Matt’s Top 25 Albums of the Year 2025

As the year comes to a close, I do what I always do: look back at all the cool releases that came out over the past twelve months. It seems like people care more about their Spotify Wrapped these days, but I would argue that your favorite albums of the year list is way more interesting. Here’s a good example: my top artist this year on Spotify was… drum roll… Fleetwood Mac!

I know what you’re thinking — Matt, that’s a good band, and yes, you listen to the oldies a lot. True. But even that top pick doesn’t tell the full story. The album I fell in love with this year wasn’t Rumours (sorry, not sorry), but the hidden gem Mystery to Me. I’m sure most people reading this have never even heard that album. - Side note: it’s awesome - Spotify Wrapped doesn’t even track the records I listened to. If it did, you’d probably be shocked. But I’ll keep that a mystery for now. Swing by the pad sometime, and maybe I’ll spin you something.

2025 was a pretty great year for music, and I listened to a lot of albums and EPs. I don’t know the exact number, but trust me — there were plenty I’m bummed couldn’t make the list. And yes, I decided to include EPs this year because I didn’t want to make two separate lists, and honestly, some of these EPs feel just as special as full albums.

Before you read on, remember: this is just my opinion, and I’m just one guy. I’m sure as you scroll you’ll quickly figure out the kind of music I like. And this isn’t a competition — if something made this list, it’s because I think it’s great, and because I wanted an excuse to write a super long Scoop post about my favorite records of the year. Plus, these rankings change in my head all the time. I constantly look back at old lists and think, What the heck was I doing?

Anyway — if you have a heart, go ahead and buy some of this music on Bandcamp. Support the artists. And most importantly:

I want to hear your top albums of 2025, so leave a comment below.

25) Sweet Enough by Sam and Louise Sullivan

When life’s been getting you down and they’ve got you working on the weekend, Sam and Louise Sullivan are here to put a smile on your face. Sweet Enough is exactly what its name promises: a little collection of happy, homespun tunes designed to brighten your day. Nothing too fancy, nothing too wild, just heartwarming songwriting that feels like a reset button.

There’s a sweetness and simplicity to these songs that makes them immediately comforting. You can put this album on during a rough morning or a long, frustrating week and feel something loosen in your chest. It’s music that reminds you of the good stuff in life without ever getting preachy about it.

And I’ve got to mention the final track — basically a birthday song. But not your standard “Happy Birthday.” This one is Birthday Forever, and honestly? I think we should replace the old one. Imagine pulling this out at a party instead of the usual off-key mumbling. Instant morale boost.

Sweet Enough is small, sincere, and exactly the kind of record that earns its spot as the final entry in a top 25 — a reminder that music doesn’t always have to be big or ambitious to make you feel good. Sometimes “sweet enough” is perfect.

24) All Blue by Sam Blasucci

Hard to believe it’s already time for Sam Blasucci’s third solo album. The guy has been doing his thing for years with Mapache — one of the most reliably mellow, sun-baked bands out there — but now he’s back on his own with a record that takes a small but meaningful step in a new direction. A few more synthesizers are floating around this time, adding a soft shimmer to his usual Laurel Canyon vibe, but the core feeling is still the same: warm, earthy, easy-going Sam.

And let’s talk about “Real Life Thing,” because that’s my dancy track of the year. No, you wouldn’t hear it blasting from a discotech speaker at 1 a.m., but if I’m throwing a house party? You better believe that thing is playing probably twice. It’s breezy, bouncy, and somehow still perfectly in Sam’s lane.

What I love most is how he manages to evolve just enough on each record without ever losing the heart of what makes his music special. Whether he’s with Mapache or flying solo, Sam always sounds like himself — that hazy afternoon kind of songwriter with a gentle soul and a knack for melodies you want to live inside.

All Blue is another easy favorite from a guy who makes it all sound effortless.

23) Fate Euphoric by Twen

Twen is one of those bands that just gets it. You’ve got one of the best vocalists in modern rock teaming up with the songwriting duo of Jane Fitzsimmons and Ian Jones — a partnership that’s been dialed in for years. Their chemistry is unreal, and you hear it immediately on Fate & Euphoric.

