2025 proved to be another challenging year for music lovers, with so many standout releases that shaping this list pushed us in all the right ways. With hundreds of albums crossing our inbox, choosing the very best was anything but simple. As always, our annual Best-of list, The Blazing Top 50, features only albums we’ve reviewed—highlighting the artists and records that left a real mark on TFN this year.

Thank you to our writers and readers for another year filled with discovery, support, and great conversation. We wish everyone a safe, warm, and music-filled holiday season. Enjoy The Blazing Top 50—and remember to Discover, Support & Share!

#50

The Tubs
Cotton Crown
Trouble In Mind Records [2025]

The Tubs made a big leap forward this year with Cotton Crown, a record that pushed their jangle pop and post punk roots into more emotional and dynamic territory. The album found Owen Williams working through grief with a direct and honest voice, while the band delivered some of their most vibrant and memorable music yet. Songs like “Freak Mode” and “Chain Reaction” showed how The Tubs could blend sharp melodies with real intensity, and the whole album carried a balance of energy and reflection that felt fully earned. Following their debut Dead Meat, this release showed a band growing fast and finding even greater depth. Cotton Crown proved The Tubs were easy to champion in 2025.

The Tubs: Cotton Crown [Fire Note Review 03/12/25]

#49

King Gizzard & The Lizard Wizard
Phantom Island
p(doom) Records [2025]

King Gizzard & The Lizard Wizard spent another year proving why they remained one of the most unpredictable bands on the planet. With Phantom Island, they surprised fans again by teaming up with arranger Chad Kelly and a full group of classical musicians to create a true symphonic rock adventure. The orchestral parts added warmth, tension, and excitement without losing the band’s core energy. Songs like “Phantom Island,” “Deadstick,” and “Spacesick” showed how well their wild ideas worked in this new setting. The album also reflected on themes first explored on Flight b741, but with a more personal touch. Phantom Island landed as one of their most imaginative records yet and earned its place on this year’s list.

King Gizzard & The Lizard Wizard [Fire Note Review 06/17/25]

#48

FACS
Wish Defense
Trouble In Mind Records [2025]

FACS delivered one of their most gripping releases yet with Wish Defense, a record that pushed their post punk and noise rock ideas into sharper and more personal territory. The album explored identity, reflection, and the tension between who we are and who we present, all set against anxious rhythms and fractured guitar work. It also carried extra significance as the final project recorded with Steve Albini before his passing, completed with care by Sanford Parker and John Congleton. Tracks like “Wish Defense,” “Talking Haunted,” and “Desire Path” showed the band at their most focused and intense. After years of refining their sound, FACS reached a new level, making Wish Defense an easy pick for this year’s list.

FACS: Wish Defense [Fire Note Review 02/12/25]

#47

Kendra Morris
Next
Colemine/Karma Chief Records [2025]

Kendra Morris reached a new milestone this year with Next, her first album recorded with her touring band and the first she produced herself. The sessions at Colemine Records’ Portage Lounge gave the music a warm and intimate feel, letting her voice shine across both tender ballads and funk driven grooves. The record took a “less is more” approach compared to I Am What I’m Waiting For, and that choice paid off. Songs like “If I Called You,” “Dear Buddy,” and “Something In Common” showed how naturally Morris blended personal storytelling with classic soul. Next felt confident, refreshing, and fully realized, making it an easy and deserving pick for one of the year’s best albums.

Kendra Morris: Next [Fire Note Review 09/19/25]

#46

Ty Segall
Possession
Drag City Records [2025]

Ty Segall surprised listeners with Possession, a record that traded blistering garage rock for a broader, more cinematic sound that earned it a spot among the year’s best. The album pulled back on distortion and leaned into textured arrangements full of piano, horns, strings, and layered vocals, creating a moody and dynamic musical journey. Possession felt like a new phase in Segall’s long career, one where he balanced quiet tension with big, dramatic moments while still sounding unmistakably himself. Songs like “Possession” and “Fantastic Tomb” married narrative lyrics with expressive instruments, giving the record a rich, almost theatrical vibe. It was one of his most compelling and refreshing releases in years and a worthy pick for this year’s top albums.

Ty Segall: Possession [Fire Note Review 05/30/25]

#45

Psychedelic Source w/ Go Kurosawa
The Initiation Outlaws
Psychedelic Source Records [2025]

The Initiation Outlaws was one of the year’s most immersive listening experiences. The Budapest collective Psychedelic Source Records joined forces with Go Kurosawa of Kikagaku Moyo, creating an intuitive live collaboration that pushed their improvisational approach even further. Recorded in Hungary, the album unfolded across long instrumental pieces that moved with patience and natural flow. Guitars, bass, keys, and shifting rhythms blended into a hazy mix of psychedelic rock, cosmic folk, and spiritual jazz. Tracks like “The Southern Emperor” and “The Hermit” carried listeners through slow builds, heavy grooves, and drifting meditations. At ninety nine minutes, The Initiation Outlaws felt like a full journey and showed what can happen when musicians trust instinct and follow the moment together.

