Kip's Half Decade Hoedown
Year of the Sax: I've heard several people call 2025 an underwhelming year for music which I don't necessarily agree with. So, I poured through all the albums I listened to this year and tried to find at least 50 releases that I found enjoyable enough to write about, huge mistake btw because I actually found more than that and had to scale it down a bit. Anyway, without any serious ranking outside of the top 3, here are some diamonds in the rough that I enjoyed from this year.
PS* for those wondering where all the m//// is, I plan on making a list highlighting some of my favorite metal from the 2020's so far. I'll get started on that soon...hopefully. |
| 55 |  | Cruelster
Make Them Wonder Why
(Punk // Hardcore)
My enthusiam for egg punk has waned quite a bit after the first and last Dumpers LP (almost a decade ago) but every so often a band like Cleveland, Ohio's Cruelster puts out an album with a just good bit more charisma put in that has me thinking "alright, yeah! I can dig it!" The eggy goof and gaff are still present, but this otherwise straightforward punk LP (29 minutes close enough) reminded me of old Ceremony at times, with a good amount of humor and wartime satire thrown in to make this an enjoyable little gem.
(Favorite Track: Belarus with My Baby) |
| 54 |  | Grandad
Porcelain
(Jazz Punk // Noise Rock)
We're only at item number 2 and our first saxophone band makes their presence known (better get used to that now). For real though, this Dutch group are explosive live and that translates seamlessly to their recorded material. There's an almost grunge-like feel to their brand of sax-punk which gives them a unique appeal. The drumming is absolutely the star player here as well, especially on "Fata Morgana." Seriously, give this a shot, this band rocks too hard to get so little attention.
(Favorite Track: Afraid of the Dark) |
| 53 |  | Wiring
Like A Porcelain Lamb
(Indie Rock // Math Rock)
Take wall shoegaze guitar tones, throw in some angular math rock and orchestral string work and you've got an impressive sophomore effort from this cool little New York band. Enough technicality on display here without overburdening the equally abundant heavy bits, plus the intermittent moments of acoustic pluckery on songs like "Drag in the Wing" do just enough to set this band apart from their many contemporaries.
(Favorite Track: By Design) |
| 52 |  | Fake Pollocks
Livestock
(Emo // Post-Hardcore)
This band has such a cool sound, almost reminds me of emo Straw Man Army meets Unwound. The call and response vocal style presents great chemistry between the band and carries the rather peculiar lyricism so well. It's a neat vibe that few bands nowadays can pull off, these guys have it nailed down.
(Favorite Track: White Eichner) |
| 51 |  | Stratford Rise
Stratford Rise
(Noise Rock // Post-Hardcore)
Swinging out of Belfast, this rather eccentric sounding noise rock outfit hits you with four straight shots to the gut with this self-titled EP, their sound has a unique ferocity to them with special mention to the vocals which I found to be quite out of the ordinary. Lots of promise here, hopefully this intensity transfers over should they decide to release a full album.
(Favorite Track: Machine to Water) |
| 50 |  | Virtua Dx
Guitarpop Forever
(Shoegaze // Glitch Pop)
If Sweet Trip was to have a spiritual successor, this band would have my vote. Any _gaze band nowadays that succeeds in holding my attention for longer than 5 minutes (roughly half of one song) must have something special going on, and this band certainly does. Between the cutesy Casio keyboard noises and the banging drum set behind a wall of sound production, this is shoegaze at it's most fun. Look at that cow.
(Favorite Track: Running) |
| 49 |  | The Men
Buyer Beware
(Punk // Garage Rock)
Ayyy the boys (The Men) are so back with their most invigorated performance since Open Your Heart. The second half stretch from Black Heart Blue to Control is some of the most bang up work they've ever done if I do dare say so. Nice to have such a surprise return to form from these beloved Brooklyn fuzzfiends.
