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100 Favorite Albums of 2025: 100-76

Another year, another onslaught of albums I listened to once and feebly attempted to put into an order in early December. If you’ve stumbled on this page, or are even a fan of this blog I suppose, I’ve tried to give a little extra weight to some lesser-known artists here. This list is not devoid of superstars – PinkPantheress, Rosalia and Bad Bunny are undeniable locks – but I listened to so, so many albums from smaller artists here that I decided to bump acts like Pulp and The Weeknd, whose great albums both hovered around the #100 cusp. I don’t write for people who want their opinions vindicated, I write for people who are always hungry for new ones. 

I’ve also made a decision this year to combine multiple releases from an artist into one entry, because it happened so many times. There was a litany of follow-up EP’s and surprise second LP’s and what not, I didn’t want to cram the list with repeated artists. That said, let’s dig into it! 

#100. Greentea Peng – TELL DEM IT’S SUNNY

Every list has to start somewhere. Truthfully, I knocked a few higher-ranking ones off to favor Peng, a new discovery for me this year. Peng is a British singer who does a version of neo-soul that doesn’t so much check every box as it does write new ones to check. Kind of R&B, kind of indie, kind of rap, she’s a difficult one to pin down. The only thing that’s really consistent on the album is the level of fun, as she weaves through traditional soul and more experimental tunes. It’s sunny indeed.

#99. Geese – Getting Killed

I’m still not fully onboard the Geese train but I think I get it. If you told me one indie band was going to break out in 2025 and had me guess 100 bands, I would not have guessed Geese. The band does an extremely loose, jangly kind of indie that, when coupled with Cameron Winter’s abrasive and Dylanesque vocals, results in something supremely unpredictable and off-kilter. These songs range from melodic to fully insane, in a similar vein to black midi but less dense. I still don’t like “Taxes,” but some of the other tracks here did surprise me in a positive way. One of the most unique bands – and even if I’m not their biggest supporter, I’m so glad they blew up. People demand original music, and that’s what this is. 

#98. Horsegirl – Phonetics On and On

The pushback against sanitized music has been in full force in 2025, with a rebound in hardcore and punk on the center stage. But we’re getting a lot more jangly, unconventional indie as well. Horsegirl’s sophomore album is actually more varied than their debut, roping in some traditional, well-produced indie songs as well as offbeat, noodly ones. “Switch Over” was the lead single and best cut, and it sounds ripped from a Pavement album. Although I think I slightly preferred their debut, this is a nice advancement of their songwriting, and it’s unpredictable in the best ways. If you got into Geese this year, save space for a fellow barnyard band. 

#97. Julien Baker/TORRES – Send A Prayer My Way

This is match made in my personal heaven. I’m not a big fan of Baker’s solo music, even though I recognize she’s an insanely talented musician, but collaborations often bring out the best in her. I am a huge fan of TORRES, so my base level interest was high. I expected gay country, I got gay country. This is a soft, fun, low-stakes y’allternative album. The pair deliver exactly what you expect, and thankfully, it seems to have served as an elevated platform for the perpetually-underrated TORRES. Yeehaw! (Shehaw?) 

#96. Amaarae – BLACK STAR

When it comes to genres I don’t listen to as much like R&B, I tend to latch on to individual artists that really stick out to me. Amaarae is one of those, I’ve been a fan for a few years now. She doesn’t really have a base-level genre; her previous, R&B-heavy album Fountain Baby is what drew me to her initially. But this album is much more dance and pop inspired, and it’s chock full of bangers. It’s a very fun album, Amaarae lets her identity shine in a collection of big, bouncing tunes. Sometimes, it’s good to just start grooving on the subway. 

#95. Mizmor/Hell – Alluvion

Rifffffffs. I first discovered Mizmor through the collaborative album he did with Thou, Myopia, in 2022. Now, subsequently, I’ve used him to discover Hell (the artist). The Mizmor albums I’ve listened to have been marked by abject dread; punishingly slow riffs and dark ambient music that signify a black world of anguish far scarier than any black metal could produce. Hell provides some screaming to, you know, really set the mood. It isn’t actually the darkest area that this can be, because there’s a focus on real writing too. But still – four songs, 40 minutes, and one of the songs is only 4 minutes long. You do the math. 

