We are back! Just like that, another year in music has come and gone, which means it’s time for the fifth-ever FTL Annual Playlist!
I have a 10 month old child now, so no time for any extra preamble. You know why you’re here. Let’s get to the goods!
2025’s Catch-Up Corner
As always, I’m including some releases from artists I’ve mentioned on previous Annual Playlists. Here’s a few that deserve some space:
- Friendship, mentioned in 2022’s list for their song “Chomp Chomp”, put out a great record this year. Caveman Wakes Up was one of my favorite listens from early 2025. It’s worth checking out, especially highlight track “Betty Ford”.
- The Beths (Expert In A Dying Field, #6 in 2022) released their fourth album, Straight Line Was A Lie, in August. While perhaps not as well-rounded as their previous record, some of the highs (like they catchy-as-hell “Roundabout”), were just as high.
- If you’re looking for a interesting concept record, Home is Where (The Whaler, #6 in 2023) has you covered. Hunting Season, the band’s third album, leans even more into the folksy, emo alt-country moments of The Whaler, with a twist: The record is allegedly (according to lead singer Bea McDonald) about 13 Elvis impersonators dying in a 13-car crash, with each getting their own song on the record. It’s grim, but damn good.
- 2022’s #1 album belonged to Black Country, New Road (Ants From Up There). 2025’s Forever, Howlong is the band’s proper studio followup (after 2023’s pseudo live album of originals Live From Bush Hall). I think it’s an interesting record, especially to see how BCNR continues to evolve in their post-Isaac Wood era. Ultimately, it was a bit too twee for me, at least to make this year’s list proper.
- Wolf Alice (Blue Weekend, #1 in 2021) remains one of my most cherished bands at the moment. I liked, but didn’t love, The Clearing, released in August of this year. The record strips away most of the fuzzy atmosphere of Blue Weekend (and even 2017’s Visions Of A Life, another personal favorite) in favor of a more theatrical, 70s Fleetwood Mac-adjacent sound. It works, but not as well in my opinion (though I did like singles “Bloom Baby Bloom” and “White Horses”). On the positive side, the album does serve as a brilliant showcase for lead singer Ellie Rowsell’s powerful vocals. She’s never sounded better.
Missed the Boat: Cameron Winter – Heavy Metal
I wonder if Cameron Winter knew that, when he released Heavy Metal in late 2024, that he and his band Geese (yes, we will be talking about them later) would blow up the way they did in 2025. It’s impossible to tell from his first solo record, which mostly dives away from the bombast of Geese’s 2023 release 3D Country. On Heavy Metal, Winter is groovier and more ruminative. The album’s first three tracks (“The Rolling Stones”, “Nausicaä (Love Will Be Revealed)”, and “Love Takes Miles”) might be the best three song opening of any record from the last 13 months. If you can learn to appreciate Winter’s charming (albiet idiosyncratic) voice, I think it’s hard not to fall in love with this album.
Shades of: Leonard Cohen, Rufus Wainwright, Self Portrait-era Bob Dylan (complimentary)
Must Listen Tracks: The Rolling Stones, Nausicaä (Love Will Be Revealed), Love Takes Miles
Robert Baratheon Memorial “Seven Hells, What Am I To Make Of This?” Award: Car Seat Headrest – The Scholars
As I have written on this very blog, Car Seat Headrest’s 2016 album Teens of Denial is a seminal, important record for me. Will Toledo followed that up with Making A Door Less Open, an album that was…less memorable. With The Scholars, Car Seat Headrest returns to some of the hallmarks that worked so well with their earlier work packaged together in what is, allegedly, a rock opera. I say allegedly because although there is supposedly a story here, I think you’d be hard pressed to have any idea what is going on whatsoever. That alone doesn’t make the record a miss, but it is a red flag warning against some of the more self-indulgent moments on the album’s back half. There are some songs I really like here (“Devereaux” for one), but without the overarching theme working, the project as a whole lacks that extra something that Teens of Denial or Twin Fantasy have (and have in spades). This is absolutely a record I enjoyed listening to, but also am not entirely sure is actually “good”.