(Favorite Track: Nothing Wrong) |
| 48 |  | Dove Ellis
Blizzard
(Indie Rock // Art Rock)
This was a late entry; I can thank Lassie for putting into words much of what makes this album special. There's a whole plethora of influences you could hear in this music, a bit of Cameron Winter in the vocals, Jeff Buckley on barnburners like "Love Is," a little Nicky Hopkins piano playing on "Heaven Has No Wings" and some traditional Irish jigging on "Jaundice." There's a lot to fall in love with on this album, if I had a little more time to marinate on it, I would absolutely put it as a top AOTY contender.
(Favorite Track: Love Is) |
| 47 |  | Ira Glass
Joy is No Knocking Nation
(Jazz Punk // Post-Hardcore)
This Chicago quartet performs a curious blend of post-hardcore, post-rock and screamo which meshes together well on this 5 song EP. The vocal performances range from disaffected to outright ferocious elevated by the frenzied guitars, smashing drums and, you guessed it, SAXOPHONE!!! A great little extended play worth just under 20 minutes of your time.
(Favorite Track: Fritz All Over You) |
| 46 |  | Sheetrock
Hours in a Room
(Indie Rock // Emo)
And the award for band I'd like to play in my living room goes to a group from my hometown of Richmond, VA. Sheetrock would've fit right at home on any bill that included bands like Low or the American Analog Set way back when. From fast-paced emo bangers to somber slowcore trumpet rock that goes well with laying on the floor staring at your ceiling fan for hours (apropos for that album title).
(Favorite Track: Gambling) |
| 45 |  | Motocrossed
Motocrossed
(Indie Rock // Alternative Country)
One of many promising bands out of North Carolina, Charlotte's own Moto crossed present a fun dichotomy of warm southern folk balladry and bombastic, hard rocking distortion that balances out to give them a unique and fun appeal. If I had to compare them to anything, I'm reminded of Racing Mount Pleasant (more on them later) with a southern drawl, packing a comparable sentimentality and charm. On top of that, they have one of my favorite album covers of the year, the image of a woman in bed with a dirtbike cracked a smile that was kept by the music all the way through this release.
(Favorite Track: Drown (Country Girl)) |
| 44 |  | The Sleep Dealers
Against The Howling Winds
(Ambient Pop // Psychedelic)
That enchanting feeling I get when I listen to the music of Mum or Casino Versus Japan is not unlike how I feel listening to Against the Howling Winds. Any genre you can conjure up that you'd describe as (cliched or not) ethereal you'll find here - shoegaze, ambient and even a bit of R&B. This album can and will put you in a pure state of euphoria if you let it, just listen to the closing Police cover if you don't believe me.
(Favorite Track: Thank You, Sleepwalker) |
| 43 |  | Public Health
Minamata
(Noise Rock // Post-Hardcore)
Canada has been churning out the noise lately. There are good bits of post-everything here with the raw energy of Bitch Magnet, incorporating fast and hard with slow and droning well without sabotaging the pace of the music. The sparse production also adds to the retro flavor and keeps any one element of the sound from overwhelming the other. A perfect example of balancing angular aggression with droning complexity, this is quite a hidden gem worth checking out.
(Favorite Track: Kilamanjaro) |
| 42 |  | Shallowater
God's Gonna Give You a Million Dollars
(Slowcore // Alternative Country)
As far as rudimentary slowcore goes, this band seems to do everything the right way. God is Going to Give You a Million Dollars plods along at crawling pace, yet somehow kept me engaged the whole way, the country undertones greatly added to the lonesome walk down a dirt road atmosphere the band likely sought out to create. Best part is the band isn't afraid to pick up the pace on occasion like on the opening title track which keeps the albums engine from going out completely. Slow jams, this band knows what they're doing.
