Rating: 9.06 (A-)

Wiki aka Patrick Morales is a NYC hip hop artist who has released three solo albums and four collab albums with the likes of Navy Blue, Tony Seltzer, Nah, MIKE, and The Alchemist.

My introduction to Wiki was through his group Ratking that released one full length in 2014 (So It Goes) before disbanding in 2018. In 2017 he released a stellar solo debut, No Mountains in Manhattan, which finished on many end of year lists. That record sounds just as fresh now as it did almost 10 years ago.

Following that release, my favorites from him include OOFIE (2019) and the collab with Navy Blue, Half God, released in 2021. This new release tops both of those and gives No Mountains… a serious run for best record in his discography and one of my favorite releases so far this year.

Highly recommended!

Rating: 8.9 (B+)

As I mentioned in the last 2026 Converge review for Love Is Not Enough I wrote:

My history with Converge goes all the way back to 1995 when a friend I met on the hardcore BBS during my freshman year of college sent me a tape with some new recordings from a local band she raved about named Converge. The songs, like “The Saddest Day” would go on to be on the Petitioning the Empty Sky record that would eventually come out in 1996. Converge would eventually make it to Buffalo a handful of times over the next few years, so I was able to see them live, which was absolutely amazing.

I gave the album a B+ and it’s one of my favorite hardcore adjacent records in 2026, so far:

Love Is Not Enough by Converge

B+

Released: February 13, 2026 on Epitaph Records

FFO: Botch, Dillinger Escape Plan, Every Time I Die, Terror, Coalesce

Your first song: Bad Faith

Support: BandcampListen

→ Read Review

Four month’s later, Converge released their 12th full length, Hum of Heart, and I think I actually like it more than the last. It’s still heavy and brutal as shit, but it’s also more noisy and punk than Love… – think Unsane and Bitter Branches – with vocalist Jacob Bannon also doing more of the spoken lyrics thing vs. his usual brutal vocals.

Anyway, big fan here. If you are into heavy music, I highly recommend.

Favorite tracks:

• “Slip the Noose”
• “Detonator”
• “Doom in Bloom”
• “It Only Gets Worse”
• “Nothing is Over”
• “Dream Debris”

Rating: 8.86 (B+)

Death Cab for Cutie is an indie rock band originally from Washington state, formed in 1997. I Built You A Tower is their 11th full length album and first since 2022’s Asphalt Meadows.

I have an interesting relationship with Death Cab. They were a huge part of our life during the Seattle years (1999 to 2004). We Have the Facts and We’re Voting Yes came out shortly after we moved there and I remember the excitement surrounding that release and going to Sonic Boom Records on release day to pick up the album. Over the five years we lived there I saw Death Cab 10+ times and their music was the soundtrack of many of our days.

Then came The Photo Album (2001) and Transatlanticism (2003, still their best) before we moved back to New York. Plans (2005) was enjoyable and I got to see them in Rochester, NY on tour supporting that record. Narrow Stairs (2008) followed and I liked that record as well… but after that I really haven’t connected with any of the four Death Cab albums that followed, until this recent one.

So, while I might not have the intense relationship with Death Cab as I did in my late 20s, this new album brings back many of the memories and feelings of those earlier years. And that I can really appreciate.

Rating: 9.08 (A-)

Iceage is a punk band from Copenhagen, Denmark that formed in 2008. For Love of Grace & the Hereafter is their sixth full length album after New Brigade (2011), You’re Nothing (2013), Plowing Into the Field of Love (2014), Beyondless (2018), and Seek Shelter (2021).

Beyondless was my introduction to Iceage, mainly through one of their singles, “Pain Killer”, featuring Sky Ferreira. Their next album, Seek Shelter, was a top 20 favorite album of 2021. I am thankful I got to see them on tour supporting this album in May of 2022, with Wiki opening. What a strange and wonderful show – I think there were maybe 50-100 people in the crowd.