Shades of: Tommy as recorded by Icarus, classic rock circa 1978
Must Listen Tracks: Devereaux, The Catastrophe (Good Luck With That, Man), Gethsemane
“You Dipped The Chip, You Took A Bite, And You Dipped Again” Double Feature Award: Florry – Sounds Like… / Fust – Big Ugly
I’ve added a new category (because I can’t help myself) for this year, to address one of my favorite pastimes: picking two albums that work back to back as a “double feature”. They can be similar, they can be different, but somehow they complement each other for a more full listening experience than if listened to apart. For example: Pingrove’s Cardinal and Car Seat Headrest’s Teens of Denial. Florry’s Sounds Like… and Fust’s Big Ugly are cut from different sections of the same alt-country-adjacent cloth. “Sounds Like…” is a high energy, riffy, 70s southern rock homage. Big Ugly is a grandiose, impressive country record. It’s a perfect pairing for a summer day and a six pack.
Shades of: Free Bird, Miller High Life, Back Yard Barbecues
Must Listen Tracks: Florry – First it was a movie, then it was a book / Fust – Spangled, Mountain Language
I Cannot, In Good Faith, Recommend This Album But It Is Very Spooky And Kind of “Fun” To Listen To On Halloween: Ethel Cain – Perverts
Ethel Cain’s Preacher’s Daughter was one of the biggest indie success stories of 2022. Her response to that success was to make Perverts, a complete and utter repudiation of her debut album. There’s nothing remotely resembling the anthemic “American Teenager” on this record. It’s mostly just creepy, eerie, borderline disturbing drone/ambient music. It makes for a poor follow-up to Preacher’s Daughter, and the album is pretty much unlistenable (at least in my opinion). HOWEVER, it does make for remarkable spooky season listening. So, if you’re looking for something other than my impeccable Spooky SZN playlist to throw on to next October, Ethel Cain has you covered. If you’re looking for something closer to Preacher’s Daughter, Cain released a second album this year, Willoughby Tucker, I’ll Always Love You, that is more of a continuation of that sound.
Shades of: A haunted house, the alien theme from Annihilation
Must Listen Track: Punish
Honorable Mention: Bon Iver – SABLE, fABLE
I am a self proclaimed Bon Iver/Justin Vernon acolyte, so the bar for his latest project making this list was admittedly very low. Fortunately, SABLE, fABLE, Vernon’s 5th (and final?) record as Bon Iver was plenty good enough to earn a mention anyway. The record uses last year’s sparse and introspective SABLE EP as a lead in to the album proper, a choice that works well given the “fABLE” part of the album is bright, cheery, and draws heavily from R&B influences and artists like Dijon and mk.gee (both of whom appear on the album in some capacity). This is the most direct Bon Iver album yet, as Vernon ditches his signature opaque lyricism in favor of more plainspoken good vibes. The intent is clear: The man with the beard playing sad songs alone in a cabin in the woods is no more. He has emerged, formed a community, and found the light. If this is the last Bon Iver record, Vernon is signing off with a smile.
Shades of: Sunny R&B, Dijon, mk.gee, it’s all fine and we’re all fine anyway
Must Listen Tracks: Everything is Peaceful Love, From, Day One, There’s a Rhythm
Honorable Mention: Racing Mount Pleasant – Racing Mount Pleasant
If I were giving out an award called the “Close enough, welcome back Isaac Wood-era Black Country, New Road” Award this year, this record would win unanimously. Although, that’s a bit unfair to Racing Mount Pleasant (formerly called Kingfisher) and their self-titled album. There’s certainly some similarities to their sound, but Racing Mount Pleasant is decidedly of the American midwest, where BCNR is decidedly British. This is a stunning record, with rich soundscapes and beautiful instrumentation. It occasionally sounds like Bon Iver, Bon Iver mashed together with American Football. “Emily” is the best song of the bunch, but opening track “Your New Place” isn’t far behind.