(Favorite Track: God's Gonna Give You a Million Dollars) |
| 41 |  | Swans
Birthing
(Post Rock // Experimental)
Always remarkable how a band so unorthodox can be so consistent in quality, but here we have another good Swans release, a modest improvement over their previous. As per much of their work, the tracks are long and punishing, building bit by bit with guitars that scrape along at an erosive pace, bells that jingle incessantly like metallic static and little nats pops here and there to break the monotony. Swans are masterful at texturing their tracks, the enjoyment in their music remains in subtle and not so subtle changes in the growing tension as Michael Gira drones over everything in dejected sermon. SPEAK UP DICK, BRING WONDERRRR, BRING PLUNDERRRR. I AM THE BEST FUCKING FUCK THAT YOU NEVER WILL HAVE!!!
(Favorite Track: I Am a Tower) |
| 40 |  | Headache (UK)
Thank You For Almost Caring
(Trip-Hop // Spoken Word)
Vegyn has been rather busy these past couple years. Between his last solo album succeeded by as being commissioned by legendary French duo Air to reconstruct their legendary album Moon Safari, he's certainly kept himself busy. Like many busy people he's turned to A.I. to give him a hand, though not the way you think. Beginning in 2023 under the Headache moniker, produced Headache's debut, with the artificial narration telling a story of one Francis Hornsby Clark. The follow-up continues this story, with similar surrealist lyrical narration. The music really serves as a bed for the introspective musings of said Clark, altogether it makes for an interesting listening experience. Sometimes I find myself feeling sympathy for Clark, but I've seen that Joaquin Pheonix movie enough to know where that will lead.
(Favorite Track: His Story) |
| 39 |  | Skinhead
It’s A Beautiful Day, What A Beautiful Day
(Punk // Hardcore)
Boy Howdy...If this isn't the most cheerful, upbeat album I've heard all year (it isn't). What this actually sounds like is the most exasperated punk rock-bottom emotional crash out set to Fucked Up guitars I've heard in probably ever. If you had any semblance of hope before hearing this, you can wave goodbye to that shit after 22 minutes of pure misanthropy. I'm making this album sound bad but it's actually very good and I recommend it to anyone who's been starved for over-the-top hardcore punk lately. Just for my own health's sake I probably won't be revisiting it too frequently.
(Favorite Track: Jog Your Memory) |
| 38 |  | Allarme
Bruit
(Post-Rock // Post-Punk)
The first of several Maruja-inspired bands to highlight from this year (there were many) but this band from Warsaw, Poland caught my ear, offering another strong display of brooding post-younameit infused rock music that, while not entirely unique in sound, is exceptional in musical talent and atmosphere. In particular I felt this band leaned closer towards post-hardcore/noise territory with tracks like "Posagi" which was appealing. The frontman also sings in both Polish and English, doing well on both accounts.
(Favorite Track: Impulse/Shiver) |
| 37 |  | Shame (UK)
Cutthroat
(Dance Punk // Post-Punk)
Interesting to see how all the first-wave Windmillers took off in different directions since the pre-pandemic era. Despite the scene's rapid changes, Shame is still hanging in there, staying true to their post-punk leanings while playing around with some fun new sounds. Not their most consistent release but its charms shine through well enough, and they certainly kept me coming back more than I thought I would.
(Favorite Track: Lampiao) |
| 36 |  | Dan English
Sky Record
(Chamber Pop // Psychedelic)
I've been very enthusiastic about the music world's recent renewed interest in varied instrumentation (almost in spite of how much music is made soley on laptops now).
Nearly every song here utilizes a unique instrument that drives each respective track. Guitars are no longer Dan's main tool of music, now falling in line next to baroque percussion, orchestral strings, woodwinds and pedal steel among others. Really, Dan's vocals remain the only constant on Sky Record, no two songs are similar in composition, yet the mood they carry remains uninterrupted. The first half of this album remains one of my favorite stretches of music I've heard all year.