#94. Viagra Boys – viagr aboys

Surprisingly, I’ve often struggled to click with Viagra Boys. Their post-punk aggression mixed with their spoken, humorous lyrics seem like something made for me. I mean, I’m a huge IDLES fan, and what are they besides a funnier IDLES? But this was the first album of theirs I really connected with; it’s loud, boisterous, funny as hell and still feels urgent. The theme here is the importance of comedy amidst rage. It helps that there’s more bangers here than previous albums, which is the band’s strong suit. There’s just a lot of crunchy guitar and genuinely funny lyrics here. 

#93. baan – neumann

Later on you’ll see some examples of bands who are taking the traditional shoegaze formula and messing around with it. This, by contrast, is just some really heavy shoegaze. They also don’t really stick to the formula, as their music approaches doom metal through its sludge and riffs, but it’s the inverse of bands warping shoegaze through indie. This is really gnarly stuff, and basically every song hits a higher high than I was expecting it to. Kill your ears. 

#92. Laveda – Love, Darla

This one took me by surprise! I was introduced to Laveda in the summer when I saw them open for Sunflower Bean, and I wasn’t super impressed by the live show. Each member had a different energy and the music felt ho-hum. In the studio though, they kick ass. This is one of the closest things to traditional ‘grunge’ that we have today (no, I don’t like using the G word). These are feedback-heavy songs of youthful angst. It maybe doesn’t have the manic energy of Hole, but I still think that’s the closest comparison. This was consistently better and gnarlier than I expected. The dream of the 90’s is still alive. 

#91. Orcutt Shelley Miller – Orcutt Shelley Miller

The band name and album title pull no punches. This is the debut record from the trio of Bill Orcutt (from Hairy Pussy), Steve Shelley (Sonic Youth) and Ethan Miller (Comets On Fire). While I’m not familiar with Miller’s work, and not very familiar with Orcutt’s, I am a lifelong Sonic Youth fan. This is less noise-influenced and more free jazz, meaning that it is still difficult music but not as abrasive. It’s thrilling far more often than not, and each song hits a bigger climax than you may expect. These are three experimental veterans who are just completely locked in. 

#90. Poliça – Dreams Go

This is not a band that I’m super knowledgeable on, but I’ve been a fan for a few years after stumbling onto their set at Riot Fest when I had time to kill. They were an odd booking, as their general indie-pop sound doesn’t mesh perfectly with the festival’s more punk namesakes. Their seventh album doesn’t take any grand swings, opting for a collection of electronica-pop songs that are just fun and well-produced. These songs are catchy, but still have their feet planted firmly in art pop. There is a lot of depth to these songs and they’re much better to get absorbed in as opposed to them getting stuck in your head. It’s pretty music, and most songs work very well. 

#89. Orbit Culture – Death Above Life

I’ve written about Orbit Culture in past years and I’ll say the exact same thing here: I love offbeat, experimental metal, but I think that in order to appreciate music like that, you need to understand the more conventional music that those bands launch off of. Orbit Culture are about as conventional as they come, a radio standard death metal band. While I’m ultimately ambivalent about a lot of death metal, something about these guys just sticks out to me. Their fifth album brings riffs, screams, and some blast beats added in for a touch. It’s nothing a metal fan hasn’t heard before, but it’s about as good as it comes. This album is missing that one big song, but it’s still consistent enough to make the list. 

#88. Pacing – songs

It’s a great title for one of the most unassuming musicians out there. Pacing, aka Katie McTigue, bounces between true bedroom pop and short, louder pop songs in the vein of Guided By Voices. songs finds marriage between both, but is more the latter. It’s a short album of short songs, some quick ideas on everyday things. The tracks are like little gumdrops, all very sweet and small. The first two songs here are “expired yogurt song” and “parking ticket song.” These are slices of life, small inspirations into normal frustrations. 

#87. Japanese Breakfast – For Melancholy Brunettes (& sad women)

Former list-topper Japanese Breakfast are still on a global victory tour after a prolonged mainstream breakthrough. It follows in the footsteps of 2021’s Jubilee, a collection of indie-pop songs that are just absolutely pleasant. These songs aren’t necessarily joyous, but they all have an infectious energy that is never plastic or plastered. The vibes are natural. This is a bit of a step-down from Jubilee, but, again, that album topped this list. Jbrekkie can do no wrong, and this is just another omelette in one of the most digestible catalogs in all of indie. 

#86. Saba/No ID – From the Private Collection of Saba and No ID

Saba is low-key one of the best rappers in America right now, and even a more low-key collaborative album can prove it. Private Collection mimics the title, as this album never feels like a grandiose statement and more like two guys just locking in and grooving. It’s a jazzy album, and Saba’s flow remains impeccable throughout. Saba isn’t exactly unknown, but he should be much bigger than he is. 