Psychedelic Source w/ Go Kurosawa: The Initiation Outlaws [Fire Note Review 11/12/25]

#44

M Ross Perkins
What’s The Matter, M Ross?
Colemine/Karma Chief Records [2025]

What’s The Matter M Ross? showed why M Ross Perkins remained one of Dayton’s most gifted songwriters. The record found him getting more introspective while keeping the sharp humor and melodic touch that defined his earlier work. Perkins played every instrument, crafting songs that moved between power pop, country rock, gentle folk, and warm psychedelic flourishes. Tracks like “Hey Man/Hey Self,” “Gone (In The Morning),” and “Crying In My Sleep” revealed how easily he shifted moods without losing focus. His lyrics were clever and sincere, often twisting familiar phrases into something fresh. What’s The Matter M Ross? felt deeply personal yet easy to relate to, and it confirmed that more listeners should be paying attention to his work.

M Ross Perkins: What’s The Matter, M Ross? [Fire Note Review 05/07/25]

#43

Frankie And The Witch Fingers
Trash Classic
The Reverberation Appreciation Society / Greenway Records [2025]

Trash Classic showed Frankie and the Witch Fingers reinventing themselves yet again. Long known for their psych punk roots, the band jumped into a darker and more synthetic world, trading fuzzed guitars for sharp synths and tight, punchy rhythms. With producer Maryam Qudus guiding the sessions, the group leaned into jittery post punk, electronic tension, and bursts of disco tinted chaos. Songs like “Gutter Priestess,” “Out of the Flesh,” and “Economy” felt restless and unpredictable, each one pushing their sound into stranger territory. The lyrics jabbed at modern life with sarcasm and surreal images, matching the record’s anxious energy. Trash Classic proved the band was not afraid to take risks, and the payoff was thrilling.

Frankie And The Witch Fingers: Trash Classic [Fire Note Review 06/06/25]

#42

Snocaps
Snocaps
ANTI- [2025]

Snocaps became one of the year’s most memorable surprise returns. Katie and Allison Crutchfield reunited for their first full album together since their P.S. Eliot days, and the results felt natural and full of life. The record mixed the loose energy of ‘90s indie rock with the warmth of Southern Americana, supported by Brad Cook’s steady production and MJ Lenderman’s subtle guitar work. Across its short run time, the sisters sounded locked in as they traded stories about memory, recovery, and growing up. Songs like “Coast,” “Wasteland,” and “Over Our Heads” showed how well their voices still fit together. Snocaps reminded listeners that their creative bond remained strong and hinted that a new chapter could still be coming.

Snocaps: Snocaps [Fire Note Review 11/05/25]

#41

The Telephone Numbers
Scarecrow II
Slumberland Records [2025]

Scarecrow II showed The Telephone Numbers growing into a richer and more confident version of themselves. The San Francisco group expanded their sound with violin, trumpet, organ, and mellotron, adding color without losing the gentle jangle that made their early work so loved in the Bay Area scene. Songs like “Battle of Blythe Road,” “Be Right Down,” and “Ebb Tide” carried a warm mix of bright guitars and emotional reflection, while the closer “Pulling Punchlines” ended the album on a glowing high. Thomas Rubenstein’s lyrics balanced thoughtfulness and heart, giving the record a personal touch that felt easy to connect with. Scarecrow II proved the band was ready for a larger audience and delivered something quietly special.

The Telephone Numbers: Scarecrow II [Fire Note Review 10/09/25]

#40

Swearing At Motorists
31 Seasons In The Minor Leagues
BB*ISLAND [2025]

31 Seasons in the Minor Leagues marked a strong and long overdue return for Swearing At Motorists. After a decade away, Dave Doughman delivered ten songs that reminded listeners why the Dayton band earned such a loyal following. The record kept their indie rock foundation simple and direct, with gritty guitars, warm double tracked vocals, and production that felt clearer without losing character. Early tracks like “All That I Have,” “Italian Wine,” and “Naked and Famous” hit with real momentum, while the closing cover of Scout Niblett’s “Your Beat Kicks Back Like Death” landed with emotional weight. 31 Seasons in the Minor Leagues proved Doughman’s writing still carried power and showed the band had plenty left to say.

Swearing At Motorists: 31 Seasons In The Minor Leagues [Fire Note Review 11/05/25]

#39

DOOM GONG
MEGAGONG
Romanus Records [2025]

MEGAGONG closed DOOM GONG’s trilogy with force and imagination. The Louisville group pushed their “Denim Psych” sound to a new level, blending synth pop shimmer, punk energy, and prog rock ambition into one continuous rush. Tracks flowed into each other, creating an experience that felt more like a ritual than a collection of songs. “Never Crossed My Mind,” “The Future is a Choice,” and “Annihilator” showed their range, moving from dreamlike calm to crushing power. The finale “DOOM GONG III” tied the whole arc together with a towering eight minute journey. Anderson’s lyrics added emotional weight, grounding the chaos with questions about time and meaning. MEGAGONG proved DOOM GONG were ready for a bigger spotlight.

