From Perfume Genius to NF to Rosalia, the roster of impressive albums cited by Local Spins writers covered a lot of territory in 2025. View their picks, listen to this week’s Michigan Music Showcase featuring some of the best tracks by Michigan artists.
Music Worth Embracing: Some of the artists featured in our ‘Best Music of 2025’ guide.
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Not that this should surprise anyone, but the best-selling albums of 2025 don’t necessarily match up with what critics and readers regard as the best albums of 2025.
Is there a disconnect when top-selling superstar artists such as Taylor Swift, Morgan Wallen, SZA and Sabrina Carpenter don’t show up on this year’s edition of Local Spins’ Best Music of 2025?
Not necessarily, because it’s up to discerning listeners to alert music lovers to releases that deserve more attention or break new ground amid the cacophony and cyclone of pop music that assaults us from every direction, fueled by social media hype.
With that in mind, my proclivity toward 2025 releases by Robert Plant, Lord Huron, Patty Griffin, My Morning Jacket, Luke Winslow-King, Greensky Bluegrass, Mirador, Greet Death, The War and Treaty, Myron Elkins and The Black Keys barely overlap any names in the “best of the year” lineups from the rest of the Local Spins’ team.
Check out their picks — and some readers’ selections — below, along with this week’s Local Spins Michigan Music Showcase that features music from some of the top Mitten State albums of the year.
And feel free to add your 2025 favorites in the “Comments” section.
PODCAST: Local Spins Michigan Music Showcase: The Year’s Best (12/19/25)
Artists featured in the podcast: Turtledoves, Jesse Ray & The Carolina Catfish, Thomas Gun, Jake Simmons & The Little Ghosts, Low Phase, NF, PHABIES, Greensky Bluegrass, East Bay Drive, Hannah Laine, Billy Strings, Candid Antics and May Erlewine.
BEST MUSIC OF 2025: WRITERS’ PICKS
Tricia Boot
TRICIA WOOLFENDEN BOOT (Local Spins Writer)
In the course of finalizing this lineup, I referenced back to all of my previous Local Spins’ “Best Of” lists and noticed a funny coincidence. In a bizarre turn, the artists who easily scored my best song and best concert in 2017 also nabbed those same spots, respectively, in 2025. Both years were also the first full year of a Trump presidential term and widely considered to be dumpster fires with very few bright spots. Anyway, time is a flat circle and here’s a few of my favorite musical moments of 2025.
Perfume Genius, “It’s a Mirror” (off “Glory”) – Michael Alden Hadreas, better known by his performance name, returns with typical haunting beauty and a compelling earworm. The majesty. The artistry. The humanity. Let’s see one of those garbage Spotify-powered AI “musicians” try to replicate the tender strength and courageous fragility of Hadreas’ voice and talent. (Actually, though, could we please not see that.)
Listen: https://youtu.be/hx2_NGaDPrk?si=xVDMNprUAWBJ-Wzx
My Morning Jacket, “Out in the Open” (off “Is”) – A fresh-but-nostalgic-sounding banger.
FKA Twigs, “Girl Feels Good” (off “Eusexua”) – With two solid albums this year, our favorite avant garde dance/electronica goddess provided numerous candidates for “best of” consideration, but this track, with its fun, late-90s vibe (narrowly) rose to the top.
Geese, “Taxes” (off “Getting Killed”) – You really can’t go wrong with any track from this buzzed-about album from the buzzed-about band, but this is as great of a place as any to start.
Tate McRae, “Sports Car” (off “So Close to What”) – Sexy, confident, of-the-moment. It’s a trendy track that captures at least some pieces of the fractured pop cultural tone of the year.
BEST CONCERT: Nick Cave & The Bad Seeds at the Masonic Temple Detroit, April 19 – When I last saw Cave and his band at this venue in 2017 (that aforementioned “best concert”), the tone was heavy. Somber, even. Cave was still in the early days of processing the loss of his teenage son, Arthur, who’d died just two years prior. Eight years later, Cave’s grief has only compounded with the additional loss of his son, Jethro, in 2022. Perhaps counter-intuitively, Cave’s “The Wild God” tour stop this spring in Detroit felt more like a jubilant release of pent-up emotion. It played like the work of a man who’s faced down the beauty, pain and fragility of life, and has opted to respond by offering up the cathartic joy of rafter-shaking rock for a sweating, adoring auditorium of fans.
Holly Holtzclaw
Snocaps, “Snocaps” – Another Katie Crutchfield project has climbed its way to the top of my list again this year. Snocaps’ debut release has everything I love about Waxahatchee — Crutchfield’s unique vocal phrasing and writing style — with the added talents of Crutchfield’s sister, Allison, and guitarist, MJ Lenderman. The melodies on this album are undeniably catchy and the mix of styles represents each member’s individual artistry perfectly. This is by far the album I’ve come back to the most this year.
Listen: https://youtu.be/ZrBLul3VJik?si=RmMsrF8tVX_fH7W5
Adrianne Lenker, “Live at Revolution Hall” – When this album was recommended to me I was skeptical because I rarely prefer acoustic versions of full-band songs, and even more rarely do I prefer live versions over studio versions. Adrienne Lenker made me eat my words on both of those statements by crafting the most beautiful live record I’ve ever heard with just the right amount of crowd noise and onstage banter. It’s refreshing to hear something that was pieced together with so much care and is overflowing with sincere emotion.
Listen: https://youtu.be/c5uQbmJpzWk?si=1h35CE9QCaT9-0rQ
Florence + The Machine, “Everybody Scream” – Major props to Florence + The Machine for choosing a lead single so captivating (“Everybody Scream”) that I had no choice but to find out what the rest of this album had in store. I’ve always loved Florence Welch’s rich vocal tone and dramatic compositions, but the subject matter on this release opens up a new level of vulnerability and the unapologetic rage that stems from being a woman in the music industry.
Listen: https://youtu.be/03iBgkXb1EE?si=a1GZVquum5lQAwfV
The Maine, “Dyed” – One of the most unique releases I enjoyed this year came from none other than my favorite band, The Maine. The band pulled demos from each of their past albums out of the archives and reworked them until they felt like something they might release today. It’s a really fun way to view their progress and evolution as a band as well as a nostalgic treat for those who have been around since the beginning.
Listen: https://youtu.be/0Sfg_l1xey0?si=WS7EJ0hX0I6F2k0E
Cristina Vane, “Hear My Call” – Cristina Vane was my favorite new discovery from Wheatland this year. Each track weaves tales of a life on the road and never strays away from the hard truths and gritty details. Vane’s bluesy slide-guitar technique paired with her smooth vocals is Americana perfection and I think she’ll soon become a lot of people’s favorite new discovery.