(Favorite Track: Serenity) |
| 35 |  | We're The Currency
An Ode And Farewell
(Screamo // Post-Hardcore)
i can't help but marvel at the flood of revivalist screamo bands washing over streaming platforms, in their all-lowercased glory. much of it can veer into gimmick territory but this little band out of Eugene, Oregon seems to have its heart in the right place: ripped out, in hand, and presented to us on this 25-minute faithful homage to mallcore past. unfortunately, it seems this band doesn't have plans if continuing after this release (hence the album name) which is a shame.
(Favorite Track: Biting the Ponytail Bullet) |
| 34 |  | PARKiNG
PORTRAiTS
(Post-Punk // Post-Rock)
After such a long period of stagnation in the post-punk genre, my recent re-obsession with it has led me down several rabbit holes in search of band's that stick out in the grass. Kentucky's PARKiNG was one such band that to me caught me off-guard, taking both hard-rocking punk tracks like the opener and cutting them in with long stretches of eerie post-rock (they are from Louisville after all). It's a hard contrast in styles that doesn't always maintain the pace of the album but both styles are done very well and work to give PARKiNG an identity that separates them from much of similar sounding bands I often hear described as "post" release of the year.
(Favorite Track: Siren) |
| 33 |  | Bad Luck Pearl
Bad Luck Pearl
(Jazz Rock // Chamber Pop)
Another stand out in the seemingly endless wave of arty rock projects, what Bad Luck Pearl excels where others fail is melody, variety and sincerity. Many of the tracks have consistent rhythm that don't devolve into calamitous instrumental moshing as we so often hear now, instead pace is maintained and nothing feels repetitive or overdone. The vocals also suit the music well, not overly vulnerable or on the verge of breakdown like many try to replicate. As far as art bands go, their approach feels pretty refreshingly genuine.
(Favorite Track: Blurs to Red) |
| 32 |  | Way Dynamic
Massive Shoe
(Alternative Rock // Soft Rock)
Australian singer/songwriter Dylan Young presents his multi-faceted approach to indie-pop with a full array of talented musicians to realize this enjoyably diverse album. There's a full grab bag of styles on display here which makes it somewhat hard to classify or compare. Sometimes I hear Neil Young, other times Talking Heads, there's genres ranging from twangy folk to dance rock to jazz and much more in between. Needless to say, Massive Shoe offers a little something here for just about everyone. Hop on in I say.
(Favorite Track: Ibiza) |
| 31 |  | Now Always Fades
Into the Doldrums
(Downtempo // Dream Pop)
Xavier Bacash's new project explores the recent revivalist styles of downtempo electronic in the wake of other artists like A.S.O., Trickpony and James K among others. The organic instrumentation implemented into the Madchester style drum beats give this a wicked cool atmosphere, complemented well by Lili Halls' equally ethereal vocal style. It's a supremely psychedelic, skillfully chilled little album worthy of a lonely night's enjoyment.
(Favorite Track: Mindflower) |
| 30 |  | Of Eden
A Chapter Worth Reading
(Screamo // Post-Hardcore)
Texas post-hc outfit Of Eden are very reminiscent of several bands many of us grew up with, yet their remarkable talent keeps them from coming across derivative. It's well-made, well-intentioned and a faithful homage to an era of music still echoing in the ears of generation now approaching their 40's and 50's. There's enough personality coursing through this release that, could this band have existed 20 years ago, they would've likely been held to the same standards as Hopesfall, Saosin and many other bands who inspire them.
(Favorite Track: This Lasts Forever) |
| 29 |  | Everybody Takes One
We've Got What It Takes
(Hardcore // Punk)
If you told me this was a Revelation release from the mid-90's I 100% would've believed you. They not only have the look, but they also have that pure old school straight edge crew sound nailed as close to the genuine article as I've heard anytime recently. It's enough to put a tear in my eye and a big black X on my shriveled-up heart. *sniff*
(Favorite Track: The Call) |
| 28 |  | Saetia
Tendrils
(Screamo // Post-Hardcore)
Some bug is going around that's causing all these old bands to rise from the dead and put out really good albums on par with their established previous work. NYC screamo legends Saetia just decided they were going to come back after 25+ years of nothing to drop 3 solid post-hc tracks to rival those of bands that were INSPIRED by them. Incredible.