#85. yeule – Evangelic Girl Is A Gun

Every year sees a lot of new discoveries for me, and even after two listens I still don’t really know much about yeule. I haven’t heard yeule’s previous three albums, but the internet tells me they are more glitch and dream-pop oriented, and that Gun represents a new direction. This is a collection of artsy pop songs, each one following a traditional pop songwriting structure while always threatening to diverge into something more chaotic. It’s fun, even if the songs are about personal struggles. It’s an abstract work, while maintaining graspable rhythms. It’s unsurprising to learn that they’re also a painter – listening to this feels like watching someone paint.

#84. Hannah Francis – Nestled in Tangles

Chalk this one up to word of mouth. I saw multiple writers and publications hype this one up, and I’m glad I saved space for it. This is a pretty brilliant little folk album, with a lot of creativity and patience in its songwriting. These are mostly longer, more drawn-out songs, with great vocals and a lot of brass accompaniment. A handful of these songs have horns, but not so many that it feels like a gimmick. Tangles is easy on the ears, a soft but not minimalist collection that is easy on the ears and sounds just like the twisting trees displayed on the cover. 

#83. Wooll – Thistle

I go back to day one with Wooll. I was lucky enough to premiere their debut album, as well as their sophomore record Thistle. Lovely people and lovely musicians, this is an indie dreamscape. Where Unwind was very dreamy in a fun way, this shows a few cracks into more of a nightmare. I would still count this as something close to dream-pop, but it’s denser and darker than Unwind, working as a nice complement. I can sum it up like this: it’s just really nice music to listen to. It’s pleasant on the ears, and the songs are catchy without being saccharine. They’re original while sounding familiar, and it’s something to go back to many times. 

#82. Kevin Abstract – Blush

There may not be a more fitting moniker for any artist out there than Kevin Abstract. The rapper, who made his name in the prolific and experimental group Brockhampton, has always been one to push the boundaries of hip-hop. While “experimental hip-hop” is usually mostly synonymous with “abrasive,” Abstract always weaves in artistic elements. It’s always some combination of graceful, profound, R&B, alternative, hard rock, etc. On Blush, he instead curates a selection of songs. Almost every track here contains a litany of guests – and the ones that don’t are mostly credited to other artists. Danny Brown, Dominic Fike and Quadeca get their own individual songs, among others. It’s not dissimilar to what Brockhampton did, except that that was a group with about 100 guys in it. For a solo album, it is conceptually, well, abstract. And it works, it’s a constant change of pace with a million different tones, all working together as one. 

#81. Sunset Rollercoaster – QUIT QUIETLY

Sometimes band names make sense. Like a lot of acts on this list, Taiwan’s Sunset Rollercoaster were an entirely new discovery to me this year, and it’s just delightful. I normally don’t necessarily like “happy” music, as I often find it either hollow or forced. I think pigeonholing this as “happy music” is also rudimentary, but this is really feel-good stuff. Jazzy, poppy indie that’s always interesting and just unique enough to be both familiar and new. It’s a breezy, clever work. If a lot of albums on this list are poison, this is antidote. 

#80. Miya Folick – Erotica Veronica

There were a handful of albums on this list that I really liked immediately, only for them to fade from memory (and a few fell off the list completely). Folk singer Miya Folick’s third album had the opposite effect. I listened to it on a morning commute, thought it was great but not on par with her previous effort, and then just…kept thinking about it. It’s a deceivingly great folk-rock album, with a lot of subtle beauty and outwardly great rhythms. It is humble music, yet grabs your attention for the whole runtime. Folick is still getting grounded and already has a lot of buzz – watch for her almost-inevitable elevation.

#79. Suzie True – How I Learned to Love What’s Gone

Chalk this one up to “it’s just me music.” I love Suzie True, and I loved their new album! The band’s squeaky clean but fiercely energetic power-pop scratches an itch that I get frequently. The band is in the same league as Beach Bunny, writing taut, power chord-driven ditties that maybe don’t qualify as “punk music” but sound real damn close. They definitely slow things down more on this go-around, opting for a broader spectrum, but it all works. A short, fun little pop-rock album.