Fitzsimmons’ voice is the star that pulls you in: sharp, expressive, and totally singular. Pair that with Jones’ guitar work — instantly recognizable, full of texture, full of motion — and you’ve got a band that feels both classic and futuristic at the same time. They write like people who know exactly who they are.

I also love that Twen lived the full-on van life for a while. You can hear that wandering, road-worn energy in their music. They don’t just make rock songs — they live the rock-and-roll lifestyle, in the messy, romantic, all-in way that bands used to in the good old days. Dads, you're out there and understand me, right? Back when authenticity bled into every track.

This band has been holding strong with great releases for years, and Fate & Euphoric feels like another high point — confident, beautifully produced, and built around one of the best voices doing it today.

22) Written By – Ronnie D’Addario

I had a last-minute change of heart — and honestly, how could I not include the new Ronnie D’Addario record? This one is called Written By, produced by (and featuring) his sons, The Lemon Twigs. Yes, Ronnie is the dad of the legendary Lemon Twigs, and yes, this album feels like a full-circle family moment for anyone who’s been following the D’Addario musical universe.

The record features newly recorded versions of Ronnie’s songs, plus two unreleased tracks, with an absolutely stacked guest list: The Lemon Twigs, Todd Rundgren, Sean Ono Lennon, Mac DeMarco, Matt Jardine, Darian Sahanaja, Probyn Gregory… it’s basically a power-pop fever dream.

One of the funniest moments for me was when I was listening to the Todd Rundgren song “I See the Patterns” and thought, “Wow, this sounds just like a Todd Rundgren track.” And then two seconds later, realizing… yeah, that’s because it literally is Todd Rundgren. A very real brain-blowing moment.

Mac DeMarco also sings a gorgeous slow one called “Love Won me Over” on here — loungy, hazy, very Mac — and it fits the whole vibe beautifully. And I love how the Twigs handle “Not Today,” leaning fully into those classic D’Addario harmonies and twists. They get their dad’s songwriting so well that it feels completely natural hearing them reinterpret it.

I’ve never heard the original versions of these songs, so for me this album basically plays like a brand-new release. If you’ve been a Ronnie D’Addario fan for decades, maybe this is more of a companion piece… but for me, I’m excited to go back and listen to the originals and compare what changed. So far, though? I love this a lot.

21) Bury the Key by Tops

TOPS has been one of my favorite acts since their Picture You Staring era back in 2015. I’m honestly amazed they’ve managed to evolve their sound every single time while still keeping it unmistakably “TOPS.” So going into Bury the Key, I figured it would be at least pretty good — and I’m happy to report: yes, this album is pretty good.

On first listen, I remember thinking, okay, cool — they went a little more disco, a little 80s, but without slipping into cheesy retro territory. It felt sleek, stylish, and sharp, but definitely still them. Months later, I heard through the grapevine that TOPS was coming to town. I wasn’t unusually hyped to buy tickets, but I knew it’d be a good show… so I grabbed them and forgot about it.

Then the night came — and let me tell you, I was blown away. One of the best shows I saw this year.

After their last full-length I Feel Alive, Jane Penny and Marta Cikojevic put out their own solo projects (both great), so I wasn’t sure what direction the band would take next. But Bury the Key feels like a full recharge — a darker disco edge, a little more bite, a more confident energy. Jane and Marta absolutely crushed it live, and hearing them harmonize again reminded me why I’ve loved this band for nearly a decade.

And I have to give major props to David Carriere’s rhythm guitar playing — probably the most impressive I’ve ever heard from him. Midway through the show they busted out a cover of Journey’s “Who’s Cryin’ Now.” Not exactly the most recognizable Journey song unless you grew up on classic rock radio, and I couldn’t believe they chose it. But once they started playing, it all clicked. That’s the sound TOPS is leaning toward right now: slick, emotional, 80s AOR but cooler.