(Favorite Track: Tendrils) |
| 27 |  | Five Point Palm Exploding Heart Technique
The Storm
(Post-Hardcore // Emo)
Once again out of Texas comes a band fueled by personal anguish that they channel into frenzied, energetic power. Combining the recent trends of orchestral rock music with highly technical post-hardcore makes for an interesting combo. This album comes across as highly personal as well, the subject of identity a central theme of the lyrics, giving this release very real bite that comes across in both the music and singing.
(Favorite Track: Leviathan Pt. 2) |
| 26 |  | Herhums
Binding Chimes
(Ambient // Psychedelic)
South Korean solo artist Herhums has crafted another piece of ambient folk that utilizes lush chamber instrumentation in a most beautifully effulgent fashion. Between the enchanting vocals and the wistful guitar playing, it's both exciting and calming at the same time. Tracks like "Possa" almost have a Stereolab-type charm that I find very endearing. A nice palette cleanser for all the more aggressive music I've been listening to this year.
(Favorite Track: Rewind) |
| 25 |  | Alex G
Headlights
(Indie Rock // Indie Folk)
I Alex perform several times over the previous decade and though I haven't kept up with him as of late, I was pleased to see how much his music has evolved since then. Headlights, as others have noted, feels like a homecoming, taking every period of his career and amalgamating them into a mature and enjoyable listen. The first few tracks on this album in particular provide one of the most enjoyable stretches of material Alex has put out thus far. I lagged behind a bit, but Headlights motivated me to revisit his catalog again, which has been one of the more fun album gauntlets I've run through this past year.
(Favorite Track: Oranges) |
| 24 |  | The Orchestra (For Now)
Plan 75
(Post-Rock // Art Rock)
Yes, the "Windmill sound" is beginning to oversaturate to some people, but it's hard to deny the quality musicianship exhibited by this young band on both their extended plays from this year and/or write it off as anything but exceptional. Joe Scarisbrick can't be faulted for singing without conviction, in fact he has an overabundance of it almost to a fault. The music veers into the unhinged at times but is brought back from the brink and carried along skillfully by the percussion and string instrumentation which drive much of this release. All together it's a familiar formula that is executed flawlessly and for that this band deserves commendation.
(Favorite Track: Skins) |
| 23 |  | The New Eves
The New Eve Is Rising
(Art Punk // Post-Punk)
Watch out, ladies in white ceremonial attire have come to steal you into the woods, never to be heard from again. No, in all actuality this was a release I kept revisiting, no doubt drawn in by the distinct ensemble of pagan feminist post-punk, howling and chanting over distorted cello, flutes and tribal-esque drumming. It's enough to make you want to dance around in the mud with no shoes on. There's maybe a little bit of Raincoats and Patti Smith influence here along with European folk themes that altogether give the band a distinct image and sound. A concert I'd pine for if they ever made it out my way.
(Favorite Track: Cow Song) |
| 22 |  | Maruja
Pain to Power
(Post-Rock // Post-Punk)
Everyone had big expectations for Maruja's first LP after three successful short form releases drew such enormous international attention. The result wasn't feasibly going to make everyone happy but the band stuck to what was in their heart. This album felt less like a follow-up to their previous work really more like a display of "this is how we feel right now," which isn't a bad thing. Even though the more stripped down, emotionally driven content differs from the more artistic approach they took a couple years ago; the band still has a wealth of talent that they can express in several different ways. Plus, the closing track on this album shows that they haven't completely uprooted, in fact I dare call it their finest song to date.