Listen: https://youtu.be/YdzYqB-yfeo?si=_sRxE4U5o2Wn3jMA
FAVORITE LOCAL RELEASE: PHABIES, “The Curse of Caring” – This sophomore album is such a beautiful rollercoaster of emotions in the best way. I appreciate PHABIES’ ability to dip their toes into so many different genres and the way it makes every release something completely unique to their vision. It truly can feel like a curse to care about anything too deeply these days, but this album is a much-needed reminder that caring is actually the bravest, kindest thing you can do.
Listen: https://youtu.be/v9NE-FEsp8U?si=khMYeVx3SvQ_9Vs4
FAVORITE CONCERT: Rhiannon Giddens, May 13 at St. Cecilia Music Center – I had the pleasure of reviewing Rhiannon Giddens’ Grand Rapids tour stop this year and I was completely blown away by not only the talent exhibited by Giddens and her band, but also the sheer amount of cultural representation and education that was shared through storytelling that night. Even in a formal venue like St. Cecilia’s, Giddens hopped off the stage and invited the seated audience to stand up and dance with her. The entire show felt like a celebration of old-time and folk music that I wish everyone could experience.
Matt Marn
Drew Holcomb, Ellie Holcomb, Drew Holcomb & The Neighbors, “Memory Bank” – I really enjoyed this album, right from its release in January. There is a variety of styles from track to track – from slow, sweet ballads like “Rain or Shine” that paint a picture as to how deep the pair are still enjoying life together, as well as more up-tempo tunes like the title track, which spends the tune encouraging a new adventure, and making new memories. From what I have heard of Drew Holcomb & The Neighbors, this is just their style, and with messages we could all take to heart: “You find gold, you hold on… Never gonna let you go.”
Listen: https://youtu.be/41xrMwkiyYw?si=2i4UXBqVWZOv7iha
Wilder Woods, “Curioso” – NEEDTOBREATHE frontman Bear Rinehart dropped a new album from his side project, Wilder Woods, back in February, and later that month came to Grand Rapids on his “Curioso” Tour. My brother and I were among the first to flood into the Intersection to cheer on the live set of this amazing new album. When Rinehart was a kid, he was captivated by his grandmother’s curio cabinet and the various mementos inside. Fast forward to 2025, and he is showing that same level variety and then some on full display with this powerful collection of songs. Rinehart – ever the consummate showman, songwriter and performer, no matter what band stands behind him – both releases albums and puts on live shows that everyone who enjoys them will remember for years to come.
Listen: https://youtu.be/Njoaies0LW4?si=rsqEv42pmJeyRequ
Andrew Duhon, “The Parish Record” – Ever since reading of his work as a songwriter, I have been captivated by NOLA native singer-songwriter Andrew Duhon, and this year marks the release of his newest work, “The Parish Record.” From memories of fun-loving antics with an old flames to a fearless, out-the-gate indictment of closed-minded groupthink and fear of what is different, his songs each tell stories and stay in your head with both the words and the upbeat melodies.
Listen: https://youtu.be/rbyh9PXlbxo?si=OFpYDT9sWEn71qaW
May Erlewine, “What It Takes” – Michigan’s favorite native singer-songwriter has outdone herself once again. The powerful lyrics match the beautiful melodies in her latest album, “What It Takes.” There is an excellent variety in tones with this release as well. From heartfelt compassion, as in “My Speed,” to showcasing independent fire, as shown in the lyrics, “get out of my head, you don’t belong here anymore” from the track, “All That.” I will always love and play on repeat any song, any profound lyrics or emotions May Erlewine will release into the world.
Listen: https://youtu.be/Y6OtdrZD1cs?si=6-Yv2nmeWYB-qfio
John Prine, “Lost Dogs + Mixed Blessings (Deluxe Edition Re-release) – Last, but not least – a personal childhood and family favorite, re-released in 2025. Yes, it’s in on a technicality. Give it a spin anyway. You won’t be sorry. Singer-songwriter icon, the late John Prine, has been given a 30th Anniversary Deluxe re-release, to the joy of Americana-folk songwriter fans of all ages. Prine was my parents’ favorite performer, had seen him live, and sang and played his songs at home on our acoustic guitars for all my childhood. I specifically remember this being the album we grew up listening to in the car, with my father singing along. He passed suddenly in the spring of 2024. And, 18 months later (since this release in September), my mother passed away as well. This re-release selection, while being a special heartfelt homage to my parents and family, has clearly stood the test of time and is a triumph on its own legs from a singer-songwriter the likes of which we will never see again.
Listen: https://youtu.be/jfV3I4_0vwU?si=07A6UrxTCp9brNf9
BEST CONCERT: Andy Grammer, Aug. 18 at Frederik Meijer Gardens & Sculpture Park – My favorite concert was a show full of the positive, life-affirming songs from Andy Grammer at Frederik Meijer Gardens in Grand Rapids during the Summer Concert Series. The crowd braved the threat of inclement weather, and even started to get rained on as the opening act performed their set. But by the time Grammer took the stage, the clouds had receded and the sun started to peek through… fitting perfectly with his uplifting tunes and message.
HONORABLE MENTIONS:
The Black Keys – “No Rain, No Flowers”
Jon Batiste – “BIG MONEY”
Larkin Poe – “Bloom”
ARTEMIS – “ARBORESQUE”
Cha Wa – “Rise Up”
Buddy Guy – “Ain’t Done With the Blues”
Joe Bonamassa – “Breakthrough”
Christone “Kingfish” Ingram – “Hard Road”
Troy Reimink
TROY REIMINK (Local Spins Writer)
1. Rosalia, “Lux” – Any record that marries adventurous beats to classical orchestration will draw comparisons to Bjork’s “Homogenic,” so it’s appropriate that the Icelandic art-pop queen herself makes a pivotal cameo, in what feels like a torch-passing, on “Lux,” the staggering new album from the Spanish auteur Rosalia. “Lux” asks a lot of the listener — multiple-song movements, vocals performed in 13 languages, a narrative through-line about female saints — but keeps paying dividends, delivering surprises and burrowing into your marrow.
Listen: https://www.youtube.com/watch?v=DQd5iQ-0qwc&list=RDDQd5iQ-0qwc&start_radio=1
2. Geese, “Getting Killed” – Years from now, if somebody from Gen Alpha (or whatever) asks what it felt like to be alive in 2025, just hit play on Geese’s brilliant “Getting Killed,” whose leadoff track, “Trinidad,” is maybe the best indie-rock vibe-setter since “I Was a Lover,” from TV on the Radio’s “Return to Cookie Mountain.” Distinguished by the ever-captivating vocal presence of frontman Cameron Winter, “Getting Killed” crackles with a timely amount of omnidirectional rage, but never forgets to savor moments of beauty amid the swirling chaos.