Almost 5 years later, we have For Love of Grace & the Hereafter, which I think is my favorite album of theirs to date. It’s lively, bright and catchy, and their most complete album from start to finish. If you aren’t familiar with their music, I like to say that it’s kind of like if Wire decided to play Rolling Stones songs. A bit of swagger, angular, tuneful, and at times noisy and abrasive.

Favorite tracks:

• “Ember”
• “Star”
• “The Weak”
• “No Fear”
• “Tender Blades”
• “1835”
• “Lifetime”

Rating: 8.837 (B+)

Kurt Vile is a vibe. I saw him for the first time a few months ago and was just mesmerized watching him play guitar. He’s a magician for sure…

In terms of this new album, it’s one of my favorites from him since probably 2013’s Wakin on a Pretty Daze and 2011’s Smoke Ring for My Halo. I’d put 2015’s b’lieve I’m goin down in close proximity, though I think I like more songs off this new one…

If you are a fan of any of the bands listed above, I’d be shocked you didn’t know Kurt Vile… but if you are new to him, this is a great entry point… then work through the other 9 albums in his discography, starting with the ones mentioned above – you’ll thank me later!

Favorite tracks:

• “Chance to Bleed”
• “Zoom 97”
• “99 bpm”
• “Rock o’Stone”

Rating: 9.26 (A-)

feeble little horse is an indie rock band from Pittsburgh, PA who have been together since 2021, releasing two full length albums before this latest record: their 2021 debut Hayday on Julia’s War (and re-released in 2022 on Saddle Creek), their 2023 follow up Girl With Fish on Saddle Creek. Girl with Fish was my #1 favorite record from that year.

Girl with Fish was my main introduction to the band (I also grabbed Hayday on vinyl when they announce the signing to Saddle Creek) and I was completely enamored with that second record. As I wrote:

The whole package of 11 songs finish in under 30 minutes, so there are no wasted moments or throw away parts. It’s equal parts beauty and chaos…

and

I absolutely love bands that expand on and experiment with their influences to create something new and fresh.

So Girl with Fish was that good… and I think this album is even better. All of the parts I loved about the band, the weirdness, the chaos, the beauty, is all still there… AND they’ve improved on their songwriting quality… so every song is that much more memorable. It’s a complete work… AND it’s 11 songs, 25 minutes. So there’s no way you get bored or decide to put on another record.

As of writing, I still think the Ratboys album is a touch better, but it’s close… we’ll see how the end of year review process unfolds, but feeble little horse has a serious chance at a second #1 pick from me.

Enough reading… dig in!

Rating: 8.84 (B+)

Lowertown is an indie rock duo (Olivia Osby and Avsha Weinberg) that formed in Atlanta in 2018. The duo later relocated to New York City. Their music blends elements of indie rock, folk, and experimental pop.

Ugly Duckling Union is their third full length album, following their 2019 self released debut Friends and 2022 album I Love to Lie on Dirty Hit Records. I was introduced to the band via their 2021 EP, The Gaping Mouth, on Dirty Hit and really enjoyed their quirky take on lofi indie rock and folk.

The first seven songs of Ugly Duckling Union are solid to great, with the final five songs veering off course a little bit as they venture a little too much into the experimental side at worst, and slow/plodding at best. Overall, the album as a whole is worth your time as they continue to grow as songwriters and build confidence to venture outside the expected.

Rating: 9.12 (A-)

Thomas Dollbaum is a Tampa-born, New Orleans-based singer/songwriter. Dollbaum enlisted some stellar musicians for this album: MJ Lenderman (best known for his solo work and Wednesday), Nick Corson (from The Convenience), and Josh Halper (best known for his solo work). The results are top notch.

Birds of Paradise is the followup to his 2022 debut album, Wellswood. This album is my introduction to his work. The nods to Molina and Jurado were enough to get me interested. While his influences may be obvious, his songwriting and storytelling are nothing to discount. I’m certainly excited to see where he goes from here, because this album is great.