On the record, their songwriting is still as sharp as ever — immediate melodies, crisp arrangements, and that timeless soft-focus pop vibe they’ve spent years perfecting. There’s a bit more shadow in these new songs, a little more tension beneath the shine, and it adds a whole new depth to what they do.

20) Pequena Vertigem de Amor By Sessa

I actually discovered Sessa very recently. I added the song “Vê Se a Pena” to my playlist New Tunes for Hip Dads a few months ago and then… completely forgot to go back to it until about a week ago. Nothing better than a true last-minute pick sneaking into the top 25.

I was at the Empty Bottle the other day and saw that Sessa is booked there in May. That’s a while from now, which probably means they had to lock him down early — guy lives far away, and you can already feel he’s about to blow up. Seeing that poster is what reminded me to finally check out this record. Now that I’ve heard it, I’m absolutely going to that show. So… I’ll catch you there.

Sessa brings this unbelievably smooth Brazilian groove that blends rock, jazz, samba, and soul into one hypnotic swirl. His music has that warm, late-evening glow — perfect for when the lights are low and you want something relaxing but still alive and moving.

What really stands out is how unhurried the record feels. There isn’t a ton of singing, and that space lets the songs breathe. The instrumental passages and solos open up like little windows, giving the whole album this meditative, floating quality. And when he does sing, it’s just the right amount — enough to guide the mood without crowding it.

Elegant, groovy, and quietly intoxicating — the perfect late-year discovery.

19) Massive Shoe By Way Dynamic

Talk about an opening track — “People Settle Down” is the kind of pop tune that grabs listeners instantly. Play it anywhere, and I guarantee heads will start bobbing. It’s bright, catchy, and effortless in that classic Way Dynamic way. massive shoe? More like a massive hole in my musical heart this year, until Way Dynamic showed up and patched it with this tune.

And yep — here we go again, another incredible Aussie act stepping up this year. Something in the Melbourne water, I swear.

What’s interesting is how the energy shifts after that first punch. Once you’re reeled in, you get the more relaxed, quietly charming side of Way Dynamic. Take “Miffed It,” with its itchy acoustic riff and gentle groove — the kind of song that makes you feel totally at ease, like someone cracked a window on a warm day and left an apple pie in the window. best part is you get the pie all to yourself!

That’s the magic of Dylan Young. His songwriting and production have this breezy, analog-warm feel to them, the same touch he brings to projects like Good Morning and his mixing work for bands all over the Aussie indie landscape. Whether he’s blasting out hooks or settling into something softer, he never loses that subtle pop charm.

This release was one of the year’s sweetest surprises — and a reminder that the Australian indie scene is on an absolute roll.

18) Return to Zero by Neal Francis

Neal Francis really went full Chicago this year. His new album Return to Zero feels like a celebration of everything he’s become known for: groovy, vibrant, Dr. John–inspired funk rock with enough swagger to fill a whole block of Milwaukee Avenue. And the collaborations make it even better — Smushie plays guitar, and Say She She appears on the first three tracks, adding that silky disco-soul vocal magic they’re known for. Chicago meets New York meets the coolest corners of the DIY world.

And speaking of Chicago: the man had the city buzzing. He hyped the album with a massive show at the Salt Shed and then threw an absolutely unhinged album-release event at The Wieners Circle, where he handed out hot dogs in a full hot-dog suit. If you know The Wieners Circle, you know exactly how chaotic and legendary that must have been.

I can’t tell you how many times my friends and I have randomly seen Neal around town in some insanely cool suit. He’ll just wander up onstage at a show, know half the band, sit in for a song, and completely tear it up. He’s become the Chicago guy about town— a musician who feels like part of the city’s bloodstream.

Return to Zero captures all of that energy. It’s groovy, danceable, full of life, and drenched in the kind of funk-rock spirit that makes you want to move. Neal’s always had the vibe, but this record really feels like him at his peak — confident, playful, and fully himself.