#78. Disiniblud – Disiniblud

On a similar note to Sunset Rollercoaster, this is one of the more intriguing and lighter albums on the list. Disiniblud is a new group, a collaboration between Rachika Nayar and Nina Keith, two experimental artists that I was unfamiliar with individually. I don’t check out a lot of experimental music, but this was an absolute pleasure. It finds the border between melodic and ambient, with a lot of mid-song gear-switching. The songs are all unique, warm and cared-for. There are familiar melodies and sonic deviations, resulting in a wholly unpredictable album that never gets grating in the way that some experimental works do. This won’t have a wide audience necessarily, but it’s extremely satisfying.

#77. Panchiko – Ginkgo

Call it a comeback. One of the wilder stories in music history, Panchiko released one demo and crashed out in obscurity in 2001. 15 years later, some random person with clout got that demo trending, and now they’re global stars. Their second album is a beautiful collection of dream pop and slowcore, music I am not usually attracted to. Each song is unique, though, and each one is treated with explicit care. This is maybe the most tender album I listened to this year, like a warm hug. It never retreads ideas, yet is one complete whole. I really expected a collection of repetition, but I ended up wowed on every track.

#76. Jeff Tweedy – Twilight Override

There’s two kinds of people out there – people who recognize that Jeff Tweedy is one of the all-time great American songwriters, and people who haven’t awakened yet. Even in 2025 there isn’t nearly enough respect put on his name. Tweedy has been cruising since 1990, as the frontman for Uncle Tupelo (1990-1994) and Wilco (1994-present), but his solo career has been lowkey and quiet. This album is full of songs that are hushed folk-rock tunes, and I mean full of them – it’s 3 discs, 111 minutes and 30 songs long. In criticism, plenty of the songs on discs 2 and 3 feel inconsequential. But Tweedy’s whole concept is about the importance of creativity, so why not include everything? Besides, it’s always pleasant to hear him strum away. This one might only be for the Tweedy heads, but I urge everyone to cherry pick some tunes out of this. 

Part 1 is done! I hope you found some gems, there’s some real nuggets in this section. Join me tomorrow for part 2, where you’ll see a behemoth of a project from a Boston indie group, some industrial metal, one of the biggest pop albums of the year, multiple hardcore releases and possibly the best emo reunion album ever made.

Here’s five albums that just missed the cut but still want to shout out: Die Spitz – Something to Consume | Jane Remover – revengeseekerz | Anika – Abyss | Lorna Shore – I Feel the Everblack Festering Within Me | Tunde Adebimpe – Thee Black Boltz

101 Favorite Albums of 2024: 101-75

It’s that time of year again. The time of year where I write thousands of words about albums and you skip over it because you’ve already read all the major publications who rush to get their best of lists out by early November. I always like to wait until last minute, because I am but one man and I never clear out my playlists. True to form, this was an incredible year. 2024 was maybe the best year for new music since I’ve begun tracking and reviewing. My list of 2024 albums I still want to listen to sits at 145 entries, and includes albums from established artists I love like Fucked Up, Zeal & Ardor and James Blake that I still haven’t even gotten to.

My final count as of writing (12/27) is 333 albums and EPs from 2024 that I listened to. Pulling a top 100 out of 333 might sound easy, but this year was so stacked that it truly wasn’t. Why am I doing 101? Because #101 is an album from one of my favorite artists and it would be criminal to not include it, and there was one very short EP that I debated cutting – but that also felt criminal (check back tomorrow for #55).

I live in Boston and I’ve been covering the local beat for a few years, but I did a much better job this year keeping up with local releases, and there’s 14 local releases in here (though Clairo and two from The Body are much bigger than the rest). I will always stress checking out your local scene, you may find something extraordinary.

Nearly all of these write-ups are copied directly from other previous posts on this blog. I’m editing them but please keep that in mind in case there’s a nonsensical reference or anything. Enough from me, let’s get going.

#101. Pharmakon – Maggot Mass

Pharmakon is quietly one of my favorite artists, just not one I listen to often – her music is extreme industrial, pushing the sonic territories of noise. Her songs are often expansive, harsh and pulsating, but with hints of melody too, which sets her apart from the goofy pure harsh noise. Lyrically, she sings largely viciously raw songs about skin, bodies and illnesses. Maggot Mass is no different, as every song here is menacing and uncomfortable. This record is missing the one key song of her previous works, which hampers it a bit. No track feels like a standout, they’re all a muddy slog together. But if you’re into extreme music, you can’t do wrong with her catalog.