From the label:

“Birds of Paradise is a goodbye letter to lost loved ones and former selves. These songs find Dollbaum searching for acceptance in the transient in-between places: Florida’s pine flatwoods, backroads leading to I-95, where birds fly across the water. And even though the ghosts of his alt-county predecessors Townes and Molina are definitely present, on Birds of Paradise, Dollbaum emerges from their shadows – waving to the past, sounding all the more like himself.”

To show his storytelling chops, here are some of my favorite lyrics from the song “Coyote” – definitely Molina-esque:

Heard the coyote howl Looking for your cat for dinner All the birds fly south, the whole damn sky is red Sitting with you on your rooftop you’re high and drunk You’re ready to jump but you just fly away

And as you rose, you glimmered with gold before you burned out Bet you’d set this house on fire just to watch it burn down Bet you’d set this house on fire just to watch it burn down Bet you’d set this house on fire just to watch it burn down

Rating: 8.91 (B+)

Rostam is Rostam Batmanglij, an Iranian American musician who was best known as a founding member, songwriter, and producer for Vampire Weekend, before focusing on his producing and solo career. Rostam has been nominated for three Grammy Awards, two with Vampire Weekend (winning Best Alternative Music Album for Vampire Weekend’s Modern Vampires of the City) and one nomination for Album of the Year for his work with Haim on Women in Music Pt III. In addition to Haim, Rostam has also worked with artists such as Clairo, Hamilton Leithauser, Vagabon, Jenny Lewis, Charli XCX, Carly Rae Jepsen, Ra Ra Riot, Santigold, and Frank Ocean.

American Stories is third solo album, following 2021’s Changephobia and 2017’s Half-Light. His latest hits hard for it’s mix of Americana and traditional Persian music and instrumentation, creating an upbeat, bright soundtrack for a time that’s full of chaos, especially for immigrants and people of color in America and the people of Iran and Middle East… as our reckless, racist president reeks havoc around the world.

“The Weight” is a perfect example of this, with the song building as Rostam battles with living in America right now, to a point where the Persian influence takes a more pronounced placement in the song ending on almost a resolute note after the final lyrics: “You got courage on your side”:

Head high like a halo Warm hands on the pavement Eyes glowin’ in the heat lamps Callin’ out a broken government Walkin’ home in a rainstorm Mom and Dad don’t believe you Every word at commencement Moved to the administration

You feel the weight come down to you 'Cause you know the truth You’ve got courage on your side You feel the weight come down to you And you know it to be true You’ve got courage on your side

It’s a perfect ending to the album.

The beginning features two of the strongest songs on the album: “Like a Spark” and “Back of a Truck”…

On “Like a Spark” he tries to disconnect the idea of love and possession:

Some nights we slide up together Side by side And some days you wake in the moonlight I’m not around

Everybody Wants you Tied up easily except for me

I only ever wanted you to feel freed of it I only ever wanted you to feel freed of it I only ever wanted you to feel freed of it To feel freed of it

And “Back of a Truck”, which is my favorite track, Rostam takes inspiration from Bob Dylan’s “Don’t Think Twice, It’s All Right,” “Like A Rolling Stone,” and The Supreme’s “Keep Me Hanging On,” reminding us that lyrics are ours to interpret as we need.

Sometimes I wake up feeling happy honey And sometimes I wake up sad as hell But no one wakes me up the way you would When you would roll on to my side of the bed

I’m trying to hold on to what I remember I’m trying to write down what I might forget You never knew exactly who I was But you can’t change your mind about what you said

It was written on the back of a truck Six words from a song you loved Don’t don’t think twice no it’s all right Sometimes the words mean what you like

Thought I’d find you up in front But you weren’t who I thought you was Blow a kiss to the gods above Hit play on the console turn it up

It’s a wonderful album that I think is only going to grow on me with future listens.