(Favorite Track: Reconcile) |
| 21 |  | Stone (UK)
Dream Curtain Eternally Gentle
(Downtempo // Trip-Hop)
Bit of a sleeper but really most electronic is on here. This release packs 8 tracks of chilled out "illbient" beats that feel modern with just bit of old school sensibility to them. Full of cool samples, haunting ambient synths and hip-hop breaks it's relaxation in motion (if that makes any sense). Even brand new, it's oddly nostalgic.
(Favorite Track: Sozzy) |
| 20 |  | Carnivorous Bells
Beacons In Limbo
(Post-Punk // Noise Rock)
I was thoroughly impressed with this band's previous album, the closest a modern group has come to replicating that late 80's NoMeansNo jazzy punk sound at least in my experience. The vocalist sounds half-demented, chewing and spitting out lyrical bile while the drums beat us into oblivion. Though a little more straightforward punk than the previous album, the aggression level has not fallen one iota. This is the kind of raw viscera that I love in music, and these guys pull it off so confidently, like they don't care whether we enjoy it or not. Now that's punk rock.
(Favorite Track: Drop the Reigns) |
| 19 |  | Candelabro
Deseo, Carne y Voluntad
(Art Rock // Post Rock)
The Chilean art rock scene has seen some tremendous releases this year but this album took the cake for me. Yes, it borrows a lot from the Black Country but what it borrows it utilizes to the fullest. My biggest complaint about Hesse Kessel's album applies here too, at 73 minutes this album is a bit too long winded. However, the bright spots here are some of the best I've heard in the genre with many album highlights, "Pecado", "Tumba", "Angel", and "Caliz" being particularly exceptional. This band has serious talent, with a bit more nuance in style they could really shine.
(Favorite Track: Angel) |
| 18 |  | Oneohtrix Point Never
Tranquilizer
(Ambient // Sound Collage)
Many hailed this album as a return to OPN's golden era (let's call it Replica thru Garden) but in all honesty I found this to be more enjoyable than anything he's done up to this point. This album seems more focused, less glitch and meandering than other Oneohtrix albums of the past. It maintains a nice flowing atmosphere that carries at a good pace from bookend to bookend, and really, I this album was meant to be listened to that way. This is less of a return and more of a new chapter.
(Favorite Track: Lifeworld) |
| 17 |  | Hannah Frances
Nested In Tangles
(Experimental Folk // Indie Folk)
Another endearingly unorthodox folk release among some stiff competition, there is something very appealing about Hannah's non-catchy approach to songwriting. The instrumentation is lovely, and she has this almost Joni-type delivery that gives her vocals a somewhat familiar and at the same time unique sound that I very much enjoy. It's hauntingly beautiful and stands as another example that disharmony is beautiful in its own right.
(Favorite Track: Surviving You) |
| 16 |  | Hannie Schaft
Este Es El Lugar
(Alternative Rock // Post-Rock)
As other publications have stated, this Argentinian trio are heavily inspired by OK Computer era Radiohead and they play to this style very well. This album has a cool, moody atmosphere and some great instrumental work accented by some wonderful drumming. Well-produced and with plenty of talent on display, I'm interested to see where this band could go should they choose to flesh out their sound a bit into other creative directions.
(Favorite Track: Cinco Cuartos) |
| 15 |  | Geese
Getting Killed
(Indie Rock // Experimental)
I gotta say, I wasn't sold on this right off the bat like most people were. I just didn't understand what the hype was about; because the instruments are different and Cameron Winter sings like he's caught in limbo between Rufus Wainwright and Clap Your Hands Say Yeah? Then I thought maybe I'm being overzealous in spite of all the praise. Gradually I found myself enjoying it more and more as the year went on, it's got an undeniable charm to it and the unique vocal style plays to the experimental nature of the instruments very well. Do I think it's worth all the hype? Maybe not yet. But it certainly deserved reevaluation on my part. I'll keep at it.