#100. Wooll – Unwind

One of the best debuts of the year came from Providence’s Wooll, who have given us a remarkably consistent indie record that is far more patient and collaborative than a normal debut record. The band operates as one unit throughout, bouncing intricate guitar rhythms, smooth and dreamy vocals and crisp work from the rhythm section against each other. These are well-worn songs, ones that are never too eager to get the pace going and aren’t afraid to noodle around. These tracks are low-stakes and warm, some small love labors that are just incredibly pleasant. The band teases some shoegaze influences, but never really leaves the realm of agreeable indie. In a rough year, this is just some cozy and enjoyable music. I covered this one for the release, wonderful album from wonderful folks.

#99. Lord Dying – Clandestine Transcendence

Don’t judge a book by its cover, don’t judge a metal subgenre by its band name/album name/album art. I went into this one blind, expecting some good old pounding death metal, but what I got was much more. There’s elements of stoner metal, heavy metal, even hard rock. No two songs are the same, not even close really. This isn’t a recommendation for those close-minded metalheads who only like their ONE style, this is for all the metal freaks. It’s a little too long, and it feels like it’s missing that one key song to really sell it. But, it’s unique and basically every song is fun and original in some way.

#98. Alisa Amador – Multitudes

Just like some other great recent releases, this record blends Latin & American influences well. Amador is a local, another album that I feel has broken containment from the corner I relegate local stuff to. If you’re a fan of NPR’s Tiny Desk shows, then this name may seem familiar; Amador won the contest they ran a few years back. Her debut album, one I’ve been quietly anticipating for a long while, is a delightful and glistening indie-pop romp. Spanish-language ballads and American bedroom pop songs live in harmony, and are often better than anticipated. There’s a number of sneakily excellent songs here, and they’re all unique from each other while still being familiar in concept. Get in on the ground floor here!

#97. Unto Others – Never, Neverland

It’s always interesting to hear a band and think that they’re not making the album they want to make. I normally cringe when a hard-edged band makes a more mainstream push, but here it just makes sense. The first Unto Others album was a mix of goth and metal that sounded ripped from the 80’s. Curiously though, the band sounded more engaged on the goth elements. Their divisive new one strips away some of the metal influence and focuses just on goth, to incredible effect. It’s bold, there’s synthesizer on the first track! There’s still metal songs, but there’s rock songs, some poppier stuff, and a teaspoon of hardcore punk. The central focus is Gabriel Franco’s classically goth vocals, and it all works. Check the title, a reference to Metallica’s unexpected mainstream thrust – this is band unafraid to announce a new direction.

#96. Charly Bliss – Forever

What a gem! Take everything I just said about Unto Others and transpose it here. Charly Bliss’s first two albums cemented the band as a pop-heavy indie group with some punk spirit, in the same realm as the Beths. After a brief break, the band is back – with pure bubblegum pop-rock. This record is the same overproduced, big beat pop that I have lamented elsewhere this year, but it’s used to full effect here. This record is fun as all hell. The best songs are mostly the bangers, and they come early. But the back half has a couple sneakily exceptional ballads, too. This is truly exceptional pop music. For more on this one, check my concert review. 

#95. Megan Thee Stallion – MEGAN

I’m historically bad at writing about hip-hop and you developed an opinion on Megan long ago, so this is a throwaway review. Let’s just say, this album solidifies Megan as a star. Even without the shit in her personal life, this would be a bombastic and confident record for the ages. But knowing what’s gone down, it’s downright glorious. It’s sexy, it’s funny and most importantly, it’s freeing. It’s a home run trot of a record. Like nearly every modern rap album, it’s too long – there are not enough different ideas to satisfy the 52 minute runtime. But, there’s a lot of songs that are just fun winners, and what else do you expect from Megan? There’s an extended edition of the album I have not yet heard, which has a tantalizing feature from metal band Spiritbox ! 

#94. King Gizzard and the Lizard Wizard – Flight b741

I came into this one with a lot of worry – I’m a King Gizz obsessive, one of the Gizzhead cult members, but I’ve never been much into their groovier stuff. I had heard that this one was a spiritual sequel to Fishing For Fishies, the penultimate entry in my ranking of their 26 albums. This was a lot of fun, however. KGLW had a few years where they got a bit lost in the quality v quantity debate, but they’ve now delivered three straight winners – in metal, krautrock and boogie, no less. This album is funky and bluesy, and often very spirited. A lot of Gizz’s lighter albums have been partially or fully improvised, but this album benefits from a locked-in band playing songs they’ve already jammed on before. This won’t go down as one of the best KGLW albums, but it’s one of the better recent ones – and certainly the best of the groove ones. No two Gizz fans will ever fully agree, so you probably don’t feel the same. 