Rating: 9.1 (A-)

New Zealand’s Aldous Harding has released 5 albums, ranging from traditional English folk on her 2014 self-titled debut to more of a sparse, subdued alt folk blended with psychadelic pop sound starting on her 2017 album Party and continuing to 2019’s Designer and 2022’s Warm Chris. With each album, you can hear her confidence grow – songwriting, lyrics, vocals. Train on the Island is just a continuation of all that and it’s sure to stand with any of her previous, well-regarded albums. I’d also wager it will be considered her best and most complete work to date.

Beyond being a well-regarded songwriter, she is known for her performances where she channels the characters and voices she creates for each song, becoming almost possessed by the music. It’s mesmerizing. I’ve included a few older performances below to give you a feel.

Back to Train on the Island, The Guardian has a pretty solid review of the new album with this highlight:

The most striking thing about said songs isn’t their weirdness, but how tightly written, compact and, in their own understated way, punchy they are. Even the longest thing here, the title track that tips over five minutes, never shades into indulgence. The songs that feel episodic never ramble, but deal in impressively acute, stimulating contrasts – as when One Stop and San Francisco move unexpectedly from a hypnotic piano figure and clouds of electric piano respectively into the same, noticeably brighter-hued acoustic guitar-backed refrain. If you aren’t among those listeners inclined to take notes and unravel the lyrics for clues, they work simply as conduits for utterly lovely melodies: the key-shifting Coats, or the sparkling duet between Harding and Evans on Venus in the Zinnia, or the tune that snaps What Am I Gonna Do? into sharp focus. As the heavy-lidded Worms makes its slow but sweet progress, it’s hard to imagine even the most vociferous naysayer of Harding’s oddball approach not being at least a little won over.

I’m won over for sure. I wasn’t a huge fan before this album, but the songwriting and bright sound is such a relief and change of pace for me, I absolutely love this album and expect it to be on my list of favorites for the year.

Rating: 8.85 (B+)

Basement is a post-hardcore/emo band from England and Wired is their fifth full length album and first since 2018’s Beside Myself. Honestly, prior to this release I wasn’t familiar with their music despite a list of influences that are certainly right up my alley. I’m pretty sure it’s due to them hitting right at a time when my kids were little and I wasn’t paying as close attention to music.

Regardless of all that, I’m a fan now. The first 3/4 of Wired is absolutely stellar, with the last 1/4 ending on more of a mellow, slower note that kind of gives a stark contrast to the first batch of songs. Not that they are poorly written at all, but some sequencing changes might have made a bigger impact on my overall feeling of the album. Regardless of all that, the album will certainly be getting repeat plays and I expect it to be one of my favorite hardcore/punk adjacent albums for the year.

Rating: 8.87 (B+)

Broken Social Scene is an indie rock group and music collective from Toronto. Formed in 1999 by Kevin Drew (guitar and vocals) and Brendan Canning (bass and vocals), BSS has featured as many as 19 members… with musicians such as Feist, Emily Haines (Metric), Jason Collett, many members of Stars, Andrew Whiteman (Apostle of Hustle), and members of Do Make Say Think taking part at various points of their discography.

Remember the Humans is their sixth full length album and first since 2017’s Hug of Thunder. Part of the problem with critiquing any new BSS album is the strength of their early work: 2001’s Feel Good Lost, 2002’s You Forgot it in People, and 2005’s self-titled record are a remarkably strong start to a discography. Foregiveness Rock Record was a solid followup in 2010, as well. I wasn’t as high on 2017’s Hug of Thunder for much of the same reasons, but I will definitely say this album is better than Hug.

BSS also happens to be one of my all-time favorite bands (both recorded and live – I’ve seen them three times now), so in terms of overall discography tiers, I’d go with this:

• Tier 1: You Forgot it in People and self-titled
• Tier 2: Foregiveness Rock Record and Remember the Humans
• Tier 3: Feel Good Lost and Hug of Thunder

A solid respectable new album. If you are new to BSS, you are fine to start with this new one, but I’d quickly hit up the two Tier 1 records as they will sell you on the group, for sure.