Listen: https://youtu.be/blJqepFWF34?si=k5w2F9hA4vrNyzkT
3. Dijon, “Baby” – Is it heresy to suggest that the “every era of music is connected” scene in “Sinners” was perhaps a bit cheesy? Just me? For a less overwrought presentation of the same idea, see Dijon’s masterful “Baby,” whose collection of reference points — D’Angelo’s “Black Messiah,” Sly Stone’s “There’s a Riot Goin On,” the “Dirty Mind”/”Controversy” section of the Prince catalog, those early druggy Weeknd EPs, New Jack Swing, obscure British dubstep — is like a detective cork board that links all modern hip-hop, rock and electronic music forms to the great American blues tradition.
Listen: https://youtu.be/AJGS18kol_U?si=I4J9Gq75euFH8DLw
4. Clipse, “Let God Sort Em Out” – The long-awaited return of Clipse, in addition to heralding hip-hop’s dad-rock phase, is a trend-averse showcase for the verbal dexterity and powerful word-smithery that have become all too rare since this writers’ medium got taken over by kids on Xanax. Swapping razor-sharp bars over vivid Pharrell beats, the brother duo of Pusha T and Malice trade a bit of their coke-rap braggadocio for the rueful wisdom that arrives in midlife, along with the promise that hip-hop, like rock before it, has every opportunity to age poignantly if not altogether gracefully.
Listen: https://www.youtube.com/watch?v=ecIH-4RbbOk&list=RDecIH-4RbbOk&start_radio=1
5. Stereolab, “Instant Holograms on Metal Film” – For whatever reason, my 2000s immersion in the Pitchfork indie-rock curriculum omitted the critical Stereolab chapter. Fortunately, “Instant Holograms on Metal Film,” the band’s first album in 15 years, offers more than a better-late-than-never entry point into a rich catalog. Rather, it clarifies and deepens the entire project with a collection of effortlessly cool, rippling jams that blend krautrock, post-punk, psychedelic pop, tropical house and French ye-ye into an eclectic, intoxicating brew whose taste is both familiar and utterly unique.
Listen: https://www.youtube.com/watch?v=Nndpg90P2O8&list=RDNndpg90P2O8&start_radio=1
HONORABLE MENTIONS
The Beths, “Straight Line Was a Lie”
Blondshell, “If You Asked For a Picture”
Neko Case, “Neon Grey Midnight Green”
Deftones, “Private Music”
FKA Twigs, “Eusexua”
Alex G, “Headlights”
Greet Death, “Die In Love”
Jason Isbell, “Foxes In the Snow”
james K, “Friend”
Militaire Gun, “God Save the Gun”
Momma, “Welcome to My Blue Sky”
No Joy, “Bugland”
Nourished By Time, “The Passionate Ones”
Oklou, “Choke Enough”
Teethe, “Magic of the Sale”
They Are Gutting a Body of Water, “Lotto”
Turnstile, “Never Enough”
Jeff Tweedy, “Twilight Override”
Water From Your Eyes, “It’s a Beautiful Place”
Wednesday, “Bleeds”
Ross Boissoneau
Jon Anderson and the Band Geeks, “Live – Perpetual Change” – Onetime Yes singer Jon Anderson was 78 when this was recorded. Amazingly, his voice is still strong and supple, if slightly raspier than decades ago. The Band Geeks are as empathetic and versatile as any touring aggregation Anderson has been a part of, and all six members sing, adding vocal heft to the harmonies that Yes never could. Add it up and you get a great show and a great live recording. A small caveat is that the set of Yes epics – “Roundabout, “Starship Trooper,” “Awaken,” “The Gates of Delirium” and more – ignores the Rabin years. Nor are there any tracks from “True,” their studio collaboration of last year. But what is on the two discs brings back those halcyon days when mellotrons ruled the earth. If there was a competition between the current iteration of Yes and Anderson’s crew, Yes would lose.
Listen: https://youtu.be/05eiDU639cs?si=6M2hDkgnqR7vG0R2
Monkey House, “Crashbox” – Monkey House mines some of the same jazzy pop territory as Steely Dan. No surprise, as leader Don Breithaupt is an avowed Dan fan who even wrote a book on “Aja,” and the bubbling bassline and zesty horns on the opening “Return of the Mayfly” indeed recall that classic. Breithaupt is a fine keyboardist and singer, and as a lyricist and arranger resembles a slightly twisted Michael Franks. The plaintive “Disappear in Plain Sight” concludes with the line “Time’s running out everywhere” and is followed by “What’s Left of This World,” in which he sings “So the money ran out and the sun won’t show.” It foresees the end of the world, replete with happy harmonies and ending with a door closing on a cocktail party.
Jason Miles, “Lisbon Electric 4tet” – Upon hearing the very first note, I said out loud, “I am going to love this album.” Guess what? I was right. Jason Miles produced, arranged and performed with Miles Davis, Marcus Miller, Aretha Franklin, Sting and dozens more. He moved to Portugal in 2022 and hooked up with three like-minded musicians there. The result is this enticing recording. “Mr. James” was written for and in homage to Bob James and could have easily come from James’s pen (and his Rhodes). The guitar and keyboard lines on “Cactus” are punchy, sleek and just right. The EP includes two different mixes/edits of three of the four tunes for a total of seven tracks, so the only disappointment for the listener is the lack of material. More please!
Young Gun Silver Fox, “Pleasure” – The British/American yacht rock duo makes no secret of its affection for London’s West End soul and America’s West Coast sound. Shimmering modern pop meets 70s-style soft rock, with ear-candy melodies groups like Little River Band, Pablo Cruise or the Doobie Brothers would kill for. Lead singer and keyboardist Andy Platts recalls singers like Kenny Loggins and David Pack from Ambrosia, and he and multi-instrumentalist Shawn Lee write songs that boast great hooks, harmonies and production. Best of the ten sleek, soulful songs? The mildly funky “Put Up Your Dukes,” the almost-title track “Just For Pleasure” and “Stealing Time,” which could be the follow-up to LRB’s “Reminiscing.”
Dave Bainbridge, “On The Edge (of what could be)” – The gifted guitarist and award-winning keyboardist cofounded the progressive/Celtic/Christian band Iona and served as keyboardist with the final version of Strawbs. These days he’s playing with Downes Braide Association, Lifesigns and Circuline and concurrently building his solo output. Whew! His latest opus is a two-disc set that hits all the bases: lengthy prog epics, stinging guitar leads, soaring keyboard forays and stirring vocals, courtesy of longtime musical partner Sally Minnear, Ian Hornall and others. Drummer supreme Simon Phillips pounds the skins. Hard to understand why he’s not more celebrated.