DOOM GONG: MEGAGONG [Fire Note Review 10/14/25]

#38

Vanity Mirror
Super Fluff Forever
We Are Busy Bodies/Having Fun Records [2025]

Super Fluff Forever proved Vanity Mirror were crafting something truly special. Brent Randall and Johnny Toomey expanded the dreamy pop world they introduced on Puff, creating an album full of warm melodies, vintage tones, and gently experimental ideas. Recorded mostly on a laptop with a Craigslist piano and a few guitars, the record carried a handmade charm that felt fresh rather than nostalgic. Tracks like “White Butterfly,” “Jack of All Trades,” and the gorgeous “Apple Tree” highlighted Randall’s gift for simple but lasting melodies. The lyrics focused on small moments and quiet emotions, giving the album a personal glow. Super Fluff Forever showed the duo growing more confident and imaginative, delivering one of the year’s most inviting pop records.

Vanity Mirror: Super Fluff Forever [Fire Note Review 10/23/25]

#37

The Lemonheads
Love Chant
Fire Records [2025]

Love Chant marked a warm and welcome return for The Lemonheads, arriving nearly twenty years after their last album of original material. Evan Dando sounded relaxed and restored, recording in São Paulo with producer Apollo Nove and an impressive cast of longtime friends including J Mascis, Juliana Hatfield, John Strohm, and Erin Rae. The record drifted between jangly rock, gentle folk, and soft psych touches, all carried by Dando’s unmistakable melodic ease. Songs like “58 Second Song,” “Deep End,” and “In the Margin” showed how natural this new chapter felt. The lyrics reflected time and connection with quiet clarity, proving Dando still had a sharp ear for emotional detail. Love Chant reminded listeners why his voice has endured.

The Lemonheads: Love Chant [Fire Note Review 10/24/25]

#36

Turnstile
Never Enough
Atlantic Records [2025]

Never Enough showed Turnstile pushing far beyond their hardcore roots and fully embracing a bold rock identity. Recorded between Baltimore and Los Angeles, the album carried both grit and brightness, shifting from explosive riffs to immersive, atmospheric moments. Tracks like “Never Enough,” “I Care,” and “Dull” delivered huge hooks and driving energy, while “Seein’ Stars” and “Birds” revealed the band’s growing interest in spacious, melodic textures. The record felt more deliberate and dynamic than Glow On, trading instant impact for deeper mood and movement. Brendan Yates’ clipped, emotional lyrics suited the music’s ebb and flow. Never Enough confirmed that Turnstile’s rise was no accident and that they were building a wide open future on their own terms.

Turnstile: Never Enough [Fire Note Review 06/17/25]

#35

Patterson Hood
Exploding Trees & Airplane Screams
ATO Records [2025]

Exploding Trees & Airplane Screams marked a powerful return for Patterson Hood, offering his most adventurous solo work in years. The album gathered songs written across different periods of his life and expanded his sound far beyond the guitar driven style he was known for. Working with producer Chris Funk, Hood leaned into piano based writing, orchestral flourishes, vintage synths, and layered arrangements that gave the stories a wider emotional range. Tracks like “Exploding Trees,” “A Werewolf and a Girl,” and “The Forks of Cypress” showed his gift for vivid, personal storytelling. The record felt intimate yet cinematic, blending memory and reflection with fresh musical ideas. Exploding Trees & Airplane Screams proved Hood was still pushing himself in meaningful ways.

Patterson Hood: Exploding Trees & Airplane Screams [Fire Note Review 02/21/25]

#34

Pulp
More
Rough Trade Records [2025]

More marked a moving and quietly powerful return for Pulp, arriving twenty four years after their last studio album. Rather than chase the sharp swagger of their Britpop past, the band leaned into something softer and more reflective. Producer James Ford shaped a warm blend of strings, gentle electronics, and twilight toned arrangements that let the songs breathe. Tracks like “Spike Island,” “Farmer’s Market,” and “The Hymn of the North” revealed Jarvis Cocker at his most vulnerable, writing with handwritten honesty and emotional detail. The record carried a sense of maturity and calm, showing a band at peace with who they had become. More proved Pulp could evolve with grace and still deliver something deeply resonant.

Pulp: More [Fire Note Review 06/24/25]

#33

Magic Fig
Valerian Tea
Exploding In Sound Records [2025]

Valerian Tea introduced Magic Fig as one of the year’s most exciting new voices in psychedelic rock. The San Francisco group blended Canterbury Scene inspiration with modern psych flair, creating a debut that felt imaginative, warm, and full of adventurous twists. Produced by Joel Robinow, the album drifted between cosmic keys, swirling guitars, and mellotron textures that gave each track a vivid sense of place. Songs like “Flammarion,” “At the Garden’s Gate,” “Splinter,” and “Sleep of Reason” showcased the band’s ability to balance charm and ambition. The short interludes kept the record moving with real momentum. Valerian Tea proved Magic Fig could honor classic influences while stirring up something fresh and irresistibly immersive.