Rating: 9.06 (A-)

Friko is a band from Chicago, IL that started in 2019 by Niko Kapetan, Luke Stamos and Bailey Minzenberger – all graduates of Evanston Township High School. Two EPs followed, one in 2020 and one in 2022.

Friko’s debut album Where we’ve been, Where we go from here, was in my top 50 favorite albums for 2024. Looking back, I think I penalized it a bit too much for coming out early in the year. I was a big fan of it for the first half of the year, but then recency bias took over and it fell down the list.

Something Worth Waiting For is their sophomore album, recorded and produced by John Congleton. Drummer Bailey Minzenberger stated:

“On our first record we were much more involved in the technical aspect of everything, but this time John made it clear that he wanted us to just come in and do our thing. I think that allowed us to let go in a way that we never had before, and because of that we captured something very raw.”

The album builds off all of the influences listed above, as well as others like The Beatles, Mitski, The Beach Boys, Modest Mouse, and Yeah Yeah Yeahs. The new songs tend to feel more raw and chaotic, but also more confident – both in song writing and execution. I’m a huge fan… and won’t be making the same mistake I made in 2024.

Rating: 8.87 (B+)

Gia Margaret is a singer songwriter from Chicago, IL. She describes her music as “sleep rock”, but I definitely see similarities to artists like Flock of Dimes, Saya Gray, Andy Shauf, and Cassandra Jenkins. In terms of genre, I’d put her in the ambient folk/folktronica realm. Bright, warm sounds that are almost a meditation in many ways.

Margaret also has an interesting story, from the Jagjaguwar site:

Every artist has to discover their voice. Gia Margaret didn’t find herself until she lost hers. With a vocal injury that kept her from singing for years, she developed other musical languages, mastering the grammar of an intricate, homey form of ambient music pioneered by Ernest Hood and perfected by The Books.

Singing is her first vocal album since 2018’s debut album There’s Always Glimmer, with two instrumental albums in between, 2020’s Mia Gargaret and 2023’s Romantic Piano. This album is my introduction to Margaret, and I for one am glad she found her voice. I’m a big fan.

Rating: 8.83 (B+)

Kehlani is a singer songwriter from Oakland, CA. This self-titled album is their fifth studio album and a followup to 2024’s Crash. Kehlani’s music incorporates R&B/neo-soul with a touch of hip hop.

This self-titled project is one of their strongest, from start to finish. Seventeen tracks coming in at just under an hour, with features from Lil Wayne, Clipse, Missy Elliott, Usher, T-Pain, Cardi B, Big Sean, and others.

While the entire album is strong with solid production, my one complaint is some of the tracks kind of sound similar. I know there’s only so much you can do with mid-90s influenced R&B, but like many artists in this genre I’d prefer to see like 12 really good tracks versus 17 that overlap in many ways.

Regardless of that minor complaint, I highly recommend this record if you are into R&B. It’s got a good vibe and I will definitely be revisiting in the future.

Rating: 9.06 (A-)

Blu & Exile are everything I love about hip hop: a top notch lyricist over masterfully crafted beats and sample selection. Exile is one of the best producers going today, continuing on the legacy and influence of J Dilla. Blu is one of the best lyricists in alternative hip hop – one review going as far as stating that Blu is like if Nas and Prodigy were on the west coast. Pretty accurate.

Together they’ve put out 5 full length albums and two EPs since 2007, with the highlights being their debut, Below the Heavens (2007), Miles: From an Interlude Called Life (2020), and this album. Definitely check out those older releases.

Every track on this project just hits. Then add some amazing guest features too: Rome Streetz, Saba, Black Thought, Fashawn, and Mach-Hommy. This is definitely going to be one of my favorite hip hop albums for 2026. Highly recommended.

Rating: 8.82 (B+)

Sean Solomon is a musician (formerly of the band Moaning) and cartoonist/animator from Los Angeles. The World is Not Good Enough is his debut solo album on Anti Records.