#93. Billie Eilish – Hit Me Hard And Soft

I really respect the boldness of this record. Eilish’s first two records both had distinct identities, and were wholly separate from each other. Her third seems to intentionally go against this idea, combining elements from her first two dichotomous albums and filtering in new ideas, too. The album opens with “Skinny,” a stripped down and powerful vocal ballad. The second track is “Lunch,” a synth-heavy tongue-in-cheek song that sounds ripped from her first album. This album is clearly one made by and for Eilish, and she throws everything at the wall. While some songs stay within familiar territory, others are unpredictable. After some time, we may agree that “L’Amour de Ma Vie” is her best song yet, a track that starts as a ballad and ends with wild club beats. While I don’t think this album quite stands up to her enigmatic debut album, it’s still a very solid pop release – and a refreshingly bold direction for a star at the top. 

#92. Big|Brave – A Chaos of Flowers

Big|Brave are a fascinating trio. They belong to the same circle of extreme metal like The Body and Full of Hell, and they belong to the same circle of Gothic folk like Chelsea Wolfe and Marissa Nadler. They’ve carved out a niche with practically no contemporaries. Flowers is a beautiful album, the songs are as haunting and gorgeous as the band has ever recorded. Every now and then, they remind you that they can get heavy and deeply inaccessible, but often they keep it quiet. Sometimes these songs edge on pure minimalism – the band works to hit both sides of the spectrum, and they do so very successfully. This isn’t a metal album, but it’s an album best appreciated by metal fans. A fascinating record by a fascinating band.

#91. Nilüfer Yanya – My Method Actor

I haven’t heard the British singer’s first two albums, but it appears that her third album is her best so far. It’s tough to imagine something that surpasses this. It’s the melding of indie and pop, but in a wholly different way than the American indie-pop albums that have flooded the year. This is suave, cool and loud – there’s a lot of pumping guitar that disrupts the soulful songwriting. The end result is almost unclassifiable, as if rock and R&B have been jammed together. Her voice is excellent, confident but smooth, and these songs are unique and just fun. I feel that this is a record I’ll be revisiting, as these songs need more attention from me. This is one rocks, folks.

#90. serpentwithfeet – GRIP

I simultaneously went into this one having never really heard the music of serpentwithfeet and still getting exactly what I expected – sultry, beautiful R&B. This exists in the realm of artistic R&B artists like Janelle Monae that make rhythmic, seductive music that nonetheless feels like it eschews any kind of “radio value.” Chalk it up to the homoerotic album cover, maybe, but this is absolutely on the alternative, experimental side of things. Breezy and hypnotic, this is a gem.

#89. Rick Rude – Laverne

A chronic issue with me is that I’ll listen to something I moderately enjoy, but wait so long to grade and/or review it that it leaves my brain entirely. The new album from Rick Rude – no, not the king of the camel clutch – fell victim to my lethargy. I’m glad I revisited it, because I loved it more the second time around. The band seems to tease the audience by inviting in specific, familiar sounds and brush them off just as quickly. They’re not truly emo, but they’ve got the sensitive guitar licks. They’re not really indie, but they’ve got the fuzz. They sometimes rock harder than both genres (especially on the rollicking opener “Wooden Knife”). They’re appealing to anyone who likes shows in basements, be it acoustic guys or punk weirdos. Add in a very effective dual-singer approach, and you’ve got a winning record. Ravishing work.

#88. Friko – Where we’ve been, Where we go from here

I’d been itching to get to this one! I’ve been loving both singles I’ve been hearing on the radio (“Crimson to Chrome” and “Get Numb To It!”). Both songs are guitar-forward bangers ripped from 90’s alt-rock, and with enough maturity and emotion in the rhythms and lyrics to hide the fact that this is a debut. But it is a debut, and these two youngsters seem like they already have a world of travel under their belts. The opener “Where We’ve Been” is a deeply patient ballad, something akin to Interpol’s “Lights” (or many other of their tunes). Truthfully, more than half of the album is slower songs, representing a wide range for a debut. It mostly all works, although there are a few too many down moments across the softer songs. The strength doesn’t lie in just the singles, there’s some other great bangers and a couple very effective ballads. There does need to be just a touch more energy, but it’s an impressive debut nonetheless. 

