We did it folks, another year in the books, another big list of killer local music. Our staff got together and tried our best to make a comprehensive list of what we believe to be the 30 best albums that artists from Boston and New England released in 2025.
This process is never easy. We start with a list of ~70 releases and everyone involved sits down to listen through the full list. It’s fun, but arduous. We try to throw in as many differing genres as possible, to make sure we’re capturing the diversity of culture and sound of our local artists. Then, we vote.
Old favorites, new artists, returns to form from scene legends, hotly-tipped releases we caught wind of late and album cycles we helped kick off. This list feels very indicative of the spirit and energy of the New England music scene at large, which is to say: warm, inviting, and progressive in taste.
Looking back on Allston Pudding’s 2025 there’s a lot to be excited about. This was the year we returned to LLC status as a unit, this is a year in which we threw 21 shows, most of which were free and all ages (including a two-day festival that crushed the venue’s previous attendance record so thanks for that), and it’s also a year in which we gained some incredible talent on the staff side. We covered shows from basements to O’Brien’s to TD Garden and back again, traversing genre, style, and country of origin to bring you our shared vision of what music journalism could, and should be. We also gave more thought than ever to our digital footprint, crafting features and graphics that helped bring these stories to life. We turned 15 years old this past November as well, and there will be plenty more celebrating about that milestone in the new year, so stay tuned for that.
At the end of the day, local music will always be the north star of this publication because Allston Pudding is really just a group of individuals who really love supporting local artists. We believe that this city’s music scene is really where it’s at. We see so much passion and dedication from the artists here who try to create spaces for art and creativity to thrive. It’s never been more vital than now.
Make sure to support local artists by buying their music, merch, and tickets to THE GIG. See you out there.
ALSO we’d be remiss not to give a hand to Boston rockers Hallelujah The Hills who released a 5xLP (!!) this year inspired by the 4 suits (plus jokers) of playing cards as well as an equally stuffed greatest hits compilation so we’re giving them their own category here at the top for Hardest Working Band in Boston This Year. Congrats, gents.
(T-Tb) – Beautiful Extension Cord
(T-T)b is a Boston institution, which is to say these chip-tuned rockers have been at it a while, but the bangers keep coming. Their latest LP (and debut for the once again Boston-based Disposable America) is their strongest statement yet. While (T-T)b have always kept a foot in the digitized zone of traditional chiptune and another in guitar-forward power pop, Beautiful Extension Cord is at its best when they really let the guitars rip and let the programming trace the holes in the air. “Sugar In The Raw” is a punchy calling card with some choice guest vocals from Speedy Ortiz’s Sadie Dupuis (low key a Boston scene backing vocal MVP this year), but we’d be remiss not to big up the drone-y “Allston Christmas” as well. – Dillon Riley
How lucky are we that Alexander released another collection of smash hits? After topping our 2024 favorite projects list, it is only natural that his latest release, EP3 cements its spot in 2025. The crisp vocals, relatable lyrics, and signature rich instrumentation make this cohesive 4-track project a must-listen. He effortlessly weaves between dynamic distorted emotional highs and intimate aching melodies. Start with standout track and EP3 opener “Coyote Teeth,” and let the cathartic listening experience flow. – Samantha Davidson
Boston producer Atura has caused something of a storm of late, playing bigger and bigger rooms out of town while picking up support from legit big room producers like Porter Robinson and salute who’ve been rinsing his tunes in even bigger rooms. His Rebirth EP scans something like a victory lap for his biggest year yet, so let’s have it also be a stellar introduction to those in town playing catch up. Filtering classic French touch, hardgroove techno, and wide-eyed trance into a delicious blend that feels both achingly nostalgic and delightfully cutting edge, it’s about time the Bay State had some headline-grabbing homegrown club to rally around again. The two vocal cuts have that nice crossover appeal, but it’s the skyward JM Silk nod “Control” that could really move bodies in a hurry. – Dillon Riley
Dot Dev – There Was a Wind, But No Chime
This year saw beloved rapper/songwriter/producer Devin Bailey retire their long-running Pink Navel moniker. The change was less a funeral and more a putting away of childish things as they told Allston Pudding. On their first release as Dot Dev, the name on the tin might be different, but it’s still the same great taste inside. Bailey charms with whimsical bars and toybox beats. Their poetry is deeper this time around, more concerned with mining the corridors of the psyche and vagaries of creation. There Was A Wind But No Chime is a big step forward for Bailey as an artist, one that sees them coming into their own more than ever before. – Ben Bonadies