Magic Fig: Valerian Tea [Fire Note Review 11/20/25]

#32

Brian Dunne
Clams Casino
Missing Piece Records [2025]

Clams Casino found Brian Dunne sharpening his storytelling and expanding his sound with real confidence. Recorded at home in Red Hook, the album paired guitar driven rock with touches of keys and synths that gave the songs a warm late seventies glow. Dunne played most of the instruments himself, creating a tight, cohesive set that rolled from track to track with ease. “Clams Casino,” “I Watched the Light,” and “Play the Hits” stood out for their mix of heart, humor, and restless energy. His lyrics turned everyday frustrations into something universal and oddly hopeful. Clams Casino proved Dunne could still write timeless rock songs that felt current, personal, and built to last.

Brian Dunne: Clams Casino [Fire Note Review 09/12/25]

#31

Goon
Dream 3
Born Losers Records [2025]

Dream 3 proved to be Goon’s most immersive and emotionally charged album yet. The Los Angeles band leaned fully into a murkier, more textured form of shoegaze, creating songs that felt both mystical and volatile. Kenny Becker and the newly solidified lineup built dense layers that washed over the listener without losing focus. Tracks like “Patsy’s Twin,” “For Cutting the Grass,” and “Fruit Cup” showed how confidently the band moved between dreamy calm and explosive noise, even weaving in touches that recalled video game soundtracks. The lyrics explored heartbreak and disorientation with a surreal, hazy tone. Dream 3 confirmed Goon had crafted something powerful and transportive, the kind of record that rewarded repeat listening.

Goon: Dream 3 [Fire Note Review 12/10/25]

#30

Population II
Maintenant Jamais
Bonsound [2025]

Maintenant Jamais showed Population II reaching a new peak with a set of songs that felt bold, varied, and fully alive. The Montreal trio kept their spacey psych core intact while adding touches of prog, electronic shimmer, and tighter rhythmic grooves. Tracks like “Maintenant et Jamais,” “Prévisions,” and the instrumental “i + i” moved between intensity and calm with effortless control, while quieter pieces like “Haut-fond” added real depth. The band’s ability to shift from meditative atmosphere to sharp, driving energy made the album compelling from start to finish. Maintenant Jamais proved Population II deserved to stand alongside today’s most inventive rock acts and offered a perfect entry point for anyone discovering them.

Population II: Maintenant Jamais [Fire Note Review 04/01/25]

#29

Car Seat Headrest
The Scholars
Matador Records [2025]

The Scholars marked a major comeback for Car Seat Headrest, showing the band fully reenergized after years of setbacks. Will Toledo and the group leaned back into guitars and large scale arrangements, crafting a rock opera that tackled self doubt, legacy, and cultural pressure with ambitious flair. The album mixed sprawling epics with sharp hooks, and tracks like “Gethsemane,” “The Catastrophe,” and the nearly twenty minute “Planet Desperation” stood out for their emotional punch and theatrical sweep. The full band sounded locked in, giving the record a cohesion reminiscent of their peak era. The Scholars proved Car Seat Headrest could evolve while recapturing the urgency and imagination that made fans fall in love with them in the first place.

Car Seat Headrest: The Scholars [Fire Note Review 05/02/25]

#28

Dove Ellis
Blizzard
AMF/Black Butter Records [2025]

Blizzard introduced Dove Ellis as a striking new voice, capturing a young artist stepping into a wider world with clarity and emotion. The Galway born songwriter blended folk roots with art rock touches, chamber pop flourishes, and intimate indie arrangements. His voice shifted from gentle murmurs to soaring moments that gave songs like “Pale Song,” “Little Left Hope,” and “When I Tie Your Hair Up” real weight. The album moved from sparse acoustic settings into richer, layered compositions, showing Ellis testing his boundaries in real time. His impressionistic lyrics balanced doubt, tenderness, and a sense of becoming. Blizzard felt like both a personal snapshot and a powerful debut, pointing toward an artist with a huge future ahead.

Dove Ellis: Blizzard [Fire Note Review 12/11/25]

#27

Sloan
Based On The Best Seller
Yep Roc Records [2025]

Based on the Best Seller showed Sloan still operating at full strength more than thirty years into their career. The longtime Halifax quartet leaned into their trademark mix of harmony rich pop and fuzzed out rock, delivering songs that felt lively, confident, and built for repeat listens. Tracks like “Live Forever,” “Dream Destroyer,” “No Damn Fears,” and “Open Your Umbrellas” highlighted each member’s songwriting voice while keeping the album’s flow tight and effortless. The band drew on decades of experience without sounding nostalgic, adding horns, piano, and bluesy touches that kept things fresh. Based on the Best Seller proved Sloan remained masters of melodic rock and continued to write music that felt both timeless and energized.

Sloan: Based On The Best Seller [Fire Note Review 09/25/25]

#26

Algernon Cadwallader
Trying Not To Have A Thought
Saddle Creek Records [2025]

Trying Not to Have a Thought marked a triumphant return for Algernon Cadwallader after fourteen years away. The original lineup sounded locked in again, delivering bright, interlocking guitars, agile rhythms, and a renewed sense of purpose. The record kept their classic twinkly emo spirit alive but added sharper writing and more open, confident arrangements. Tracks like “Hawk,” “Revelation 420,” and “Attn MOVE” balanced emotional weight with the band’s trademark rush, showing both personal reflection and pointed social awareness. Peter Helmis’ lyrics were more direct than ever, shifting between humor, grief, and frustration as the band pushed their sound forward. Trying Not to Have a Thought proved Algernon Cadwallader had not only returned but evolved in all the right ways.