17) SUPERB BY SURPRISE CHEF

I found these Aussie cats completely by accident — just chilling at home, flipping through videos on the old TV box, when I landed on one of my favorite West Coast radio stations, KEXP. And there they were: Surprise Chef. Three dudes locked in, jamming out, not saying much, just letting the groove speak. Always a good time.

Something has to be in the water down under, because Australia and New Zealand keep pumping out this psychedelic, rhythm-heavy magic. From Tame Impala to Babe Rainbow to Magic Machines’ Rainbow Road (also from this year), there’s this unmistakable energy — warm, hypnotic, slightly fuzzy, and always locked into a tight, head-nodding pocket. Surprise Chef sits perfectly in that lineage.

On Superb!, they bring a more upbeat, urgent energy than some of their earlier releases. The grooves snap a little harder, the riffs feel a little brighter, and everything has this funky cinematic vibe, like they’re soundtracking a heist movie set in your local record store. It’s instrumental music, but it feels alive — full of personality without ever needing a single lyric.

They’ve also hinted at plans to tour the world, so if they roll through your town, take this as your official recommendation: grab a ticket, tell your friends at the old water cooler, and go watch three guys jam like they’ve been doing it telepathically since birth.

Superb! lives up to its name.

16) Where Are We Now? by Winter Mcquinn and Friends

I’ll be honest — I didn’t know much about Winter McQuinn going into this record. But the thing that immediately grabbed me was the crew he worked with. This album is packed with contributions from people I already love: Way Dynamic, Hot Apple Band, Chet Sounds… and a whole group of musicians I don’t know yet but absolutely want to. There’s something so inspiring about seeing a bunch of friends come over, hang out, and accidentally make a badass record together. I want that energy in my life.

Led by McQuinn, Where Are We Now? is a nine-track collaboration built over two years, recorded mostly in his home studio in Northcote, Melbourne/Naarm. He wrote the skeleton of each instrumental and then brought in different vocalists and co-writers to finish the songs — so every track has its own personality. McQuinn only sings lead on two of them, which actually makes the whole album feel more communal and alive. It’s also the first time he’s written songs entirely on piano, giving the record this warm, soft-rock glow.

The production (mixed by Dylan Young from Way Dynamic and Snowy from Good Morning/Snowy Band) is insanely good — nostalgic without being retro, modern without feeling slick. If you’re into Carole King, Nick Drake, Drugdealer, Alex Izenberg, or Kate Bollinger, this sits right in that same canyon of folk-rock-meets-psych-pop.

What really ties it all together is the record’s heart. McQuinn writes with an introspective, sometimes anxious lens asking what it means to live a meaningful life, how we deal with the environmental and social chaos around us, and what we actually need to feel content. It sounds heavy, but there’s always a brightness underneath. The album feels like a group of friends weathering the storm together by making something beautiful.

Where Are We Now? is thoughtful, collaborative, and full of soul. It made me want to call my own friends up and say, “Come over — let’s make something.”

15) From Newman Street By Kassi Valazza

Alright, I’ll say what everyone is thinking: we’ve got a real folky gal over here. And yes — once you listen, you’ll immediately think of a certain famous American folk-rock hero. I’ll let you guess who I mean. But honestly… why shouldn’t there be more artists working in that classic style? Especially when they do it this well.

On tracks like “Your Heart’s a Tin Box,” the influence is unmistakable, but Kassi Valazza brings enough of her own writing, nuance, and vocal color to make the sound feel fresh instead of derivative. She’s not copying; she’s carrying the torch.

From Newman Street plays like a sweeping folk-western epic — the kind of album that rolls across the plains, full of dusty guitars, long shadows, and songwriting that cuts deeper than you expect. It’s intimate, expansive, and beautifully crafted from top to bottom.

If you’re craving that timeless folk storytelling with a modern edge, this is one you don’t want to miss this year.

14) Last Cowboy on the Prairie Patton Magee

The debut solo album from The Nude Party’s frontman Patton Magee feels like walking onto a spaghetti-western movie set where Sergio Leone suddenly decides he wants to direct a musical. It’s dusty, dramatic, playful, and full of that old-school charm that makes you grin as soon as the first guitar line slides in.