New York-via-Easthampton’s Editrix combine tense, heavy punk sounds with an ear for sweet melody. Their latest, The Big E, is as fun and wild as the state fair from which it takes its name. Singer/guitarist Wendy Eisenberg has the vocal control of a prime Kim Deal and their band, Steve Cameron and Josh Daniel, absolutely rip it up behind them. The Big E is a frankly major work from one of our finest avant-rock acts. – Ben Bonadies
ERG ONE / BONEWESO – THE LIFE OF ERG (co-starring Estee Nack)
Few things are as pleasurable in this life as settling into a well produced 90s hip-hop album. The tasteful boom-bap drums, the well chosen samples, the easy flow of the lyrics—these are the hallmarks ERG ONE and producer Boneweso recall on their collaborative album The Life of Erg (co-starring Estee Nack). On the mic, ERG is as likely to drop casual flexes in the same breath as well-drawn regionalia. His plainspoken, syllable-dense style belongs alongside contemporaries billy woods and Roc Marciano. Boneweso’s production is similarly confident—pockety breaks awash in horns and strings that show exceptional attention to detail. Like a well aged scotch, The Life of Erg feels expensive and goes down smooth. – Ben Bonadies
Ezra Furman – Goodbye Small Head
Singer-songwriter and Boston lifer Ezra Furman’s seventh solo album is a masterclass in strength. The songs here are both heroic and vulnerable, a raw collection of art-pop songs that give a glimpse into a private life. The first few tracks are strong ballads, but they lure a listener in, as the album gets much grander after. Furman’s second album since coming out as transgender sees her tackling an increasingly hostile world with strength and brevity, opening up about mental health struggles while maintaining ownership of her identity. It’s a powerful album – but the music is often very fun, too. – Andrew McNally
Gold Dust – In The Shade of The Living Light
Gold Dust is a supergroup now and that’s not counting the marathon J Mascis solo or the electric sitar he sneaks in the background. Featuring members of a whole host of formerly loved Western Mass bands covered on the very website, Stephen Pierce and co.’s beguiling psychedelic folk troupe just seem to get richer with every release. While In The Shade of The Living Light isn’t exactly a reinvention of wheel per se, Gold Dust adds some neat coloring around the margins to bolster their strongest collection of songs yet. The expansive “An Early Transition of a Later Work” reveals itself slowly, hanging on an almost ambient country-esque drone before the band kicks in around it, while the brisk instrumental “Traveler Stay’ plots a point on the map somewhere between medieval British folklore and blues-y Americana. – Dillon Riley
Greg Freeman is back and ready to conquer the sophomore album curse with his latest album, Burnover. The Vermont-based artist’s signature blend of indie rock and country has earned national acclaim from publications and fans alike. Tracks like “Gallic Shrug” and “Salesman” boast a refreshing vulnerability, bringing the Northeast experience to a bigger stage. Make sure to catch him live at the RedRoom at Cafe 939 on 1/30 to see for yourself. – Samantha Davidson
It’s a little funny that Beeef fronter Perry Eaton christened his debut solo project Ivy Boy considering the maturity on display here. There’s a joyous ease that permeates these songs—eight originals and a jaunty update on the Be Good Tanya’s “The Littlest Birds”—that can only come with experience. He dispenses folksy wisdom and reflects on lost youth over music that is never hurried and confidently plots its own course. One generation’s “adult contemporary” is another’s tasteful soft-rock, and on Ivy Boy Eaton blends rock n’roll twang with singer-songwriter storytelling. Closer “Olive and the Gibber” is a mini-epic tracing the paths of two Deadheads, one who sells parking lot tie-dye and stays with the band through Jerry’s waning days and another who leaves the tour behind to seek routine and security. A more apt metaphor for the twin poles of being a musical lifer you are not likely to find. – Ben Bonadies
Lady Pills – Renowned in the Roaring Twenties
It’s been a creative journey for Ella Boissonnault to shift from the singer-songwriter realm to the rock arena. The former genre favors strong vocals, witty lyrics, and personality, which ironically lack in most Boston area bands (see: shoegaze). Now that Lady Pills have committed more time and technology into making a proper studio rock album, rare these days, they have found themselves with hooks aplenty, making Renowned in the Roaring Twenties their best album yet. The stand out tracks are the immediately engaging album opener “BN2B,” as well as “Call It (anything but what it is).” Boston stars abound with a constellation of features including Sadie Dupuis, Will Dailey, and Robbie Wolfsohn. Renowned in the Roaring Twenties leaves no stone (or drum fill, sax, synth, distortion pedal, etc.) unturned. – Dan Moffat