Algernon Cadwallader: Trying Not To Have A Thought [Fire Note Review 09/30/25]

#25

Wet Leg
moisturizer
Domino [2025]

moisturizer showed Wet Leg taking bold swings rather than repeating the success of their debut. Written together during a secluded stretch in Southwold, the album leaned into chaos, humor, tension, and raw emotion. The band twisted indie rock, post punk, and wiry synth pop into something sharper and stranger, with guitars that lurched, vocals that shifted from mutters to yelps, and hooks that arrived from unexpected angles. Tracks like “CPR,” “catch these fists,” “pond song,” and “mangetout” revealed the album’s mix of punch, vulnerability, and sly wit. The lyrics were blunt, funny, and deeply human. moisturizer proved Wet Leg were not chasing a viral moment but building a future on instinct and creative risk.

Wet Leg: moisturizer [Fire Note Review 07/10/25]

#24

Greg Freeman
Burnover
Transgressive Records/Canvasback Music [2025]

Burnover confirmed Greg Freeman as one of indie rock’s most compelling new storytellers. Drawing on regional history, personal loss, and the restless energy of life in New England, the album blended twang, noise, and big guitar driven hooks with surprising ease. Freeman expanded his sound far beyond the DIY feel of his debut, working with Vermont collaborators to craft fuller, stage ready arrangements. Songs like “Point and Shoot,” “Salesman,” “Gallic Shrug,” and the nine minute closer “Wolf Pine” showed both power and emotional depth. His lyrics balanced historical detail with plainspoken honesty, making each track feel grounded and alive. Burnover established Freeman as an artist fully coming into his own and building something lasting.

Greg Freeman: Burnover [Fire Note Review 08/26/25]

#23

The Beths
Straight Line Was A Lie
ANTI- [2025]

Straight Line Was A Lie found The Beths taking a more vulnerable and exploratory turn on their fourth album. Written during a period of self doubt and emotional recalibration, the record traded punchy immediacy for space, mood, and slower burning hooks. The band kept their guitar driven charm intact but broadened their palette with fingerpicked ballads, brooding textures, and gentler dynamics. Songs like the title track, “Mother Pray for Me,” “No Joy,” and “Metal” revealed sharp lyricism and a deeper sense of reflection from Elizabeth Stokes. The melodies still hit, but the emotions sank in gradually. Straight Line Was A Lie proved The Beths could evolve with grace while delivering one of their most affecting albums yet.

The Beths: Straight Line Was A Life [Fire Note Review 09/03/25]

#22

Curtis Harding
Departures & Arrivals: Adventures Of Captain Curt
ANTI- [2025]

Departures & Arrivals: The Adventures of Captain Curt found Curtis Harding taking his boldest creative leap yet. Blending cosmic storytelling with grounded emotion, the album framed its songs around a pilot searching for home while keeping Harding’s soulful grooves front and center. Recorded live with a full band and lifted by rich string arrangements, the record mixed space funk, symphonic soul, psych rock, and glossy pop in a way that felt seamless and full of life. Tracks like “There She Goes,” “Time,” “The Power,” and “Running Outta Space” showcased Harding’s expressive voice and sharp songwriting. Departures & Arrivals confirmed Harding as one of modern soul’s most exciting artists, pushing tradition forward with vision and confidence.

Curtis Harding: Departures & Arrivals [Fire Note Review 09/05/25]

#21

Florry
Sounds Like…
Dear Life Records [2025]

Sounds Like… captured Florry at their most confident and fully formed, blending scrappy indie rock with twangy Americana and big, communal energy. Recorded quickly in the Blue Ridge Mountains, the album carried a raw but purposeful spirit, powered by Francie Medosch’s sharp songwriting and the band’s lived in chemistry. Tracks like “Truck Flipped Over ’19,” “Waiting Around to Provide,” “Dip Myself in Like an Ice Cream Cone,” and “Pretty Eyes Lorraine” showed Florry’s ability to shift between humor, heartbreak, and loud catharsis. The lyrics felt candid and personal, blurring political and emotional lines in a way that stuck with you. Sounds Like… proved Florry were not just leveling up but carving out one of the year’s most compelling indie country records.

Florry: Sounds Like… [Fire Note Review 06/03/25]

#20

Guided By Voices
Thick Rich And Delicious
GBV Inc. [2025]

Thick Rich and Delicious captured Guided By Voices in full stride, proving once again that Robert Pollard’s creative spark had not dimmed after four decades. Recorded loud and live in Brooklyn, the album balanced tight power pop hooks with the raw edge that defined the band’s earliest days. Tracks like “Xeno Urban,” “Lucy’s World,” “Oxford Talawanda,” and the wild closer “Captain Kangaroo Won the War” showed the lineup locked in, firing on instinct and chemistry. The mix of new songs and reimagined early material created a bridge between eras that felt both nostalgic and freshly energized. Thick Rich and Delicious stood as another reminder that GBV remained one of indie rock’s most reliable and inspired institutions.