Shades of: BCNR, Bon Iver, American Football, fresh snowfall
Shades of: The yin to Cameron Winter’s yang, The Bends-era Radiohead, the tiniest dash of Sufjan Stevens
Must Listen Tracks: Your New Place, Emily, Racing Mount Pleasant
Honorable Mention: Snocaps – Snocaps
The initial Apple Music description for this album read: “The Crutchfield twins recruit MJ Lenderman for a surprise debut.”. I guess this is what being pandered to feels like?
Snocaps is a supergroup comprised of Katie Crutchfield (aka Waxahatchee), her twin sister Allison (from the band Swearin’), and MJ Lenderman (the guy with a houseboat docked at the Himbodome). Their self-titled debut was pretty much engineered in a lab to appeal to me. Do I wish that Lenderman was more prevalent on album in question, since it comes across as more of a P.S. Eliot reunion than a true collaborative effort? Yes. Does it matter when they’ve put out songs as good as “Wasteland” or “Angel Wings”? Nope!
Shades of: P.S. Eliot, both Crutchfield sisters’ solo acts
Must Listen Tracks: Coast, Wasteland, Angel Wings
Honorable Mention: Dove Ellis – Blizzard
It’s kind of perfect that Blizzard, singer/songwriter Dove Ellis’ debut album, was released in December, just as Cameron Winter’s aforementioned Heavy Metal was in 2024. There’s definitely a lot of crossover appeal between the two artists, even if they don’t particularly sound the same. Ellis’ voice often bursts into a Thom Yorke-esque falsetto, which complements the folksier arrangements on Blizzard. I think if I had more time to spend with this album this year, it’d be higher on the list. “Jaundice” doesn’t sound like any other song on the album, but as a pint enjoyer it’s probably my favorite.
Shades of: The yin to Cameron Winter’s yang, The Bends-era Radiohead, a dash of Sufjan Stevens, a yuletide pint o’ plain
Must Listen Tracks: Love Is, Jaundice, Heavin Has No Wings
10. Turnstile – NEVER ENOUGH
Turnstile’s NEVER ENOUGH is the follow-up to 2021’s breakthrough, GLOW ON, a record that probably should have been on my 2021 list but wasn’t. This is not a makeup call for that oversight, though. NEVER ENOUGH is every bit worthy of kicking off this year’s top ten. It’s the kind of rock album that we need more of: a highly anticipated release from a non-legacy artist. Turnstile continues to evolve from their hardcore roots. NEVER ENOUGH builds on the growth GLOW ON put into motion, mixing heavier songs with power pop in a way that made this a perfect summer record this year. The first three songs (“NEVER ENOUGH”, “SOLE”, “I CARE”) are the draw here. They grab you by the scruff of your neck and don’t let go.
Shades of: Punk rock Def Leppard, Nirvana’s Nevermind, doing a cannonball into a pool
Must Listen Tracks: NEVER ENOUGH, SOLE, I CARE
9. Hotline TNT – Raspberry Moon
If you recall, I was a big fan of Hotline TNT’s 2023 album Cartwheel (#7 on 2023’s Annual Playlist). Raspberry Moon, the band’s latest effort, is every bit as good as Cartwheel, with higher highs. Will Anderson pulls back just a hair on the Fuzz-O-Meter and dials up some poppier elements, which makes some of the tracks a bit more memorable. Opener “Was I Wrong?” is a great example of this, but an even better one is “Julia’s War”, which is in contention for my favorite song of the year. Nothing beats power pop with a “na na na” chorus, it’s a scientific fact.