No longer just a (New England) heads concern, the recent Burlington, Vermont indie rock explosion nevertheless feels like a win for us all. Among those scene leading lights is Lily Seabird, who put out one of the best sounding rock records of the year in Trash Mountain. Written partly in tribute to a legendary house venue/artist sanctuary in town, Seabird paints vivid Green Mountain scenes here, exploring grief, success, homesickness, and other complicated emotions through songs that seem to reckon with what happens when your dreams actually do start to come true. While prior efforts upped the guitar crunch, Seabird pulls things back here, especially on sparser tracks like “Albany” and “The Fight” which pair down to just acoustic guitars, pianos, and hand percussion, leaving plenty of sonic space for her singular, distinctive vocal phrasing. – Dillon Riley
One of the freshest takes on the alternative/indie genre this year is Hank by Mingko. Listen to the gleaming album opener “Shakey” and you’ll hear how Mingko fits more ideas breathlessly into one song than most bands do on an album. The aforementioned song’s line “my friends all have anxiety but I just want to party” sums up the jubilant atmosphere of the raucous instrumental shifts and riffs ducking in and out of the fête. Mingko is unbothered and in their element, Palm-muted power chords on chorus-drenched guitars anchor the rhythm section and soft double tracked vocals float above the scene dancing before us. What we have is an exciting and immersive playthrough that chugs along with wild abandon. The eight brief tracks that average two and quarter minutes each can leave a fleeting effect on the listener. So fire it up again. – Dan Moffat
Mad Rap Verses 2 is one of many albums released by Nick Shea that always show his artistry as a rapper. With chopped-up beats, a constant sense of momentum is built up from track to track, giving it a feeling similar to stepping and shaking your head to every beat. A fair warning that you might find yourself shuffling around Downtown and finding Nick drawing people around the Common. A standout track features the moment in which he shows velocity and speed to “IShowSpeed” by improvising a piece on Speed’s IRL livestream around Boston, showing capability and confidence to create and speak lyrics to life no matter the condition. Not trying to be dramatic or perfect, the album explores different aspects of Nick’s life, he travels around past moments and experiences in his life through his lyrics, in tune with his surroundings. Rather than being centerpieces completely, he touches on them throughout each song. Mad Rap Verses 2 is a masterpiece of delivery, bringing the message and the vibes forward. – Kenneth Palacios
Really Great – Be The Light On
Be The Light On is a fitting title for Really Great’s sophomore record. Though shrouded in fuzzy distortion, this is a fun collection of forceful power-pop. It’s a warm and entertaining album, without ever dipping into saccharine territory. Songs like “Skateboard Amp” and “Sex Thoughts” push back against any modicum of innocence with boundless punk energy. These are songs about grasping onto optimism during the worst periods in life. Fast and loud, these melodic tunes are a healthy mix of indie, punk and warm poppy rhythms. It’s fair to say it – this album is really great. – Andrew McNally
When pop outsider Cooper B. Handy (LUCY) and Boy Harsher’s Augustus Muller formed Safe Mind last year, it came to no surprise but made perfect sense. Handy originally collaborated with the darkwave synthpop duo on their horror film-slash-album tie-in, The Runner, playing a role in the film and took on lead vocals on the fantastic “Autonomy.” Cutting the Stone feels like that necessary evolution for Muller and Handy, where Handy’s whimsy inflections and playful hooks effortlessly latch onto Muller’s ethereal synthpop production. Cuts like the lead single “6’ Pole” and “Standing on Air” wring out the best moments from both collaborators. Muller dashes into 80s dance music (from new jack swing to house) and gothic melancholy, paired with Handy’s quirked-up vocals that doesn’t fail to charm you. In certain moments, it is oddly reminiscent of the old Club Casualties material that slighted Handy into one of pop’s beloved weirdos of the moment. The end result is intoxicating: you just can’t help but be induced into a sweet, synth-soaked coma from Handy and Muller’s hooks and melodies. – Miguel Gonzales
In many ways, Salty Greyhound represent the best of the Allston basement scene. Their music is at once dense, idiosyncratic, and improbably catchy. Plus, they’re the only band I’ve seen this year with a singing saw. Alligators, their follow-up to last year’s reintroductory Salty Greyhound, pulls in all directions and more. It’s a hairier record than their last—more out-there on the poles (see: psuedo-ambient folk of “In All Seriousness,” the mathy heaviness of “Eyes in my eyes in my eyes in my eyes”) but cuts closer to the bone at the center. Psych-garage tunes “Cherry Pit” and “Fascinating” are some of the band’s most hummable and exciting cuts to date. Songwriters Maria Cuneo and Alex Judd have successfully created a sonic world where anything can happen but nothing feels out of place. – Ben Bonadies
The Collect Pond – Absence of Something