Guided By Voices: Thick Rich And Delicious [Fire Note Review 10/31/25]

#19

Good Flying Birds
Talulah’s Tape
Rotten Apple [2025]

Talulah’s Tape showcased Good Flying Birds as one of indie pop’s most endearing emerging voices. Collected from home recordings made between 2021 and 2024, the album stitched together lo fi warmth, jangly guitars, and breezy harmonies into a set that felt both intimate and fully realized. Tracks like “I Care For You,” “Glass,” “Always Me,” and “Fall Away” highlighted the band’s melodic instinct and growing range, moving from tender reflections to energetic bursts of raw guitar pop. Male and female vocal interplay added charm throughout, while the evolving arrangements showed real artistic growth. Talulah’s Tape proved that Good Flying Birds could turn scattered demos into something cohesive, heartfelt, and worthy of a much wider audience.

Good Flying Birds: Talulah’s Tape [Fire Note Review 01/24/25]

#18

Horsegirl
Phonetics On And On
Matador Records [2025]

Phonetics On and On showed Horsegirl stepping into a more deliberate and spacious sound while holding onto the spirit of their Chicago DIY roots. Working with producer Cate Le Bon, the trio moved away from the dense distortion of their debut and embraced negative space, unconventional percussion, and subtle violin and synth textures. Tracks like “2468,” “Julie,” and “Frontrunner” revealed a band growing more confident in mood and restraint, creating songs that unfolded slowly but hit with real emotional weight. The lyrics captured everyday moments with clarity and warmth, adding to the album’s intimate pull. Phonetics On and On proved Horsegirl were evolving in exciting ways and delivered one of the year’s most quietly adventurous indie records.

Horsegirl: Phonetics On And On [Fire Note Review 02/14/25]

#17

M(h)aol
Something Soft
Merge Records [2025]

Something Soft showed M(h)aol sharpening their sound and intent while embracing more space and contrast than on their debut. The trio delivered a brutal and emotional record built on tight rhythms, cutting guitars, and vocals that shifted between inner monologue and full-force confrontation. Tracks like “Pursuit,” “Snare,” and “I Miss My Dog” revealed a band unafraid to confront loss, identity, and structural failure with clarity and power. Recorded in Dublin, the album leaned into minimalism that hit even harder when the noise finally arrived. Something Soft proved M(h)aol were evolving with purpose, turning tension into momentum and crafting one of the year’s most gripping and fearless punk statements.

M(h)aol: Something Soft [Fire Note Review 05/16/25]

#16

First Day Back
Forward
Self-Released [2025]

Forward introduced First Day Back as one of the most exciting new voices in modern emo. Recorded live in a Santa Cruz living room, the album captured the band’s chemistry in its rawest and most honest form. Winding guitar lines, spirited drums, and Maggie’s expressive violin gave the songs warmth and urgency, while the group moved naturally between quiet reflection and emotional release. Tracks like “Paint,” “Us,” and “Wait, Do You Hear That?” showed a young band already writing with confidence and sincerity. Forward felt immediate, heartfelt, and unfiltered—a debut that honored classic emo spirit while carving out its own identity. It stood out this year as a reminder of how powerful instinctive, homegrown music can be.

First Day Back: Forward [Fire Note Review 07/28/25]

#15

caroline
caroline 2
Rough Trade Records [2025]

caroline 2 showed the South London collective stepping into a new level of confidence and ambition. The eight-piece group blended strings, brass, electronics, and shifting rhythms into a sound that felt immersive and unpredictable, moving far beyond the quiet sketches of their debut. The album opened with chaotic intensity and unfolded into a series of pieces that drifted, swelled, and morphed with instinctive flow. Guest contributions and bold structural experiments added even more depth. Rather than rely on familiar patterns, caroline created a world where tension and beauty lived side by side. caroline 2 stood out this year as a rare record that felt alive in every moment—restless, emotional, and endlessly absorbing.

caroline: caroline 2 [Fire Note Review 06/19/25]

#14

Pile
Sunshine And Balance Beams
Sooper Records [2025]

Sunshine and Balance Beams showed Pile pushing their sound forward while holding tight to the tension and intensity that made them a cult favorite. The Boston band blended jagged guitars, strings, synths, and unpredictable rhythms into songs that wrestled with purpose, work, and the weight of expectation. Recorded with a wider dynamic range than past releases, the album moved between hushed reflection and explosive release, letting its emotional core build slowly with each listen. Rick Maguire’s lyrics cut deep, blurring personal struggle with broader questions about meaning and survival. Sunshine and Balance Beams earned its spot on this year’s list by proving Pile could expand their palette without losing their urgency, delivering one of their most gripping statements yet.