(Favorite Track: 100 Horses) |
| 14 |  | Doves (UK)
Constellations for the Lonely
(Alternative Rock // Britpop)
This one took me completely by surprise but man...not a step has been lost in 25 years amongst any of the mighty Cheshire triumvirate. Not only the music but the production makes this album feel like a time capsule freshly dug up from a turn of the millennium, post-Britpop UK. There are songs here that you will feel like you've known your entire life (as Zak so eloquently puts). If he affords it praise you know it's got the goods.
(Favorite Track: Cold Dreaming) |
| 13 |  | Rapt
Until The Light Takes Us
(Folk // Indie Folk)
This is an incredibly heartfelt album from a fellow sputhead no less. A fine example of delicate, simple folk music that kept me coming back since its release earlier in the year. The songs are delivered with such a sincere warmth, I found myself truly at ease listening to them. Nicely done Jacob. This just goes to show, not everyone who uses this site is an absolute wretch.
(Favorite Track: I Will Be My End) |
| 12 |  | Black Eyes
Hostile Design
(Post-Punk // Post-Hardcore)
Speaking of unexpected comebacks, this relic of the D.C. scene decided to pick up where they left off after disappearing for 21 years like it was no big deal. You can't even call this a return to form because they sound exactly the same as they did in 2004, it's incredible. No doubt Ian MacKaye's production also lends itself to that classic turn of the millennium Discord sound, this was a group of veterans coming back to show all these goofy ass kids how abrasive saxophone punk is done. See you in another war in the middle east.
(Favorite Track: Break a Leg) |
| 11 |  | Hiromi
Out There
(Jazz // Fusion)
The very talented Hiromi Uehara presents her second collaboration with Sonicwonder, a jazzy whirlpool of sound and color, super quirky and full of energy and style. Containing reworked versions of previous material as well as two versions of "Pendulum," there is a good mix of stylistic influence here, ranging from the 1950's onward. In particular, any fans of 70's/80's artists like Chick Corea, Stanley Clarke and Pat Metheny would surely enjoy the heavy funk and fusion styles on display here. Another notch in Hiromi's gun, she simply cannot miss.
(Favorite Track: Yes! Ramen!!) |
| 10 |  | Titanic (MEX)
Hagen
(Art Pop // Indie Pop)
Mexican experimental popstars Titanic set the bar fairly high with their previous album, but they manage to clear it and then some with Hagen, a beautifully noisy and atmospheric creation at a modest 33 minutes. I was actually caught by surprise at how impactful a lot of the noisier moments were on here, some of the percussion sounding off like cannon fire really clashes with the other more timid moments, particularly the vocals which are the most fun part of many of the songs, yet somehow it all works together surprisingly well. Not the fullest sounding art record I've heard this year, but certainly a fun and exciting release I see myself coming back to in the future.
(Favorite Track: Alzando El Trofeo) |
| 9 |  | Touchdown Jesus
It's All Feast or Famine
(Art Rock // Progressive Rock)
The Cincinnati quartet struck again with another phenomenal extended play full of abrasive, groovy experimental rock goodness. Although not as indie centric as the previous effort, this album doubles down on the explosive side with extra emphasis on genre exploration. The rhythms are more intense, playing more technically proficient and the shared vocals keep things interesting. Very talented these gentlemen are, hopefully an LP will be their next project going forward.
(Favorite Track: New Swang) |
| 8 |  | Big Thief
Double Infinity
(Indie Folk // New Age)
Bands take a chance and try something different, and, regardless if it goes well for them or not, there will always be detractors. I can understand why this album might put off established Thief fans, but I really enjoyed the vibe of this release quite a bit. The inclusion of Laraaji's contributions among other new age influences present on this really gave it a warm sound that I found myself nodding along to most of the entire way through. Some of Lenker's lyricism can drift into gratuity but her vocal performance was nevertheless on point. Maybe as a Big Thief album it wasn't what I was expecting, but in every other sense this was a special album.