Everyone’s favorite nepo-friends, The Collect Pond, released their rocking new album Absence of Something. Addictive crunchy guitar riffs, punchy drum fills, and scrumptious 80s echoing vocals flow across the 8 tracks. Each song boasts the elements of what makes indie rock a beloved genre, launching this project onto our radar whether or not 2 members of the band happen to be editors at Allston Pudding. Lyrical material spans vulnerable moments on tracks like “You Could Murder Again” and cheeky revelations on tracks like “Give Less.” The album closer features a generational collaboration, a remix with 2024 favorite Colin Domigan, making this project an auditory treat from beginning to end. – Samantha Davidson
Like the Roman emperor of the same name, the band Tiberius is content with the size of their empire, and they want you to know it. Tiberius’ breakout single “Sag” asserts their decision to remain Boston bound and avoid getting sucked down the pipeline to the ever alluring New York quagmire. While the bridge they take on “Sag” has clear notes of “Today” by Smashing Pumpkins, the real influence throughout the album Troubadour has to be Modest Mouse: frenetic guitar music with a twangy vocal and Americana instrumentation. And before you say I need to update my points of reference, know that I’ve seen the singer wear a Korn t-shirt. Tiberius are a rare breed, a live act that sounds remarkably similar to the recordings. Troubadour works as a sharp snapshot to one of my favorite local bands, which is enough to make me content with the size of the Boston music empire. – Dan Moffat
Tuxis Giant – You Won’t Remember This
Tuxis Giant may have officially become a split New York/Boston band this year, but we don’t hold it against them. They also made their very best record thus far in You Won’t Remember This. Tuxis’ Matt O’Connor has long been an evocative writer, capable of drawing novel-like scenes with an economy of language that’s always inviting. O’Connor let more of themselves into frame on this go-around and the results are stunning, especially on tender, domestic slices like “Days” and “Family Funeral”. Folk and alt-country has been the group’s framework of late, and those modes lend well to these narratives, while also allowing plenty of room for robust instrumental interplay from the rest of the group, most notably with not-so-secret-weapon Eleanor Elektra’s nimble guitar leads and backing harmonies. While the more volatile moments of the group’s earliest works have edged away there’s something undeniably mightier in these quiet(er) triumphs. – Dillon Riley
Wooll and Pudding go back to day one, with their debut record Unwind. Where Unwind was very dreamy in a warm way, their sophomore record Thistle shows a few darker cracks emerging. I would still count this as something close to dream-pop, but it’s denser and gloomier than Unwind, working as a nice complement. It is still very pleasant music to listen to amidst the ominous undertones, like a comforting hug during a thunderstorm. Wooll manage to pull off the feat of being original while also sounding familiar, which give this album an immense replay value. – Andrew McNally
Billy Dean Thomas – MX
The intro to “Papa,” the opening track from Bily Dean Thomas’ first full length album in 5 years, reminds me a bit of “Angel,” the opener from Massive Attack’s masterpiece album Mezzanine. It draws us in with a low pulse which morphs into something intense and energetic. BDT’s work moves into different territory, but the comparison lives in my head whenever I press play on MX. One of Boston’s most versatile artists, Billy Dean Thomas can adjust their flow to fit just about any style of beat, but it’s the anthems on this album that stand out. Bombastic tracks like “Give Me My Applause” tell us what the rapper already knows: Billy Dean Thomas belongs in arenas. – Harry Gustafson
FELIX! – industry plant
Hip-house has gotten a bad rap over the years (no pun intended), but the reality is that it’s a genre-match made in heaven. The boisterous swagger of rap mixed with the pulsing dance beats of house music? C’mon. Brockton native and Van Buren representative FELIX! (formerly Lord Felix) delivers just what we want with Industry Plant, a driving dance record that celebrates the artist’s impeccable and inimitable style, featuring contributions from Buddy, Sherwyn, Barney Bones, Bbyz, and Ashlee. Attetnion DJs! Please add “MARGIELA MADMAN” to your rotation. You’ve been notified. – Harry Gustafson
Intac – God is Time, Time is Money, and the Money’s Long Gone
Listening to an Intac album and seeing the band live are fundamentally different experiences. The band’s onstage antics, while wildly entertaining, can sometimes distract from how adept the group is at writing tongue-in-cheek ditties like “That Boy Has Got a Nice Head of Hair.” Heads up though: the band decided to release the album exclusively on bandcamp, so you’re not gonna be able to stream on Spotify. And you shouldn’t do that anyway! An album thous good deserves your MONEY. – Harry Gustafson
STL GLD – Good Music For Bad Kids
Throwing Muses – Moonlight Concessions
Weakened Friends – Feels Like Hell
Check out Cam Cavagnaro and Samantha Davidson’s photos of many of these wonderful local artists.