Lettuce, “Lettuce With The Colorado Symphony” – OK, I’m cheating with a sixth selection, but I couldn’t leave this one out. Lettuce performed these arrangements at DeVos Performance Hall this year with the Grand Rapids Symphony. The funk masters hit it hard on tracks like “The Lobbyist” and the glorious “Move On Up,” while the orchestra provides string and woodwind textures on “Ghost of Jupiter.”
HONORABLE MENTIONS: Rez Abassi, “Sound Remains;” Gary Husband, “Postcards From The Past;” Soft Machine, “Floating World Live remastered;” Capercaillie, “ReLoved;” 8-Bit Big Band, “Orchestrator Emulator;” John McLaughlin & The 4th Dimension, “Montreux Jazz Festival 2022;” Josh Lawrence, “Still We Dream”
FAVORITE MICHIGAN ALBUM: East Bay Drive, “Something Today” – The Traverse City-based contemporary jazz ensemble hits all the bases on its debut recording. The four (now five) members played in a variety of contexts around the region before forming a band based around their common love for the music of David Sanborn, Bob James, Steely Dan, and other proponents of jazzy, tuneful, well-produced music. David Chown’s rippling keyboards star on the title track alongside composer John Paul’s propulsive bass. Saxophonist Ryan Critchfield, a guest on the recording who has since joined the band, takes things up a notch. Chown’s gently swinging “Deece’s Dream” again features the soulful Critchfield, while Rick Kiehle’s emotive “NoRé” features the guitarist, often in tandem with Critchfield, before yielding to Chown’s electric piano. Alex Wyant’s tasteful drumming keeps the music moving. The five-song EP is just a taste as the band is going back into the studio in the new year to record.
BEST CONCERT: Joe Taylor, Aug. 21 at Music On The Mountain at The Homestead, Glen Arbor – Taylor and his NYC-based bandmates veered all the way from Duke Ellington’s “Caravan” to rockabilly, while showcasing tracks from his latest recording, “Last Boat Home,” and its predecessor, “West Side Chill.” They were all delivered with style and panache. Taylor gets pegged as a smooth jazz player – originally simply a descriptor, not an epithet – as he’s all about melody. He skipped back and forth between acoustic resonator and electric guitars while Jeff Franzel’s rippling keyboards and the solid rhythm section of drummer Ray Marchica and bassist Paul Adamy effortlessly supported the leader. Great tunes and soulful playing, with the picture-perfect backdrop of sunset over Sleeping Bear Bay.
(Honorable Mentions go to Bob James and Dave Koz, whose brief tour celebrating their acoustic duo album “Just Us” opened at the cozy Alluvion in Traverse City. Second runner-up was Herb Alpert performing at DeVos Hall at the tender age of 90, revisiting and reviving the Tijuana Brass’s mariachi-esque jazz instrumentals from the 1960s.)
Dutcher Snedeker (Photo/Anna Sink)
Saha Gnawa, “Saha Gnawa” – This group involves members of Innov Gnawa with American jazz musicians like Donny McCaslin, Nels Cline, Jason Lidner and Gilda Hekelsman. The sound is a wonderful blend of jazz within the framework of Gnawan music in a way that has been described as “Sufi futurism” and “Moroccan trance.” It’s hypnotic, groovy and dotted with colorful improvisation.
Listen: https://youtu.be/SiVHh8ANrA0?si=k3EBPQ4FYJR5G-T0
Blake Mills & Pino Palladino, “That Wasn’t A Dream” – This album features phenomenal musicianship on one of the most sonically distinct records I’ve enjoyed this year. Their single “Taka” is paired with one of my favorite in-studio music videos, capturing the energy between the performers while editing it in a way that mirrors their collective brain power as they navigate the tune. There’s plenty to of ear candy, from expressive textures layered in rhythmically interesting bedrocks to interesting electro-acoustic sounds.
Listen: https://youtu.be/f6s5JavYgE0?si=0aKmmlxbgk4FO2u9
Nate Smith, “Live Action” – After watching a host of trio collaborations last year, I was expecting that vibe for his next record. I was delighted to see so many names dotting this release, including säje, Lalah Hathaway, Carrtoons, Kiefer, Ben Williams, Marquis Hill, Lionel Loueke, and Michael League. The whole record pulses with grooves from different parts of our solar system, rocketing you into a sonic journey that is firmly rooted Black American music.
Listen: https://youtu.be/5DRUi1ut9Lw?si=XrW2Wd1vARItgDtl
Klark Sound, “This Is Music” – I discovered guitarist/singer/composer Clark Hamilton at the start of the year through an Instagram post, and ever since I’ve been a huge fan of his musicianship alongside his bandmates in Improvement Movement. This record was tracked using a simple mic setup to capture the raw performance, and it is such an intimate listening experience that I keep drawing inspiration from each listen. The track I’m sharing from the album is a beautiful arrangement with tender, heartfelt storytelling paired with gorgeous harmonies.
Listen: https://youtu.be/UD3LpZBWOoE?si=7LYD8ABTeAqD7km4
Anatole Muster, “hopecore” – This record is a burst of feel-good energy wrapped in electronic beats, colorful keyboards, all spearheaded by an accordion player that delights in video game adjacent fusion while including stellar guests like Button Masher, Varra, bassist Hadrian Feraud, and my friend’s project Battery. The album has also sparked a meme subgenre of the same title, blending nostalgia and liminal space aesthetics paired with virtuosic, euphoric music ranging from jazz to math rock.
Listen: https://youtu.be/gB7AXrPyQu4?si=wz8dRKKpRrwOfE8s
Candid Antics, “Cease and Desist” – This Grand Rapids group continues to be one of my favorites coming out of West Michigan. Within their ensemble of great humans and collaborators lies a shared passion for fusion projects like Snarky Puppy and a love of blending different styles to create a distinct sound that showcases their musicianship. All of these elements are captured in the track I shared, and it’s no small wonder that 2025 was a solid year of touring and recording for them all.
Listen: https://youtu.be/jJ0AIJbolVo?si=S7flRJSq9loEanEJ
BEST CONCERT: Toubab Crew, July 11 at Blissfest 2025 – This was the highlight of Blissfest for me as an audience member, as I had plenty of great moments on stage too as a performer. In spite of the rain adding problems on the production end for the whole festival, this moment had myself, Ben Wood, and David Ward geeking out backstage at Second Stage watching them all flow so effortlessly. There were grooves so infectious that all three of us referenced the groove on a Christmas gig we did recently. Such a fun memory and it made me a new fan from the moment I locked into their set.