(Favorite Track: How Could I Have Known) |
| 7 |  | Yubiori
Yubiori2
(Emo // Math Rock)
The best Midwest emo album I've heard in quite a while...and it's from Japan??! Seriously, the band members are playing every song like it's a finale and the vocalist is singing his heart out most of the time (hope he's okay). It's full of energy, emotion and skill, and they manage to tug at my heartstrings, and I don't even know what they're saying. That takes some skill, bravo.
(Favorite Track: Itsuka) |
| 6 |  | Cisnienie
(Angry Noises)
(Post Rock// Noise Rock)
Has there ever been a more appropriate name/cover for an album? This near-60-minute-long roller coaster ride into hell takes the term "brutal prog" to the utmost literal extent, packing more tension and utter dread than I ever thought a baritone saxophone capable of producing. It's pandemonium, yet artful at the same time, like a Bosch painting triptych in sound form. I enjoy a good assault on the senses and Cisnienie delivered in spades. Poland, ladies and gentlemen.
(Favorite Track: Gowno) |
| 5 |  | Anna von Hausswolff
Iconoclasts
(Experimental Pop // Art Pop)
I'm always surprised at the range of talent on display with each of Anna's albums. I dare to say this one may be her best. I found I wasn't too bothered by the featured vocalists (I mean I'll never not be happy to see Iggy on anything) though they are arguably the two weaker tracks on here. Still, despite this album's length, it's so full of creativity and memorable moments that I find myself enthralled the whole time. A huge step up from her previous album, I'm interested to know how she will top this should she choose to attempt such a feat.
(Favorite Track: Struggle with the Beast) |
| 4 |  | Racing Mount Pleasant
Racing Mount Pleasant
(Indie Rock // Art Rock)
What else can I say about this album, it's just so warm and inviting. Racing Mount Pleasant projects the intimacy of friends performing in a small space, yet instrumentally the music is so dense and powerful. Few albums have elicited such a heartfelt reaction out of curmudgeon such as I but after a year like 2025 we could all use a hug, and that's what this album feels like. One of those hugs where you spun around and you have to take a second after to regain your composure.
(Favorite Track: Emily) |
| 3 |  | Junior Brother
The End
(Celtic Folk // Progressive Folk)
I don't say stuff like this often, but this album stopped me dead in my tracks upon my first hearing. The way Ronan Kealy's music can place you in a frenzied state of disorientation before pulling you back to reality is truly incredible. What's more is that was pretty much his intention with The End given the concept of the album of getting lost in the wilderness while the fairy forts of the Irish countryside fall to bulldozing modernity. It's so amazingly manic it's a trance I'd put myself through again and again.
(Favorite Track: Take Guilt) |
| 2 |  | Sentries
Gem of the West (Disc 2)
(Noise Rock // Post-Punk)
Since this album apparently has two discs I'll include both of them in my praise for this amazing stylistic progression. Those familiar with the previous work of Kim Elliott, it's remarkable how much Sentries has grown in musical stature over the course of the past year. Taking an already hard-hitting noise rock sound and throwing in some Interpol-type post-punk revival tones had me all over Gem of the West for most of this year. Then he expanded on this sound further with Disc 2 and now I'm already chomping at the bit to have more. Hopefully this project continues to evolve from here, it seems as though Elliott is starting to adapt Sentries into a fully-fledged band which can mean good things barring having less autonomy of creative decisions. We'll have to wait and see what happens.
(Favorite Track: Parcel) |
| 1 |  | Jacob Alon
In Limerence
(Indie Folk // Folk)
In a year dominated by maximalist, artful productions, it's kind of ironic to choose this as my favorite album I heard this year. However, what Jacob Alon (and Dan Carey) made me realize is that subtle and delicate production can be just as effective (if not more so) than the walls of booming multilayered instrumentation that have grown so popular with independent releases during the course of the last 5 years. To be able to reintroduce myself and others to this concept is a commendable feat for young artist like Alon, especially on their debut album. My hat's off to you, well done.
(Favorite Track: Don't Fall Asleep) |
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