The biggest music story of 2025 remains, as it has for many years, the very fact of how music is discovered, as streaming monoliths and social-media algorithms continually overtake what we hear and what it sounds like. When TikTok virality and playlist automation saturate listeners’ attention, artistic sameness threatens to rule the day—but independent artists on their own unique paths are still with us. Let this list, which mostly eschews household names, be an antidote to that crisis, surveying 2025’s most notable releases thus far across pop, rock, electronic, rap, and Latin music.
[time-brightcove not-tgx=”true”]Wednesday, “Elderberry Wine”
The North Carolina band Wednesday, led by Karly Hartzman since forming in 2017, fuses the blistering edges of shoegaze and the twangy ache of country (shall we call it rootgaze?) into a vessel for vivid, gnarled storytelling, filled with literary detail. This heartbreaker from Wednesday’s sixth full-length, due in September, is the most finely-wrought tune yet from the group, which includes the ascendant MJ Lenderman on guitar. (His cover of This Is Lorelei’s “Dancing in the Club” is another of the year’s best releases so far.) The titular metaphor refers to a healing herb that becomes toxic in the wrong dosage, much as love requires the right proportions to find harmony.
Jenny Hval, “To be a rose”
Ten years ago this month, the Norwegian auteur Jenny Hval released her fifth album, Apocalypse, girl, cementing her stature as a modern art-pop luminary. Also a novelist, Hval makes records that brim with presence, intelligence, and the suspended elegance of Laurie Anderson or Suzanne Vega. Like some of her best songs—“That Battle Is Over” and “American Coffee” among them—“To be a rose,” from May’s Iris Silver Mist, is an electroacoustic musical bildungsroman. It seems to braid two abstracted narratives, hers and her mother’s, both in pursuit of beauty, swelling to exalted synth chords and referencing Gertrude Stein for good measure.
Nourished by Time, “Max Potential”
On Marcus Brown’s 2023 debut, recorded in his parents’ basement during the pandemic, the Baltimore songwriter and producer, known as Nourished by Time, fused meticulously arranged club anthems with DIY textures—favoring maximal emotional impact. “Max Potential,” the dizzying jam of a lead single from his forthcoming The Passionate Ones, is the apotheosis of his project to date. “If I’m gonna go insane/ At least I’m loved by you,” Brown sings, stretching each syllable into a titanic hook that charts a euphoric new horizon.
Marie Davidson, “Sexy Clown”
Montreal electronic producer and poet Marie Davidson writes spoken-word accompaniments that cut through the icy facades of club culture, staring listeners in the eye. Drawing inspiration from Shoshana Zuboff’s The Age of Surveillance Capitalism, this electroclash banger from City of Clowns sounds like a person’s digital footprint lost in a fun-house maze—like life itself in the algorithmic echo chamber of targeted advertising and calculated self-promotion. “Sexy Clown” taunts the entire system: “Can you feel the cutting edge/ Of my dying tenderness?” goes Davidson’s earnest sing-song chorus, an invitation to log off in service of your truest self.
Perfume Genius, “It’s a Mirror”
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