#87. Clairo – Charm 

Boston has always been a hub for all things punk and indie, and it only makes sense that the city would claim someone to rule over the current indie-pop movement. A lot of the over-produced, saccharine indie-pop can get repetitive easily, but Clairo’s new one is genuinely beautiful. I wasn’t super into her last album, but this one is full of small, pretty and balanced songs. The production is minimalist, avoiding the trappings of many of Clario’s cohorts. Instead, the focus is on her gorgeous vocals and the threadbare instrumentation. I need to give this one a second listen – the back half was hampered by getting on a train full of inebriated boomers going to a Journey concert and I could earnestly barely hear the album. And yet – it grabbed me fully.

Also, please check out the music video for “Juna.” While I am not in the video, it was clearly filmed before a wrestling event I went to. Most of these wrestlers are local ones that aren’t known outside the area, and now there’s millions of eyes on them. My little wrestling boys are in the stars!

#86. Brittany Howard – What Now

The fun thing about Howard’s debut solo album was the way it expanded well beyond the scope of her band Alabama Shakes. Her sophomore solo release sharpens her broader influences, incorporating elements of blues, punk, R&B, whatever, into an album that’s equally comprehensive but more singular than Jaime. Her vocals are, of course, incredible. That’s always been her strength. But everything works very well across this one. It’s a ton of fun, a winding and unpredictable experience. 

#85. Cardinals – Cardinals

Alright, we need to talk about British indie. Amidst the growing group of talk-sing indie punk bands (IDLES, Dry Cleaning, etc), there’s a thread of aggressive, artsy alternative. Bands like Cardinals – who I would liken to Black Country, New Road – feel born from the same womb. Though this is just a short EP, it’s riveting. It’s got that same feel as BC,NR, where it feels both jazzy and cynical despite never straying from alternative. Cardinals are more guitar-focused, but the feel is the same. These are super intriguing songs, and they hit a wide range of emotions in a short amount of time. “Unreal” is a great banger, while “If I Could Make You Care” is a wonderful closing ballad. Get your foot in the door on these guys, I think they’re gonna go places.

#84. Maggie Rogers – Don’t Forget Me

I’m incredibly down with the y’allternative movement. Waxahatchee and Hurray For the Riff Raff have already released great albums this year, and we’re staring down a full release from Orville Peck. I was into the last Maggie Rogers record, but I’ve been waiting for a great one. I think she delivered one here. Some songs work better than others, but the combination of strong but sparse guitar, Maggie’s excellent vocals, and nostalgic tunes about slow American life are designed to win. The best songs here are the melancholic personal ones, the ones that describe real personal experiences done in a Glory Days haze of relatable pining. Some songs get a little too quaint, or a little too individualistic to really grab ahold of. But, as someone who was also once young, many of these hit me in the heart. And Rogers, like many others currently, is expert at diluting these elements of country music and running them through a faint alternative structure. It’s music practically designed for me. 

#83. Bark Dog – i’ll eat you, i love you

Whoops, I never wrote a review of this one back when I listened to it. This is a great indie record that I found the old fashioned way – a digital record store. There’s a few great albums I found by simply perusing the “Boston” tag on bandcamp, this one being the best. I know nothing about this artist, but he’s quite prolific. This is some very interesting, very fun lo-fi indie. A lot of smooth synth, grizzled production and healthy guitar. Even in the local scene, this one seems slept on.

#82. Beeef – Somebody’s Favorite

Beeef is one of Boston’s most prized groups right now, and Favorite showcases why. The band plays patient indie, nostalgic tunes about regional memories. The songs are conventionally appealing, but don’t have a forced alignment to radio structures. Some songs barely hit two minutes, some stretch past six. There’s a maturity here well beyond their goofy band name. Beeef has been great for years, and this only elevates them further. Please, check them out. This Beeef has some mustard on it.

#81. Good Looks – Lived Here For A While

I was way behind on reviews when I initially covered this, so let’s be quick – this is a wickedly fun indie album, mostly standard indie but with some threatening shoegaze elements. I think I was just in the right mood for something like this, because it scratched an itch that I didn’t realize I had. There’s a handful of great songs here, and nearly all of them are inherently listenable. Very fun stuff!

#80. MIKE & Tony Seltzer – Pinball

I’m generally not into rap that’s on the more lowkey side, but when it’s as effortless as this is, then it’s undeniable. I’ve never listened to MIKE but I keep seeing his name as a critical darling, and for good reason. Pinball is a masterpiece that doesn’t feel like one; quiet and short tunes that hide their bluntness in plain sight. Only three of the eleven songs are over two minutes, tunes that feel more like daydreams and out-loud musings. There’s a run in the middle of the album that’s just extraordinary. Great lyrics, great beats, great ideas. Real winner here.