I like my country albums best when they don’t take themselves too seriously, and this one hits that sweet spot perfectly. If you’re into cats like Marty Robbins, you’re in the right place. It really sounds like Magee took that classic Robbins storytelling style and ran it through a high-definition Betamax tape — a little vintage, a little cinematic, and surprisingly crisp.

There’s a looseness and joy to this record that makes it feel alive. Magee fully commits to the cowboy drama while still winking at the camera, and that balance is what makes Last Cowboy on the Prairie such a fun ride.

Three cheers for Patton Magee — long may this cowboy wander.

13) Cicero Pizza Anthology by Smushie

For those who know the weirder, squirmier side of me, you already know I have a soft spot for Chicago’s own Smushie. And if you were following back in 2019, you might remember that I crowned pizza as my “Food of the Year.” So honestly, how could Cicero Pizza Anthology not make this list? Destiny, mozzarella, and art all colliding at once.

What I love about Smushie’s music is that it never tries to fit into whatever box a “serious indie artist” is supposed to sit in. He gets strange, he gets playful, he gets clever, and he does it all while writing insanely catchy songs. It’s outsider pop with a wink.

One of my favorite surprises on this album is the new, stripped-back version of “Scream Fire.” Somehow he made the song even better — rawer, funnier, and completely unhinged in all the best ways. And then you get to something like “Kissing My Mouth,” which is basically a musical orgy of fun. I mean that literally — he’s talking about hands down pants, screaming with happiness, kissing, grooving, the whole thing. It’s goofy, joyful, and so fully Smushie that I can’t help but love it.

Smushie also records a ton, and he’s clearly a master of the craft — especially when it comes to working with tape. There’s a warmth and warble to his sound that only comes from someone who treats recording as a creative playground.

And as a bonus fun fact: Austin, who plays guitar with Smushie, has been touring with Neal Francis — and Neal only plays with the coolest cats in Chicago. They even hit the Salt Shed this year, one of the most hyped shows I’ve heard about…and of course I was out of town. Still mad about it.

Cicero Pizza Anthology is weird, catchy, hilarious, handcrafted, and just pure joy. Smushie forever.

12) Till the Morning by Brian D’Addario

Brian D’Addario — the elder of the two songwriting brothers behind The Lemon Twigs — took a little time away from the main band this year to cook up a release of his own. And honestly, he delivered something really special. Till the Morning leans a bit closer to the sound of 2023’s Everything Harmony: warm, classic, harmony-driven pop with that unmistakable D’Addario theatrical flair.

My favorite track is “Flash in the Pan,” which starts with those sleigh-bell-acoustic rhythms that feel almost hypnotic. Then it drops into a George Harrison–style guitar riff that’s so clean and melodic it might as well be pulled straight from a lost All Things Must Pass session. That combination of shimmer and bite is exactly where Brian shines.

What surprises me most is how effortlessly he seems to pump out songs like this — all while being on the road constantly. And if you’ve ever been to a Lemon Twigs show, you know those guys work. They’re sweating, running, shredding, switching instruments — it’s a workout. The fact that Brian still has the creative energy to make a full, beautifully crafted record on the side is wild.

After spending some time with Till the Morning, I’ve found myself reaching for it just as often as an official Lemon Twigs album. It’s that good — and it proves that both brothers are powerhouses in their own right.

11) Echo in the Dust – Julianna Riolino

Julianna Riolino did it again. Her 2022 album All Blue was one of my absolute favorite records of that year. A perfectly balanced mix of twang, glamour, and heartache — so when she announced a new release, I was already sold. But Echo in the Dust surprised me in the best way: it’s a little tougher, a little louder, and carries more of a rock edge compared to the slightly country-leaning shimmer of All Blue.

Riolino has this rare ability to sound vintage and modern at the same time. She channels that classic “Ronettes meet Springsteen meet cosmic country” energy without ever feeling like she’s cosplaying an era. On this record, the guitars hit a little harder, the tempos jump a little more, and she leans fully into the rock ’n’ roll confidence that was always hiding underneath her earlier work.