From the Anti website:

These songs are almost coming from a place of childlike expectations,” Sean says of The World Is Not Good Enough, which features his own hand-drawn cover art in the vein of children’s author/illustrator Richard Scarry. “So many of my resentments towards the world and the people around me are because of these expectations I have of them. I tend to be sensitive. I want everything to be perfect and for people to be empathetic and thoughtful, and they just aren’t. Every song has that overall theme that things aren’t the way that they necessarily should be.”

Solomon’s melancholy take on these subjects follow the path of acts like Saintseneca, Elliott Smith, The Microphones, and Neutral Milk Hotel. I’m a big fan and can’t wait to see where he takes his music and art.

Be sure to check out his videos – many combine his animations with the music.

Rating: 8.86 (B+)

Brown Horse is an Americana influenced indie rock band from England and Total Dive is their third full length album behind 2025’s All the Right Weaknesses and 2024’s Reservoir. They clearly like Jason Molina and Neil Young… and that is perfectly fine with me…

Brown Horse may be new to me, but the influences and storytelling make it feel so comfortable and bright – like a warm sunny drive through the country with the windows open. If you are a fan of the genre and artists mentioned, I’m sure you will feel the same way.

Now I’m excited to dig into their back catalog and get familiar with their previous work.

Favorite tracks:

• “Sorrows Reign”
• “Twisters”
• “Comeback Loading”
• “Heart of the Country”
• “Wreck”

Rating: 8.89 (B+)

I originally included this in the Honorable Mentions section of the April 3 + 10 post, but I’ve spent a bit more time with it since that post went live and I’ve come to the conclusion this belongs on the Featured Albums list.

Gretel (aka Gretel Hänlyn, real name Madeleine Haenlein) is a singer-songwriter from London. Her influences mainly revolve around the artists I listed above, but you can also hear others like Sonic Youth, Radiohead, and The Beatles. As a whole it’s dynamic indie rock with a darker bent (“goth” is an easy way out), which means self reflective lyrics and soft/loud dynamics, along with great melodies and riffs that you’d expect from indie rock music.

Squish is Gretel’s debut full length album after releasing two EPs (2022 and 2023)…

Overall, it’s a solid debut release from top to bottom, with four of my favorite tracks in the first half of the album:

• “Fire blooming trees”
• “Unbloom”
• “Squish”
• “Darkness, be my friend”

Rating: 8.92 (B+)

WU LYF (pronounced “woo life”) is an acronym for “World Unite Lucifer Youth Foundation”) and they are a post-rock/indie rock band from Manchester, England. They formed in 2008 and released their debut album, Go Tell Fire to the Mountain in 2011. The band received a ton of hype at the time, partly due to their mysterious nature, but mainly due to the glowing reviews from publications like NME, Stereogum, Rolling Stone, Pitchfork, BBC, and Zane Lowe.

A little over a year later, the band broke up… just as mysteriously as they started. Fast forward 13 years to March 2025 and a timer appeared on their website, counting down to 1 April 2025, when they released their first single since the debut album. Then one year after that, another single “The Fool”, which has appeared 10 days later as part of this album. Quite a journey!

I vaguely remember their first round – mainly the cult-like membership scheme they had around their debut album. This release has got me fully sucked in though, as I purchased the new album, the 2025 single, and their debut on Bandcamp… which is, along with their official website, the only way you can access their music currently. They seem to be adamantly against Spotify, which makes me like them even more.

I don’t think there are many rock bands that sound like they do… post-rock/UK influenced indie rock with emotionally charged music, lyrics, and vocals. All of references in the FFO section really only refer to parts of their music. It’s everything I liked about alternative rock music in the late 2000s/2010s and they are rekindling that love through a superb collection of songs. Not many bands can pick up where they left off 13 years later… and do it just as well.

I highly recommend supporting the band and purchasing all of their music on Bandcamp. Choose LYF.