#79. Sheer Mag – Playing Favorites

Sometimes you just need some good ol’ rock & roll. I was raised on classic rock and I will always have a deep appreciation for it. I love all of it, but the bluesy hard-rock of ZZ Top, Thin Lizzy, Foghat, etc, is music I particularly like. That’s what Sheer Mag has always done at least somewhat, and they lean way into it here. Good old guitar rock. The song “Eat It And Beat It” – an obvious play on “Hit It And Quit It” – will certainly be the best straightforward rock song I hear this year. It’s fun as hell. The best songs on the album are. There’s a lot of complacency here too, to be fair – a handful of rock songs that don’t really bring the heat and just exist. They prevent this from being an excellent album, but it is still a very good and fun one. In fact, it helps them align even more with classic rock bands – it’s all about the singles.

#78. Les Savy Fav – OUI, LSF

If you can follow the trends across this blog, then it should come as no surprise that I adore this band. I mostly missed them on their original run, only really latching on once I saw a reunion set at Riot Fest on a whim. Their first new album in a real long time is both a continuation and an extension of their sound. LSF have always been comparable to a band you’ll see in a few posts, Pissed Jeans – fun, raucous post-hardcore that’s often fast and heavy but not quite abrasive. Some songs here carry on the tradition – “Guzzle Blood,” “Void Moon” and “Oi! Division” are all old school LSF classics. But there’s more patient and mature tracks, too; a symptom of reuniting. The balance works remarkably well, and the resulting album is one that’s emotionally complete. Even if half of the songs are on the softer side, the band is still melodic, funny, and just a blast to listen to. These guys deserved a bigger spotlight, maybe this time around they’ll get it. 

#77. Jane Weaver – Love In Constant Spectacle

You’ll have to forgive me because I’ve fallen way behind in my reviews, and this one won’t be getting the proper unconditional praise that it deserves. Like many albums this year, I tossed this on completely blind. The descriptions of Weaver toss around terms like “experimental” and “free jazz” but this is mostly woman-and-a-guitar music; if that sounds like denigration, it isn’t. I was floored by how beautiful these songs are. They’re minimalistic, a small sound in an open space, and yet captivating. Tons of singer-songwriters over the years have tried to capture the feeling of playing in the same room as the listener, and many would be jealous to do it the way Weaver does on every single song here. The rhythms are so simple yet riveting across the board. Some songs are certainly better than others – but the best ones propel this album into an elite territory. Some really special stuff.

#76. Knoll – As Spoken

Look at the cover of this record – an ominous, black and white photo of a mirror, pointing diagonally away from the camera. It’s unsettling. I put this record on knowing it was metal, but not much more. This is powerful black metal. Abrasive, pounding, sounding like the depths of Hell. What I’m saying is, it’s extremely me music. I love raw black metal. Oddly, this album eschews one of the normal characteristics of black metal – lengthy songs. It’s a genre devoted to wearing you down through both repetition and ferocity, but the band does away with the former. Only four of the album’s eleven tracks are over five minutes, and the rest are all under four. Instead of repetition, the band gives you whiplash transitions. It’s just as effective. Great stuff.

#75. Ducks Ltd. – Harm’s Way

I’ve been hearing lead single “Train Full Of Gasoline” on the radio pretty regularly, a rollicking, fun guitar tune. But with all guitar indie, I approached the album with a little apprehension, as singles are often livelier than the album. Not so! I know next to nothing of this duo, but this is a collection of fast-paced, clean indie-punk. At only 27 minutes, it doesn’t overstay the welcome, honestly could use a little more. While “Train” is one of the more rambunctious tunes, the whole release is just unfiltered fun. Think the song “Money” by The Drums – born of the surf-punk movement of the 2010s, but distinctly indie. Wide appeal on this one I think. 

And that’s all for now! Check back in the coming days for 74-1.

Because I can’t help myself, here’s five albums I wanted to include: 070 Shake – Petrichor (gorgeous and haunting R&B-indie hybrid), Sugar Pit – Shh, Don’t Jinx It (rapid fire funk/dance-punk), A Place For Owls – how we dig in the earth (old-school Midwest emo), Heems – VEENA and LAFANDAR (two excellent comeback albums from an indie rap god).