HONORABLE MENTIONS: “My Team” by Improvement Movement, “Everything is Under Control” by Genevieve Artadi & Real Bad Man, “Another Leaf” by Genevieve Artadi & The Norbotten Big Band, “Sleigh Ride” by Jacob Mann, “Somni” by Snarky Puppy, “Public Records Performance” by Sam Wilkes, “Puff of Smoke” by The Wood Brothers, “Pilgrim” by Jesse Welles (who released five albums this year).
John Serba
5. Volahn, “Popul Vuh” – The cornerstone band of the boundary-pushing Black Twilight Circle collective, Volahn at long last released “Popul Vuh,” its first full-length in 11 years, a six-track incantation reviving haunted and violent ancient Mexican myths with a tornadic swirl of unassailable black metal. It’s immediately more distorted and chaotic than anything else in its discography, the “band” – Eduardo Ramirez writes everything and plays all instruments in the studio – layering its signature psychedelia within buzzing sheets of sound, intricate riffs ringing out beneath harsh, reptilian vocals and obscure Mayan “native instruments,” the spaghetti-Western vibes of previous material (see: BTC compilation “Desert Dances and Serpent Sermons”) accelerated and enveloped in a swarm of hot, angry guitars and blasting drums. Exquisitely lo-fi and noisy, “Popul Vuh” is a trip into eerie jungle caves that wind through the darkness and somehow eventually open into deep space, a disorienting, transporting and ruthlessly progressive druglike excursion that pries open your mind at the same time it consumes you whole.
4. Nite, “Cult of the Serpent Sun” – Nite breaks no molds sonically, melding the warm tones of classical Greek black metal (think the warm, dense grooves of latter-period Rotting Christ) with the twin-guitar majesty of Iron Maiden, topping it with an almost-whispery eccentric monotone vocal death-grumble. But the beefy riffs they situate within smart, crisply structured arrangements? Impeccable. Nobody in metal summons hooks from the hoary deeps like this in 2025, with “Crow (Fear the Night),” “Carry On” and the title track snaking through all the little crannies of your cerebrum and camping out for weeks, refusing to vacate. In fact, every cut on “Cult of the Serpent Sun” is a mini-epic, a neatly understated headbanger anthem, all tightly arranged, emphasis on riff and melody, the guitar work and rhythm section tasteful and never overly flashy. Nite offers the best of ’80s metal layered atop the occult heart of black metal without a hint of indulgence. Eight tracks. Thirty-seven minutes. Endlessly listenable. Heavy metal perfection.
3. Gabestok, “Alle Dor I Fremtiden” – “Alle Dor I Fremtiden,” the fourth longplayer by Danish duo Gabestok – translation: “gag stick” – is a misbegotten cur of a record, flea-bitten and nasty, banished to the garage to fend for itself, chasing down plague-ridden rats for food, digesting bones and disease, happy to coil up in a slimy puddle of oil to sleep with one eye open in case you dare tread past and risk getting your arm gnawed off and your brain polluted with rabies. Fun record! Hot and fetid psychedelia emanates from this misbegotten mess of galloping stoner-doom, weirdo European black metal and rumbling noisescapes, all topped with a nutso vocal that occasionally stretches way, way up to an absolutely feral falsetto – call it High on Fire meets Electric Wizard meets Sleep meets Master’s Hammer meets Darkthrone meets Danish national treasure King Diamond if you must – and you must. That it’s at all functional is astounding; that it’s so laden with wormy little melodies that latch their fangs into your gut and eat you from the inside is damn near miraculous.
2. Invunche, “Atavism” – “Atavismo” is technically a late-2024 release, but rules are for uptight posers, and excluding this from my list would’ve been a mighty shame, because this slab of dense, succulently reverbed psychedelic black metal (it’s been My Thing lately) blindsided me and occupied more of my earspace than anything else this year. Volahn is a reference point, but Invunche’s riffs are more primitive, vocal screams meaner and closer to your nose, evolving into ritualistic chanting that betrays band leader Martin Valenzuela’s Chilean roots (he’s currently based in the Netherlands). Punkish beats and barre chords are the core of Invunche’s sound, but the arrangements are ambitious, varied and rooted in epic metal, cuts like “Antü,” “El Sol” and “Ultimos Dias” decked out with feathery melodies, odd little keyboard embellishments and subtly urgent rhythms. It’s the kind of stuff that gets under your skin and takes root like an infection. I found the entire experience irrepressible every time I dropped the record on the table. Every. Time.
1. Messa, “The Spin” – Italy’s Messa has tested the elasticity of doom metal’s boundaries while staying truer to the genre’s ugly, black-blooded heart than any other band. Now on their fourth record, they’re doing the devil’s work like no other, and it’s seductive, sexy, gorgeous, bleak and above all else, righteously sinister, the snake in the garden you can’t help but touch, knowing its venom will harden your arteries with a terrifying quickness. Messa has grown beyond the “witchy” doom that put them in stride with acts like Jex Thoth and Windhand, diversifying their core sonic aesthetic, their brand of ’60s occult rock stirred into the slow-bubbling tar of Black Sabbath increasingly cut with prog, goth and post-rock. And so I hereby proclaim “The Spin” to be the metal crossover record of the year – yes, please, all are welcome, join us, JOIN US. Messa’s confidence goes stratospheric on “The Spin,” the band holding its sacrificial dagger high as we beg for them to plunge it into our hearts. Alberto Piccolo’s succulent guitar work is Satan-via-Tony Iommi, “Heaven and Hell” in his soul and the blues in his back pocket. And lead siren Sara Bianchin – channeling the animus of Siouxsie Sioux and Stevie Nicks on these seven songs, each a glorious affirmation of death – looks you dead in the eye as she makes the horizontal cut to pull out your bowels. Standout track “Reveal” illustrates Messa’s firm grasp on its musical and thematic identity, traversing multiple styles and tones within a lean arrangement: It opens with Mississippi Delta slide guitar before segueing into blastbeats just this side of black metal, eventually building to a sublime roof-raising crescendo as Bianchin wails, “The end, the end, is hell.” And now we’ve all converted. To Satanism. Few bands can do that; fewer still do it this well. “I am the air you fail to grasp,” Bianchin sings on “At Races,” a moody, uptempo and thoroughly unholy conglomeration of Trouble and Joy Division. “Through hell and high water, my will to last.” Hell – take me there. High water – drown me in it. Desperate, I clutch at nothing. There is no salvation. There is only “The Spin.”