Pile: Sunshine And Balance Beams [Fire Note Review 08/15/25]

#13

Water From Your Eyes
It’s A Beautiful Place
Matador Records [2025]

It’s a Beautiful Place showed Water From Your Eyes stepping into a bigger, bolder version of themselves. The duo pushed past the momentum of Everyone’s Crushed with songs that felt playful, cinematic, and emotionally sharp. Fuzzed guitars, shifting rhythms, piano loops, and Rachel Brown’s warm, curious vocals created a world where humor and heaviness lived side by side. Written largely in Nate Amos’s bedroom but shaped by life on bigger stages, the album moved with confidence and constant surprise. Brown’s lyrics mixed cosmic questions with everyday moments, while the production stretched in every direction without losing focus. It’s a Beautiful Place earned its spot as one of the year’s most inventive and consistently rewarding indie records.

Water From Your Eyes: It’s A Beautiful Place [Fire Note Review 08/28/25]

#12

Gus Englehorn
The Hornbook
Secret City Records [2025]

The Hornbook confirmed Gus Englehorn as one of indie rock’s most imaginative voices. The former pro snowboarder pushed his sound further than ever, blending surreal storytelling, nostalgic rock touches, and modern experimentation into a record that felt both playful and strangely moving. Co-produced by Mark Lawson and mixed by Paul Leary, the album delivered vivid scenes full of mysticism, eccentric characters, and emotional weight. Songs such as “One Eyed Jack Pt. I and Pt. II” and the soaring “Roderick of the Vale” showed how confidently Englehorn had expanded his range. With bigger production, sharper hooks, and a world all its own, The Hornbook earned its place as one of the year’s boldest and most memorable releases.

Gus Englehorn: The Hornbook [Fire Note Review 01/31/25]

#11

The Gnomes
The Gnomes
Dog Meat Records [2025]

The Gnomes arrived as one of the year’s most exciting debut bursts, capturing a young Australian band in full sprint. What began as Jay Millar’s solo project blossomed into a tight four-piece, and the shift gave these songs a new spark. Recorded mostly live, the album carried the rush of a band discovering its full power, driven by brisk guitars, sharp rhythms, and classic rock instincts updated with modern garage energy. Songs such as “Better With You” and the expanded full-band version of “I Like It” showed how naturally they leveled up from bedroom demos to stage-ready anthems. Lean, catchy, and loaded with momentum, The Gnomes proved this group was ready for bigger rooms and an even bigger future.

The Gnomes: The Gnomes [Fire Note Review 11/19/25]

#10

Lifeguard
Ripped And Torn
Matador Records [2025]

Ripped and Torn proved that Lifeguard were ready to step out of Chicago’s youth scene and into a bigger spotlight. Their debut full-length channeled their live volatility into something sharper and more ambitious, driven in part by Kai Slater’s jagged, shape-shifting guitar work. Also known for his power-pop instincts in Sharp Pins, Kai pushes this project into wilder territory here, helping the songs swing from noisy chaos to eerie calm with real intent. Working with producer Randy Randall, the band stretched beyond their early recordings and embraced risk in ways that paid off. Raw, restless, and constantly evolving, Ripped and Torn stood as one of the year’s most thrilling debuts—and a clear signal that Lifeguard’s rise had only just begun.

Lifeguard: Ripped And Torn [Fire Note Review 06/11/25]

#9

The Boojums
The Boojums
We Are Busy Bodies/Having Fun Records [2025]

The Boojums delivered one of the year’s most exciting debuts, capturing the raw spark that first made the trio a viral sensation. Recorded live off the floor, the album channeled the sweaty joy of their grainy garage videos into a punchy mix of garage rock, power pop, and punk attitude. Willie Stratton, Sara Johnston, and Patrick Murphy played with a chemistry that felt electric, turning songs about love, escape, and small-town gravity into something loud and deeply human. Moments such as “Outta My Head” and “Dan’s Transmission” showed how easily they could shift from humor to heart. The Boojums proved that imperfection could be a superpower and announced a young band with a very bright future.

The Boojums: The Boojums [Fire Note Review 10/30/25]

#8

Alex G
Headlights
RCA Records [2025]

Headlights marked a graceful new chapter for Alex G, showing how far he could expand his sound without losing the strange, intimate heart that made his early work so beloved. The album blended rustic folk touches with soft rock shimmer and ghostly electronic textures, creating something warm, unsettled, and quietly emotional. Songs such as “Afterlife” and “Real Thing” showed him wrestling with identity, growth, and the pressure of being truly seen, while the stripped piano finale brought everything into sharp focus. His writing stayed impressionistic but hit harder than ever. Headlights proved that Alex G could step onto a bigger stage while keeping his voice unmistakably his own, making it one of the year’s most rewarding listens.

Alex G: Headlights [Fire Note Review 07/24/25]

#7

Fust
Big Ugly
Dear Life Records [2025]

Big Ugly emerged as Fust’s most powerful and expansive work, a Southern indie rock album that carried real emotional weight. Aaron Dowdy drew from his West Virginia roots to explore memory, place, and survival with vivid detail, while the band pushed their sound into richer and more atmospheric territory. The mix of pedal steel, layered harmonies, and gritty guitars gave the record a timeless pull, and moments such as “Spangled” and “Mountain Language” showed how gracefully they blended heart and tension. Produced with Alex Farrar, the album felt both lived in and ambitious, marking a major step forward for the Durham group. Big Ugly stood out as one of the year’s most moving and thoughtfully crafted releases.