Honestly, one of the low points of my year was missing her live set in Chicago. I still think about it. I can only imagine how incredible those songs sounded in that room.

10) Cut & Rewind by Say She She

Hot dog, folks have you heard the news about Say She She? They’ve officially made it to what we in the industry like to call the big time. And I’m loving every second of it. Say She She is a globe-spanning funk-dance-soul trio whose voices collide in this perfect three-front-woman harmony. It’s like if someone bottled the best parts of disco, psychedelic soul, and modern groove music and shook it like a cocktail.

I started noticing their rise when major news outlets began interviewing them, and then came the moment: they met one of their heroes and most obvious influences, the mighty Nile Rodgers. For those unfamiliar, Rodgers was the guitarist and co-founder of Chic in the ’70s and went on to produce Bowie, Madonna, Diana Ross — basically half of the funkiest music ever made. He’s the funky grandpa himself. Seeing him co-sign an act like Say She She felt like a passing of the glittery disco torch.

And the attention is deserved. Cut & Rewind is a vibrant, confident step forward for the band — a bit shorter and more concise than their massive 2023 record Silver, which had sixteen tracks and not a single skip. This tighter runtime really works in their favor, letting the hooks lodge themselves in your brain and giving each track its moment to shine.

Say She She is making dance music the way it should be made: joyful, stylish, and overflowing with soul. And now that the world is paying attention, I hope they never slow down.

9) Operator by Zac Farro

For some reason, whenever I read the title Operator, my brain immediately jumps to Jim Croce’s hit “Operator” — but this is a completely different universe. I have also been spinning that song lately, so that’s been occupying my mind. But eventually, this album became the surprise hit for me this year, mostly because I knew almost nothing about Zac Farro going in. But after revisiting it over the past few weeks, I realized just how much I’ve been grooving to it without even noticing.

Farro gives us some slick pop jams here, especially the title track “Operator,” which has this bouncy, modern-retro energy that reminds me a bit of Ginger Root. It’s funky, clean, and ridiculously replayable. But then he switches things up on tracks like “My My,” bringing in these warm, intricate fingerpicked guitars that feel intimate and totally different from the upbeat stuff. The range he shows on this album was honestly what made it click for me — he can move between danceable pop and softer, more organic moments without losing the thread.

I went into this record expecting almost nothing, and it ended up becoming one of those albums I kept putting back on just to chase the vibe it gives off. Sometimes the surprises hit the hardest.

8) Balloon Balloon Balloon by Sharp Pins

This was Sharp Pins’ year. Adding their tracks to streaming finally gave Kai Slater (a.k.a. Sharp Pins) the bigger audience he deserves. Not only did they rerelease their cult-hit Radio DDR, but they also snuck in a brand-new record right before the year’s end — and I’m here for all of it.

Slater is an absolute master of the jangle-pop jingle. At a Sharp Pins show, he always straps on a 12-string, backed by just a bass player and a drummer — a setup that sounds stripped down on paper but feels shockingly nuanced in person. The bassist especially brings some memorable standout moments, weaving around Slater’s melodies, while a background vocalist fills out the edges. Honestly, maybe we should call them the Fab Three.

You can tell Slater has been hustling, too. This isn’t even his only act — he’s also a member of the very successful Lifeguard, and somehow still finds time to run HALLOGALLO, a zine and tape label dedicated to Chicago’s DIY art and music community. This youngster is a worker. The kind of person who just keeps making things happen.

Balloon Balloon Balloon feels like the natural next step in Sharp Pins’ rise — catchy, clever, and full of that restless Chicago DIY energy that’s impossible to fake.

7) Planet Popstar by Wishy

Now we’re talking. Nina and Kevin have a real knack for songwriting, and Plant Popstar is another win for them. Kevin Krauter has been in my musical orbit for years — from Hoops, to the punkier Matrix, to his solo work, and now Wishy. What a run of releases. And somehow, with every project, he finds a new lane without losing his core sound.