Shades of: My Bloody Valentine blended with Gin Blossoms
Must Listen Tracks: Was I Wrong?, The Scene, Julia’s War
8. Hayley Williams – Ego Death At A Bachelorette Party
Hayley Williams just has the juice, man. Obviously her work with Paramore needs no introduction, but I also really enjoy her solo records as well. Ego Death At A Bachelorette Party was originally released as a collection of singles, then Williams encouraged fans to make their own track lists, before she finally released the “official” album/song order a few weeks later. Ego Death is an improvement in just about every way over her previous solo work. It works as a cohesive album despite having the vibe of a mixtape; the plot never gets lost despite a fair bit of genre hopping. “True Believer”, in which Williams interrogates her upbringing, faith, and roots is probably the most lyrically impactful. Her performance of the song on The Tonight Show in October was stunning, if not unforgettable.
Shades of: After Laughter-era Paramore, Williams’ Dead Horse, The Talking Heads
Must Listen Tracks: Glum, Mirtazapine, True Believer, Parachute
7. Clipse – Let God Sort Em Out
I hate to be a “now this is REAL rap” guy. Truly hate to do it. But there’s something to be said for masters of the craft hopping in the booth and just bringing it like Pusha T and Malice do on Let God Sort Em Out, the first Clipse album in over a decade. No one raps about slinging coke like Pusha, and no one ever will. Malice, in his return to the spotlight, shows why he’s such an important part of this legendary rap duo. Pharrell is on production here too, because of course he is. You can’t have a Clipse reunion record without him. This is big ticket hip-hop at its finest.
Shades of: Grindin’, when you know what I keep in a lining
Must Listen Tracks: The Birds Don’t Sing, Chains & Whips, F.I.C.O.
6. The Tubs – Cotton Crown
I’ve already talked a bit about Cameron Winter and Dove Ellis here, and how both singer’s unique vocals add extra texture to their work. That’s the case for Owen Williams and Cardiff-based outfit The Tubs. Williams’ voice is undeniably Welsh, and his sort-of-mealy-mouthed delivery makes this collection of otherwise well-crafted songs really pop. This is a no-skips record for me, from opener “The Thing Is” to closer “Strange”.
Shades of: Peach Pit (and adjacent summery bands with ultra clean guitar tones), Elmer Fudd if he played jangle-pop bangers
Must Listen Tracks: Freak Mode, Narcissist, Fair Enough
Halftime – Some Songs I Really Like
Japanese Breakfast – Honey Water: JBrekkie’s For Melancholy Brunette’s (& sad women) was a lovely, if slightly forgettable record from earlier this year. But on Honey Water, Michelle Zauner taps into a bit of what made Japanese Breakfast special in the first place.
This Is Lorelai – Dancing in the Club (MJ Lenderman Version): In which MJ Lenderman turns a really good This is Lorelai song into an A+ MJ Lenderman song. Those are the best kinds of covers.
Julien Baker & Torres – Sugar in the Tank: Baker and Torres’ country collab from this year was a fun turn for both artists, though “Sugar in the Tank” was far and away the best song of the bunch.
caroline – Tell me I never knew that: caroline 2 was a fascinating listen for me this year, and just barely missed out on making the list proper. Caroline Polacheck feature “Tell me I never knew that” stuck with me thoughout the year, especially the haunting, metamorphosing ending.
Nicholas Britell – NIAMOS! (Chandrilian Club Mix): A unequivocal banger from season 2 of Andor, that serves as the needle drop to one of my favorite scenes in the show’s entire run. I’m sorry, but it had to be included here.
Viagra Boys – Man Made of Meat: A genuinely hilarious song about being human. Who among us wouldn’t be down for free clothes, food, and drugs?
Kyle M – On The Range: They’ll never make meh hate you, Kyle Mooney.
As for the rest of the songs that stood out to me from this year, check out my Best of: 2025 playlist below (and at the Apple Music link here):
5. Water From Your Eyes – It’s A Beautiful Place
Rachel Brown and Nate Amos’ ninth album as Water From Your Eyes is short, sweet, and special. It’s A Beautiful Place is only 10 songs (some of which are interludes) and under half an hour, but it manages to cover a ton of ground despite its limited run time. There’s the grungy “Life Signs”, the shimmery “Nights in Armor”, the 90s dancehall-inspired “Playing Classics”, and on and on it goes. An eclectic mix with surprises around every turn.