Fust: Big Ugly [Fire Note Review 03/06/25]

#6

Joanne Robertson
Blurrr
AD 93 [2025]

Blurrr proved to be Joanne Robertson’s most immersive and affecting work yet, a quiet but powerful album shaped by her life as both painter and musician. Built around open-tuned guitar, soft vocal layers, and Oliver Coates’ cello, the record created a world that felt intimate and timeless. Songs such as “Always Were” and “Doubt” revealed how strongly she could evoke emotion with only subtle shifts in tone and space. Compared to her earlier recordings, this album showed sharper focus and deeper atmosphere without losing her instinct for exploration. Blurrr rewarded close listening, unfolding new textures with every spin, and stood out as one of the year’s most quietly magnetic releases.

Joanne Robertson [Fire Note Review 09/23/25]

#5

Geese
Getting Killed
Partisan Records [2025]

Getting Killed showed Geese leveling up in a way few expected. After years of feeling more promising than essential, the band finally delivered a record that matched their ambition. Fueled by Cameron Winter’s sharpened songwriting and Kenneth Blume’s production, the album swung between chaos and clarity with thrilling confidence. Songs such as “Taxes” and “Husbands” captured its mix of danger, humor, and emotional weight, while stranger moments pushed the band into new territory. The sound shifted from jagged grooves to explosive hooks without ever settling down. Getting Killed proved Geese were no longer just experimenting at the edges. They had made one of the year’s most unpredictable and exciting rock records.

Geese: Getting Killed [Fire Note Review 09/30/25]

#4

Possible Humans
Standing Around Alive
Hobbies Galore [2025]

Standing Around Alive proved Possible Humans were not just back but operating at a new peak. Dropped with almost no warning, the album showed the Melbourne band sharpening everything that made Everybody Split a cult favorite. The guitars intertwined with effortless precision, the rhythms felt locked in and alive, and the songs unfolded with a clarity that came from five years of quiet evolution. Moments such as “Slouching Hat” and “Ordinary Agony” captured its mix of spark and reflection, while longer passages revealed a deeper emotional core. Standing Around Alive was both warm and restless, a confident expansion of their sound, and one of the most quietly stunning indie rock records of the year.

Possible Humans: Standing Around Alive [Fire Note Review 10/14/25]

#3

Sharp Pins
Balloon Balloon Balloon
K/Perennial Records [2025]

Balloon Balloon Balloon showed Sharp Pins leveling up in every direction. What began as Kai Slater’s home-recorded pop project bloomed into a fuller, sharper band effort, and the results were irresistible. The album’s 21 quick-hit songs bounced between bright jangle, classic ’60s melodies, and scrappy lo-fi charm, all delivered with the momentum of a group hitting its stride. Moments such as “Popafangout” and “I Don’t Have the Heart” highlighted Slater’s gift for hooks that felt both playful and sincere. Compared to last year’s Radio DDR, this record sounded wider and more confident without losing its DIY warmth. Balloon Balloon Balloon became one of the year’s most joyful indie rock releases, packed with energy, heart, and replay power.

Sharp Pins: Balloon Balloon Balloon [Fire Note Review 11/21/25]

#2

Ryan Davis & The Roadhouse Band
New Threats From The Soul
Sophomore Lounge / Tough Love Records [2025]

New Threats from the Soul showed Ryan Davis reaching a new level with help from The Roadhouse Band. The Louisville songwriter leaned into long, winding reflections on identity and resilience while the band wrapped his stories in pedal steel, piano, and unexpected rhythmic turns. His spoken delivery drew comparisons to Bill Callahan, but the voice was unmistakably his—funny, tender, and quietly devastating. Songs such as “Better If You Make Me” and “The Simple Joy” revealed how deeply this record could sink in, rewarding every return listen. New Threats from the Soul felt intimate and expansive at once, a rare album that kept unfolding over time and firmly earned its place among the year’s finest releases.

Ryan Davis & The Roadhouse Band: New Threats From The Soul [Fire Note Review 07/29/25]

#1 – Album Of The Year

Wednesday
Bleeds
Dead Oceans [2025]

Bleeds confirmed Wednesday as one of the most important bands in indie rock and earned them their second Album of the Year after Rat Saw God topped our 2023 list. Karly Hartzman’s vivid storytelling and emotional precision guided the album, while MJ Lenderman’s guitar work and harmony vocals added muscle, color, and a quiet sense of restraint that kept the focus on the full band. Together, they pushed Wednesday’s mix of noisy guitars, pedal steel glow, and Southern-shaded detail into sharper, more cinematic territory. “Pick Up That Knife,” “Bitter Everyday,” and “Elderberry Wine” showed how easily they could swing from ragged intensity to quiet ache. Recorded again with Alex Farrar at Drop of Sun, Bleeds felt lived-in, fearless, and unmistakably their own—a record that deepened with every spin and never once left our heads this year.

Wednesday: Bleeds [Fire Note Review 09/18/25]