Listen: https://youtu.be/yhjBHwfVkqc?si=jTMGXuieuKSVCp2a
HONORABLE MENTION: Coroner, “Dissonance Theory” – Swiss dark horse MVP thrash metal candidate Coroner returns with its first record in 33 years, and unlike most legacy revival albums, “Dissonance Theory” refuses to rehash past glories. The heart of the band still beats clear and confident – technical thrash via guitarist Tommy Vetterli’s fluid, complex and impressively accomplished guitarwork, which deftly bridges aggression with dextrous acrobatics. What made Coroner stand out among their less tasteful and graceful peers was an ability to incorporate moody atmospherics into brainy, progressive arrangements, and Vetterli leans further and heavier into this element with newfound confidence. No matter what traditionalist metalheads insist, there’s no crime in broadening and developing your sound; after more than three decades of dormancy, it just makes f—ing sense, man.
BEST CONCERT: Testament, May 6 at The Machine Shop in Flint – This year, I spent five hours in the car to see Nite play for 25 minutes at Sanctuary in Hamtramck (worth it, not a single regret); watched Bunuel deliver intimidating arthouse noise rock to a criminally small Pyramid Scheme crowd (frontman Eugene Robinson has maintained his cult-figure status for more than 40 years now); stood in awe as Carcass further refined its precision melodic death metal at Elevation (surely no one foresaw their evolution from sheer grindcore noise to this level of sophistication); and felt my jaw drop as Baroness reinvigorated classic albums “Red” and “Blue” for a sold-out Pyramid Scheme (their musicianship is impeccable). But nostalgia wins in 2025: Stalwart legacy thrash metallers Testament stopped at at a legacy venue in Critterville, Mich. to celebrate legacy 1989 record, “Practice What You Preach,” playing it front-to-back with a joyful, muscular intensity that defied the band members’, uh, legacy ages. Save for new 27-year-old drummer Chris Dovas of course, who underscored every chunky Eric Peterson riff and Chuck Billy vocal bellow with a fresh blast of youthful zeal (and he does the same for thundering new record “Para Bellum,” too). Here’s to many more trips around the sun, for all of us.
Chelsea Whitaker
Hayley Williams, “Ego Death at a Bachelorette Party” – This record is raw, authentic and holds nothing back. The rollout of the record, from its “leaked” tracks on Hayley’s website, to the fan curated track listing, felt like the good ol’ days of music promotion. It felt like when we would poster telephone poles, before the Internet. When you’d discover your new favorite band by accident. Except Hayley Williams was already a lot of people’s favorite band, this just reinforced that. Musically, this record is multi-dimensional and exciting. The songs weren’t written with the intention of creating an album so there is an exciting variety, with unexpected pairings. You wouldn’t expect songs like “Negative Self Talk” and “Ice In My OJ” to be on the same record, but it works. “True Believer” is a beautiful take on the harsh reality of Nashville and the music industry as a whole, in our current climate. “Discovery Channel” takes a pop culture reference from a Bloodhound Gang song from 1999 and turns it into a slightly grungy, indie tune.
Listen: https://www.youtube.com/embed/Bw72CQYfHvY?si=EsBJDbF1ZetT17UH
The Band Camino, “NeverAlways” – This record feels a bit like a psychedelic daydream. It opens in the clouds with “HasJustBegun”, then into a little delusion with “Pieces,” some anger and acknowledgement with “Baggy Jeans,” then we move into acceptance and confidence in “Me Around You,” and by the end were “on a hero’s dose in a hurricane” with “Infinity.” Regardless of my sober level, this record will always put a smile on my face. Whatever mood I’m in, the minute I put this album on, I’m dancing and singing along. The rollout of this record was a bit unusual, as well, as they put on a tour before the tour. Announcing pop-up shows at club-sized venues with only days notice, before setting out for their full tour in October. I had the honor to attend their show at El Club in Detroit on said tour and it was one of the best shows of the year, before working their fully produced tour at GLC Live at 20 Monroe a few months later. Seeing the album performed live in both environments was truly a treat and influenced my appreciation of the record.
A Day To Remember, “Big Ole Album Vol. 1” – ADTR holds a special place in my heart, as I’ve been listening to them for at least 15 years now. Their records and live performances have gotten me through some of the hardest times in my life, and this record is no exception. Fans have complained for years that ADTR had lost their heaviness over the years, and with this record, the band made sure those fans were heard. The opening lines being “You want it, you f-cking got it. Blast ‘em” as “Make It Make Sense” opens into a heavy riff and vocals. After a couple heavier songs, the album gets to its party song, “All My Friends.” This song feels like the modern pop punk version of “The Boys Are Back In Town.” “Flowers” has been a returning favorite on this album; a reminder that we should be hyping our people up all the time, not just when it’s too late. This album has been on repeat for a while now, and that rotation intensified after attending their headlining show at Van Andel Arena. This one took the win for show of the year; read about it below.
Yungblud, “Idols” – This album feels like Bowie, Mercury and Jagger all had a baby. Rock and roll is still very much alive in the music of Yungblud. Opening the record with a nine minute song, “Hello, Heaven, Hello,” is a bold way to start, and a confident one at that. It feels reminiscent of Queen’s “Bohemian Rhapsody,” and after watching the documentary, “Are You Ready, Boy?,” it seems Yungblud and Freddie Mercury have a lot in common in the way they write and record. His inspirations and idols are apparent throughout the record. The notes he hits are wild, especially in “The Greatest Parade.” Every bit of the musical arrangements feels intentional and meticulously written. “Zombie” touched all our hearts when the emotional music video featuring Florence Pugh was released. Reminding all those who work so the rest of us can live, that they deserve love and rest, too. Closing the record with “Supermoon” feels apropos, as full moons signify completion and a closing. This ballad is the perfect way to close out this incredible rock opera of a record.
The Hunna, “Blue Transitions” – The Hunna are one of only a handful of bands that I would travel overseas to see live. Everything they release is instantly my favorite. This EP is just five songs, but it packs a punch. Opening with “Hide & Seek”, the band showcase their heavier side with an opening reminiscent of “Trash”, a single from their latest full length album. “Bloom” is romantic and dreamy, revealing their lighter side. I can only imagine being in a room while this song is being played live. There’s a disco ball lighting up the room, and all the couples are swaying in the lights. It’s beautiful. The EP closes with its title track, “Blue Transitions”. This grungy tune starts on the softer side and explodes at the chorus, making me think of the Deftones or Foo Fighters. This record is only the band’s second release as an independent act, and it has me excited for their future.
MICHIGAN FAVORITE: Low Phase, “So Pretty It’s Perfect” – I’ve been hearing these songs for so much longer than this album has been out, because I’ve been attending Low Phase shows like tradition. So when this record was finally released, it was immediately added to all my favorite playlists. It’s angsty and grungy, but also has that pop flair that you can dance and sing to. I just so happened to see them perform at Elevation in support of Michigander last week, and the way the crowd already knew the words to “Reason” was beautiful. While this record is fantastic for screaming in the car, experiencing it live is a whole different level.