I love the way the drums hit on this EP — punchy but warm, the kind of drum sound that makes the whole mix bounce. People keep calling Wishy “twee,” which, honestly, I don’t fully understand because by definition half the artists on this list could probably qualify as twee. But Wishy does something different with it. It’s a little more computerized and polished, but not in that sterile, plastic way. They manage to make it feel alive, propulsive, and rocking, especially when the guitars kick in on the title track “Plant Popstar.”

And for me, this release hits even harder because last year Wishy had my top album of the entire year with 777. So the fact that they came right back with another EP this quickly — and it’s this good — makes me feel like they’re really locked in right now.

Wishy keeps leveling up, and Plant Popstar proves it.

6) The Only One & All the Others by Will Worden

I first found Will Worden maybe a year ago on Instagram — honestly because the guy looked like a model who just happened to also be making music. He might be the best-dressed cat this side of the Atlantic and i want his wardrobe. What really drew me in was the rustic outlaw-country vibe he was putting out and the little clips he’d post of himself playing. At that point he didn’t even have any music online, so when he finally released a record this year, I was all over it.

There are a lot of artists leaning into the “country aesthetic” right now, but Will is different. He actually embodies it — the way someone like Charley Crockett does. He’s got the look, the character, the swagger, and that deep Western voice that feels like dry dirt roads and cigarette smoke. I think more artists should lean into this kind of style and not be afraid to get a little hokey with it. Country Music doesn’t always need to be serious. Sometimes the vibe and the vibe you create is the whole point.

He’s also the only artist on this list who’s on streaming but not Bandcamp, which means you can’t even support him directly unless you buy the vinyl — and good luck with that, because it’s already sold out.

One of the wildest parts of all this is that I found out he appeared in a Sabrina Carpenter music video. Completely out of left field — because that’s totally different music — but it makes sense in a funny way. He’s almost more actor/model than musician on paper, which makes it even more surprising how much I ended up loving this record. The whole thing just fits him. It’s that Western, cinematic, slightly stylized country that’s so hot right now, and he pulls it off in a way that feels authentic.

A year ago he was just a stylish dude on my Instagram feed. Now he’s on my top albums of the year. That’s how you know something’s working.

5) Horses by Tobacco City

Chicago’s own Tobacco City! Does Chicago have a great alt-country scene? Maybe not in the traditional sense — but whatever this band is doing feels like its own world: country that’s accessible, warm, and perfect for anyone who isn’t a hardcore country enthusiast. Songs like “Autumn” sound straight out of a Gram Parsons/Emmylou Harris catalog, and if you know me, that’s basically what’s always playing in my headphones anyway.

A big part of the magic comes from the players themselves. Chris Coleslaw brings this easy, lived-in charm to his vocals and guitar work, plus some really lovely piano on track 10. Lexi Goddard’s lead vocals are a whole other thing, full of emotion, clarity, and that slightly weary glow that makes every line land deeper than you expect. She gives these songs real heart.

And of course, you can’t talk about this record without mentioning “Red” PK on pedal steel. His playing is gorgeous — expressive without showboating, and it adds that shimmering western melancholy that makes the whole album feel like it’s glowing at the edges. He also jumps between guitar, baritone, and background vocals, rounding out their sound in a big way.

It’s also just cool to see country done this well coming out of Chicago. I’ve even seen Coleslaw working the bar at the Empty Bottle — a place that quietly nurtures a real country pocket with Hard Country Honky Tonk with The Hoyle Brothers every Friday.

Most of Horses stays mellow, unhurried, and beautifully understated. Just great songwriting, great playing, and a vibe that feels like home, where the Buffalo Rome!

4) Playland 2 and 3 by Playland

Drew Ausherman is back with the newest chapter of his Playland project — even if, technically, a lot of these songs have lived little secret lives on Bandcamp for years. They were originally self-released, floating around in that half-official, half-demo world, and I always hesitated to put them on a year-end list because they weren’t on streaming yet. But now that they’ve been properly rereleased on Smoking Pope and pressed to vinyl… well, now that I’m literally holding them in my hands, it finally feels right. These are two different releases, sure, but I’m lumping them into one because it’s my list and I make the rules.

