late-80s/early-90s.

Hip-hop & internet-era bounce: Joey Valence & Brae, Mr. Muthafuckin’ eXquire, Malibu Babie land the gags and chaos spikes; they read as “feed energy” in sound.

Vintage pop & country: Gary Lewis & The Playboys and Loretta Lynn place scenes in familiar, slightly kitsch spaces—sweet, then sharp.

Ambient/analog electronica: Ian Boddy, OHMA, Oceans1985 color insomnia beats and “alone with the phone” moments.

Tracks & Scenes

“Leave It In My Dreams” — The Voidz
Where it plays: Opening credits (~00:02), non-diegetic.
Why it matters: Announces the film’s art-punk tilt and June’s restless POV.

“Boyz R Bad” — Farah
Where it plays: June dances during a live stream (~00:08), source-adjacent.
Why it matters: Self-performance as lifestyle; the beat matches her curated chaos.

“Bi Polar” — Bhad Bhabie
Where it plays: June enters the pharmacy, runs into a guy (~00:10).
Why it matters: Brash energy telegraphs mess ahead; also winks at a cameo later.

“This Diamond Ring” — Gary Lewis & The Playboys
Where it plays: June meets Owen (~00:11).
Why it matters: Bubblegum innocence undercuts her “detective” posture.

“Tanaka 2” — Joey Valence & Brae (feat. Logic)
Where it plays: Coffee break (~00:12).
Why it matters: Meme-speed swagger for June’s jump-cut attention span.

“Summer’s Day” — Buddy Ross & His Pals
Where it plays: Customer warns June not to have kids (~00:13).
Why it matters: Sunny chords, sour advice—the film’s tone in miniature.

“She Melts” — Com Truise
Where it plays: Night-bed stare at the ceiling (~00:22).
Why it matters: Vapor-haze for anxious stillness.

“In Essence” — OHMA
Where it plays: Tossing and turning (~00:23).
Why it matters: Minimal pulses = low-stakes dread, very June.

“Xerox” — The Voidz
Where it plays: Brother gaming (~00:30), diegetic from room.
Why it matters: Noise-edge texture to family background hum.

“Los Angeles” — Pink Gloves
Where it plays: June types out a suspects list (~00:32).
Why it matters: Glitter synth for “caseboard on a phone.”

“Brokendate” — Com Truise
Where it plays: Dreamy “Freddy’s Spaceships” fantasy with glitter and a proposal (~00:33).
Why it matters: Retro-future swoon punctures reality; pure vibe as punchline.

“New Boyfriend” — Beardo
Where it plays: June at Freddy’s, orders a double cheeseburger (~00:34).
Why it matters: Slacker stride for her impulsive detours.

“Fist City” — Loretta Lynn
Where it plays: Bill and June walk into a pool club (~00:43), diegetic.
Why it matters: Bar-room grit; flips tone from twee to tough.

“Coil” — Ian Boddy
Where it plays: Candy talk with Owen (~01:02).
Why it matters: Analog shimmer for a tentative connection.

“Fck Boy!” — Mr. Muthafuckin’ eXquire
Where it plays: Brother blasts it in the car (~01:10), diegetic.
Why it matters: Loud comic contrast; family noise as running gag.

“Motion Crisiis (feat. Mr. Perkins)” — Rolan Vega
Where it plays: June claims she’ll get off her parents’ phone plan (~01:18).
Why it matters: Parodic drama for a not-quite-adult milestone.

“Badonthebeat” — Malibu Babie
Where it plays: End credits (~01:26).
Why it matters: A victory lap that’s more meme than moral—fitting.

Also heard: “All the Same” — The Voidz; “Be Your Toy” — Cerebral Ballzy; “Day to Day” — Rooney; “Raw Sippa” — Baby Smoove; “Bozo Beach” — Amir Yaghmai; “Would You Mind” — Jane Johnson; ambient cues by Oceans1985; library-adjacent cuts by Lea & Katharina Geringas.

Music–Story Links

Synth and art-punk frame June’s inner monologue—self-mythologizing in neon. Oldies yank her back to a town of routines and reputations. Hip-hop cues spike scenes where plans unravel or bravado spikes. The score’s arps and pads keep momentum between jokes, so even detours feel like progress.

How It Was Made

Score & supervision: Composer Alex Geringas; music supervisors Trish Bock and Jolene Pellant. Director Nicholaus Goossen leaned into “new music that feels retro,” selecting modern tracks with vintage coloration. Production shot in ~19 days around Los Angeles.

“It just so happens to have a throwback feel, but it is actually all new music… from our composer Alex Geringas or somebody like Ian Boddy or The Voidz.” Nicholaus Goossen, interview

Reception & Quotes

Critical response was mixed-positive on tone and performances; the music choices were repeatedly noted as part of the film’s “off-center charmer” vibe.

“Small, funny… an off-center charmer turns the world upside down.” Deadline (Michael Cieply)

“A throwback teen-cap­er energy with contemporary cringe—by design.” Round-up coverage

Year-end pieces flagged the title as an overlooked 2024 indie; ratings snapshots remain middling but steady.

Additional Info

• Album status: No official score/OST release to date; songs compiled in a director-curated playlist.
• Trailer cuts: “Gia Would” (Gia Woods) and “PUNK TACTICS” (Joey Valence & Brae).
• Period fakery, modern sources: Com Truise and The Voidz deliver the retro sheen; tracks are contemporary releases.
• End-credits ID: “Badonthebeat” — Malibu Babie.
• Verify placements: Soundtracki provides minute-marks; IMDb lists song credits; Wikipedia logs composer and release facts.

Technical Info

• Title: Drugstore June — Songs & Original Score (overview)
• Year: 2024 (limited theaters Feb 23; digital Mar 8)
• Type: Needle-drop heavy feature with original score
• Composer: Alex Geringas
• Music Supervision: Trish Bock; Jolene Pellant
• Notable placements (sample): The Voidz (“Leave It In My Dreams” open); Com Truise (“Brokendate” fantasy); Loretta Lynn (“Fist City” pool hall); Malibu Babie (“Badonthebeat” credits)
• Labels/availability: No official OST; many songs available via a director-curated Spotify playlist
• Distributors: Utopia; Shout! Studios

Canonical Entities & Relations

Sources: Wikipedia; Film Music Reporter; IMDb; Soundtracki; Spotify; Rotten Tomatoes; Film Obsessive.

November, 09th 2025