HONORABLE MENTIONS: Cameron Blake, “Saffron”; Tony Halchak, “All the Monsters Love the Dark”; The Hacky Turtles, “I’ve Been Here Before…”; La Dispute, “No One Was Driving the Car”; Lainey Wilson, “Whirlwind (Deluxe)”; Turnstile, “Never Enough”; Lorde, “Virgin”; Sophia Isella, “Above the Neck” (single); King Mala, “And You Who Drowned in the Grief of a Golden Thing”
FAVORITE CONCERT: A Day to Remember, Nov. 4 at Van Andel Arena – This year was insane as far as concert experiences and I had nearly 20 contenders for show of the year. But A Day To Remember takes the cake for 2025. This was one of very few shows that I attended for fun, not working in any capacity. I moshed to The Wonder Years, who opened the night, I danced to Yellowcard’s “Ocean Avenue” and when it came time for ADTR, I had the opportunity to experience the show from the stage. Yes, you read that right, I was on stage for A Day To Remember. An incredible co-worker of mine made this happen and it could not have been better. Finally, I had the opportunity to mosh to “Paranoia,” after seeing it performed a decade ago from the nosebleeds, in the very same venue. While the show itself was absolutely incredible, the best part was when Jeremy McKinnon walked by after the show had ended, I put my fist out and he returned my fist bump. Truly a night I will never forget.
HONORABLE MENTIONS: Jack White, Spiritbox, Shinedown and Beartooth, Linkin Park, IDKHow, Archers, Rivals, Of Virtue, Shakey Graves, Ghost, Bilmuri, The Band Camino, Yungblud, La Dispute, Lainey Wilson, Bridge City Sinners, Cage the Elephant, All Time Low
Terry DeBoer
Brandon Lake, “King of Hearts” – It’s hard to deny the impact of this release, which includes Lake’s powerhouse duet with Jelly Roll (“Hard Fought Hallelujah”). The dynamic, award-winning anthem has shown up on numerous radio formats, TV shows and concert settings, including a Lake rendition at his Van Andel Arena show earlier this year.
Listen: https://youtu.be/YJNFAaWJhp0?si=wkIs8mzVFIvKRUOw
Phil Wickham, “What an Awesome God” – As worship-based inspirational artists increase their presence in both radio and concert venues, Wickman’s tune (which samples an old Rich Mullins song), was a monster Christian radio hit, according to Joy99 music director Brooke Taylor. And to prove his music’s attraction, he’s coming May 15, 2026 to Van Andel for a tour stop that’s already sold out.
HONORABLE MENTION: NF, “Fear” – I hesitate to include this since it’s only a five-song EP and just emerged in November. But this latest project from the rapper (Nate Feuerstein) exploded with a No. 4 debut on Billboard’s Top 200 list. The Michigan native’s narrative approach continues to draw on his mental health challenges, while touching on pop, hip-hop and rap stylings. This collection is darker than his previous efforts, and asks piercing questions about his life and career journey. Standing apart is the ballad “Home,” sharing his feelings following his grandmother’s death earlier this year. It references M-61, the highway that goes right through his hometown of Gladwin, Mich.
Listen: https://youtu.be/I-5k_L0jRiw?si=Gf80zEDIBKb3lfUI
BEST CONCERT: Forrest Frank, March 31 at Van Andel Arena – The youthful, pop/hip-hop artist bared his soul as well as his inspirational tunes before an audience of more than 10,000. With an adventuresome stage set and his multi-faceted interactive vibes, Frank unfurled popular songs such as “Your Way’s Better” and the new
“No L’s” which are still on the charts at year’s end.
HONORABLE MENTION: CeCe Winans, Feb. 13 at Grand Rapids First Church in Wyoming – Some area fans may have overlooked this one, but more than 2,000 were on hand to hear the sweet yet commanding tones of the gospel singer, whose tour stop here came only a month after winning two Grammy Awards. Her worship and pop anthems echoed with heavenward glimpses.
Derek Ketchum
DEREK KETCHUM (Local Spins Photographer/Writer)
Best Album from a New Artist: Zero Sun, “Dig” – A four-piece Southwest Michigan alt-rock band that you can hear sounds of the “grunge” era, but more refined. Very Seattle but unique at the same time. Check out their single, “Dig,” from that debut album.
Listen: https://open.spotify.com/track/6BcayZLTLzPySZtZwgH4Sg?si=85bcf785d0274417
Best Album by a National Band with Local Ties: Greensky Bluegrass, “XXV” – More than a greatest hits album with all the special guests from Holly Bowling to Lindsay Lou to Billy Strings to Sam Bush, these songs have never sounded more refined/finished. And to see them all performed over two days in Kalamazoo for their anniversary in their hometown was an incredible experience. It was one of the best concerts of the year in Kalamazoo.
Best Instrumental Album: Lucius Fox, “The Death and Life of the Great Lakes” – Prog metal duo Lucius Fox from Kalamazoo released this powerful album September of this year having Written all throughout 2024 and recorded over a month’s time in the spring. Check them out on Bandcamp where Jeremy Cronk also has his artist statement for this incredible concept album.
Best Single: The Bootstrap Boys, “Spirit in the Sky” – I love how The Bootstrap Boys from Grand Raipds can make classic songs new again. And “Spirit in the Sky” is one of them. Much love to the band and R.I.P. to late guitarist Nick Alexander.
Cassandra Kipp
BEST CONCERT: Weird Al Yankovic, Sept. 17 at Miller Auditorium – The best show I saw this year was the Weird Al Yankovic show at Miller Auditorium in September. Decked out in new costumes every other song, he hit each standard but with an energetic, earnest freshness and joy. It is something I would’ve regretted not seeing for the rest of my life, and absolutely worth the ticket price. Another highlight: The Mavericks, whom my grandfather came to see with me and has not stopped talking about since. Frontman Raul Malo recently passed away from cancer, but it was a similarly high honor to hear and watch him and his incredibly talented band play, opening for Dwight Yoakam at Wings Event Center in March.