My journey with Drew goes back to college in Indiana, when he was in one of my favorite local bands, Hoops. You can still hear that DNA in Playland — the warm, well-plucked guitar rhythms, the slightly woozy jangle — but Drew’s taken the sound someplace new. He leans into heavier textures now, sometimes even brushing up against Smashing Pumpkins–level fuzz tones. The whole thing has this sun-bleached, nostalgic vibe that weirdly reminds me of the movie Mid90s: skate videos, grainy daylight, and emotions that sneak up on you.

He’s also still a master of the short-and-sweet pop-rock tune. Tracks like “Shop Rag” prove he can pack more melody and charm into two minutes than most artists can with twice the runtime.

For longtime fans, these rereleases feel like Playland finally getting the proper spotlight. For everyone else: welcome to Drew’s world — get ready to lose control!

3) Pilot Light Liam Kazar

“Making music is easy? All you need to do is count to three.” That’s how Liam Kazar does it on Pilot Light, and honestly, the guy makes it sound that easy. I’ve seen Liam play with Sam Evian, Sima Cunningham, and even Jeff Tweedy — so yeah, you could say he’s been around town. But this record feels like him stepping fully into his own voice. It’s packed with smooth, catchy tunes and some of the sharpest songwriting I heard all year.

One of my favorite songs of the entire year is “Day Off,” a track literally about taking a day off — which, let me tell you, has never sounded more appealing. Kazar has this way of making everyday moments feel cinematic, warm, and lived-in. And I love how he moves from the country-leaning pedal steel textures into the final track, “Next Time Around,” where his light, soulful voice floats over something almost R&B-adjacent. It’s a surprisingly graceful shift, and it ties the whole album together.

Pilot Light is one of those records that feels effortless but hits deeper the more you sit with it — the kind of album that will stick around for years to come.

2) Sea Stare EP - By Mazey Haze

All the way from Amsterdam, we have the wonderfully creative Mazey Haze. I’ve been following her music for a minute now, but I think she really hit a new level with this EP. The production alone blew me away — the flutes and drums sound almost hyper-real, recorded with this warm, airy precision that makes everything feel close and alive. Pair that with her inventive songwriting and that dreamy, soft-focus voice, and you’ve got something quietly stunning. She’s quickly becoming one of the most exciting voices in the Dutch indie scene, and this record feels like the start of something bigger.

I honestly didn’t expect Haze to land this high on my list this year, but Sea Stare feels special to me — uplifting in a way that sneaks up on you. And hey, what else do you really need in this world?

What I love most is the way the EP is structured: it opens with the introspective “I Feel Like a Loner” and closes with the bright, self-assured “Sometimes I Feel Great, Sometimes I Feel Useful.” And I’ve got to say… I identify with that title. Even this old sack of bones is useful sometimes.

1) Earthstar Mountain by Hannah Cohen

On her first release in a while, Hannah Cohen climbs down from the Catskills to give us one of the most quietly stunning records of the year. I first discovered her through her partner, Sam Evian — together they run Flying Cloud Records, a little creative universe that has been responsible for some of the best music of the past five years.

Sam produced one of my favorite Palehound records, plus his own album last year, and I genuinely think his production skills are unmatched. He has a signature sound — warm, hazy, rhythm-forward — and you hear it all over Earthstar Mountain. He loves pairing drum machines with a full live drum kit, letting the two dance around each other, and it works in this magical, hypnotic way that only Sam Evian can pull off.

But the real glow here comes from Hannah herself. Her songwriting feels intimate without being fragile, and her voice is this soft light that carries the whole record. I saw her at the Sound and Gravity Fest this past year, and even though the crowd was big and silent, everyone was locked in — that kind of quiet where you realise people aren’t bored, they’re spellbound.

It’s a rare mix of songwriting, production, and atmosphere where everything just works — the type of record that reminds you how powerful a subtle her albums can be.