Shades of: Big Thief, “By the Way”
Must Listen Tracks: Life Signs, Nights in Armor, Playing Classics
4. Greg Freeman – Burnover
We’re giving Greg Freeman the MJ Lenderman “singer/songwriter making alt-country that speaks specifically to me” award for this year. Freeman’s Burnover was one of my most played records in 2025. I loved how propulsive songs like “Point and Shoot” and “Gallic Shrug” were. I loved the Dr. Dog-esque chorus on “Rome, New York”. I loved the randomly punk-leaning “Gulch” sandwiched in between a bunch of tracks featuring harmonica and slide guitar. The whole thing is just very up my alley given my listening habits in 2025.
Shades of: Built To Spill, Dr. Dog, Jason Molina
Must Listen Tracks: Point and Shoot, Rome, New York, Gallic Shrug
3. Wednesday – Bleeds
Bleeds probably isn’t Wednesday’s magnum opus, at least not the way that 2023’s Rat Saw God was. It’s not quite as viscerally vivid, for one. However, it goes down a lot smoother. Rat Saw God doesn’t have anything as good as “Townies” for example, or as timeless as “Elderberry Wine”. “Townies” in particular, is incredible (and my song of the year). Karly Hartzman writes her version of Springsteen’s “Glory Days” in a sun-drenched North Carolina afternoon way that only she can. There’s also the added subtext of Bleeds chronicling Hartzman’s breakup with the band’s lead guitarist MJ Lenderman, which is chronicled best on the cutting “The Way Love Goes”.
Shades of: North Carolina Rumours, Sheryl Crowe, Bruce Springsteen
Must Listen Tracks: Townies, Elderberry Wine, The Way Love Goes
2. Ryan Davis & The Road House Band – New Threats From The Soul
“I thought that I could make a better life with bubblegum and driftwood” Ryan Davis croons on “New Threats From The Soul”, the title track from Davis’ second album with The Road House Band. It’s an apt statement for the record, which is serving as Davis’ breakthrough at age 40. Being a working musician is hard, and that Davis is having a kind of late-career renaissance is impressive. New Threats From The Soul is a beautiful album well deserving of that breakthrough. It’s lush, layered, and Davis’ booming baritone adds character to his well-worn lyrics. The title track is probably the best here, but I listened to “Better If You Make Me” the most.
Shades of: David Berman/The Silver Jews, the best possible local honky tonk band
Must Listen Tracks: New Threats From The Soul, Monte Carlo / No Limits, Better If You Make Me
1. Sesame Street – Elmo’s Favorite Sing Alongs
(This was my number 1 listened to album this year, apparently. Parenthood!)
1. Geese – Getting Killed
I tried to resist Getting Killed. I really did. Geese’s third album was a near instant Album of the Year contender everywhere the moment it was released. While I liked 2023’s 3D Country, I didn’t love it. So I was skeptical that Cameron Winter (even coming off his aforementioned triumph with Heavy Metal) and Geese could meet the hype. Fortunately for me (although unfortunately for my ego), Getting Killed was every bit as good as indicated. This is undoubtedly the album of the year for me. Like Heavy Metal, Getting Killed is mellower than 3D Country, but it still packs a punch (like on opener “Trinidad” or the record’s title track). Winter’s voice works even better with his full band behind him, swaggering through verses and blaring through choruses. At times, the album almost sounds like a 2025 Brooklyn based version of Radiohead’s In Rainbows, and I can think of no higher compliment. Hell, “Cobra” was even a featured part of the television coverage of the Macy’s Thanksgiving Day Parade. If that doesn’t scream “defining indie rock record of 2025”, then I don’t know what to tell you. Rock is dead. Rock is back. Geese is great. And we’re all Getting Killed.
Shades of: Van Morrison, Is This It, The Velvet Underground, In Rainbows
Must Listen Tracks: Cobra, Islands of Men, Taxes
For The Love 