READERS’ PICKS
Michael Grant Leavell – My wife and I saw so many great shows this year it was almost impossible to pick five favorites but here goes: 1. THOU October 8 at Backwards Compatible. Pure sludge straight from Baton Rouge at the inaugural event of this great new music store. This was a super intimate matinee show and the place was packed. They played another amazing show later that night in Muskegon but this one was special. 2. ATTRITION CULT May 2 at The Warden Chamber, part of “A Night of Hatred and Perversion.” This is our favorite local band and this was our favorite performance of many this year. This is one of the bands we go out of our way to see as much as possible. There was also a sick noise performance by INBRED involving sheet metal and a machete. 3. MAC N’ TOSS August 22 at Kilroy’s Garage. Girls to the front! An incredibly upbeat Riot Grrrl band headlining with support from five West Michigan bands. A beautiful night for a super fun show. 4. WRETCHED BLESSING November 16 at Morning Ritual. A five-band Freak It! extravaganza with support from ABUSE REPRESSION, GLORIOUS DEPRAVITY, ANGRY ALL THE TIME, and COYOTE. Peak performances from all five bands. Loud abrasive rock and roll the way we like it. We had seen Wretched Blessing earlier in the year and they were great then but this was completely over the top. 5. PUNK FEST August 2 on Fruitport Bandshell Soil. A great evening with some of West Michigan’s finest. We would rather see a bunch of fresh young bands than some overpriced dinosaurs any day and everyone here delivered. KAT KARNAGE, THE CORMANS, COYOTE, and VIOLET SCUM are some of our favorites so to see them all together in such a unique space was great. Honorable Mentions: BORIS, MELVINS, CLAWFOOT, SUMAC, CHEPANG, CARBON DECOY, MDOP, and LIGHTNIN’ LUKE. West Michigan was truly blessed with the greatest shows this year, and everyone mentioned here was really just the tip of the iceberg. Favorite 2025 Album: THROAT PISS – Existence as a Grinding Gear. The second release from Austin, Texas four-piece with West Michigan roots. They performed here in 2023 at Speciation and we’ve been following them ever since. Really unique thick sludgy sound and big fun overall. Check ‘em out.
Mark Newman – Three of my top releases from 2025 feature female vocals and yet they couldn’t be more different from each other. I first heard the latest from Canadian artist Kathleen Edwards while rummaging through the record racks at Dearborn Music and it was Jason Isbell’s guitar playing that first caught my ear. But it’s Edwards’ songwriting that makes her one of the best in the alt-country genre. I’ve been catching up listening to a lot of Stereolab and their most recent, “Instant Holograms on Metal Film,” is certainly a worthy addition to their large, influential catalog. But the record that really set my hair on fire this past year was Deradoorian’s “Ready for Heaven.” Relentlessly inventive and evocative, it’s a record that is jarring in its juxtaposition of styles. Think Laurie Anderson, Nona Hendryx, Kate Bush, or if you’re willing to venture even deeper into the obscure, My Brightest Diamond or Happy Rhodes.
Denise Connell – My favorite album is “Fiddle and A Rose” by The Debutants from Fort Wayne, Ind. This is their newly released album that I had the pleasure of being the first one to purchase the CD. Take a listen to any Debutants song and you will be hooked if you appreciate music. Not to mention they are great people.
Brendan Burke – “Parasomnia” feels like a statement album — one that reminds everyone why Dream Theater still sit at the very top of progressive metal. First, the concept. Centering the record around sleep disorders, dreams, and fractured consciousness gives the album a unified emotional and sonic identity. It’s dark, introspective, and cinematic, pulling the listener into a world that feels unsettling but strangely familiar. This isn’t just a collection of songs—it’s an experience meant to be heard front to back. Second, the musicianship is unreal—even by Dream Theater standards. Every member is operating at peak form. The riffs are heavy without being cluttered, the solos are technical but purposeful, and the rhythmic shifts feel exciting rather than indulgent. It’s progressive metal that serves the song first, not the ego. Third, the balance of old-school DT and modern evolution. Parasomnia nods to the band’s classic era—long-form storytelling, dramatic builds, jaw-dropping instrumental sections—while still sounding fresh and current. It doesn’t rely on nostalgia; it expands on it. That’s incredibly hard to do this late in a career.
Fourth, James LaBrie’s performance deserves special praise. His vocals feel more controlled, expressive, and emotionally locked in than they have in years. He fits the psychological themes perfectly, adding vulnerability where needed and power when it counts. Finally, its impact. In a year full of strong releases, Parasomnia stands out because it demands attention. It rewards repeat listens, sparks discussion, and reminds fans—and critics—what progressive metal can be when ambition, skill, and storytelling align. Parasomnia isn’t just Dream Theater proving they still have it: It’s Dream Theater proving they can still raise the bar.
Chad Michael Wedeven – My most played album this year is “99 Songs (Plus One)” by Abe Savas. It’s just an absurd achievement: 99 songs (and a reprise) on a 78 minute CD. And the batting average is high for tuneful, clever, coherent songs, from three seconds to three minutes. Going insane with style.
Stovepipe Stover – Tie: Post Animal, “Iron,” and Snocaps, self-titled.
Mark Harrell – For me, it’s Ethel Cain, “Willoughby Tucker, I’ll Always Love You”
Stephen Aldrich – Most played? Prolly “Welcome To My Blue Sky” by Momma, the ’90s coming back in a good way, sounding dead-on like Veruca Salt, only better.
Wile Preston – Geese, “Getting Killed”
Chuck Whiting – “A Tip Toe High Wire” by Sierra Hull. It’s also my current pick for album of the decade.
Steve Sly – 1. Echolyn – Time Silent Radio II: Among the two Echolyn releases this year, this album stands out as my preferred choice and ranks as my top album of 2025. 2. Discipline – Breadcrumbs: While it may not reach the heights of their classic “Unfolded Like Staircase,” this album reveals greater depth and appreciation with repeated listening. 3. Echolyn – Time Silent Radio VII: Although slightly less impressive than the other release, this album remains one of the year’s finest. 4. IQ – Dominion: IQ delivers another outstanding entry, further solidifying their reputation as leading figures in English Neo-Progressive rock. 5. Karmakanic – Transmutation: Jonas Reingold assembles an accomplished ensemble, resulting in a remarkable addition to the Karmakanic catalogue. 6. Mammoth – The End: Wolfgang Van Halen continues to demonstrate artistic growth, arguably presenting his strongest album to date. 7. Edensong – Our Road To Dust: This release proved to be the year’s most unexpected highlight. Building on previous work, the band achieves a significant artistic breakthrough, marking their best effort yet. 8. The Far Cry – Once There Was: A notable surprise from this Connecticut-based group, whose sophomore release demonstrates clear artistic progression. 9. Joe Bonamassa – Breakthrough: Consistency remains a hallmark of Joe Bonamassa’s career, and this album is no exception. 10. Steven Wilson – The Overview: Wilson returns to progressive rock, offering a largely compelling album anchored by its two extended compositions.
Jerry Kolb – The best album of the year was “Exploding Star” by Heather Maloney. I don’t need a prize. I have the album. 🙂
Copyright 2025, Spins on Music LLC
