Release Radar: September 2025

At the end of each month, Afterglow presents a staff-picked list of new albums and singles that left a lasting impression on our ears.

Written by Afterglow Staffers

Images courtesy of Guerilla Toss, Joyzine, West Texas Exiles, and musicfeeds

Here are our favorite albums and singles released during September 2025. For more reviews of recent releases, check out our reviews page!

Shiny Singles We Loved This Month:

“Lose It Again” by Hatchie

Australian indie-pop artist Hatchie released a deliciously catchy single to promote her upcoming album, Liquorice. With laid-back vocals that let the hypnotic guitar riffs shine, the track effortlessly captures the power of infatuation amidst mixed signals while still keeping listeners hooked with a memorable chorus. — Valeria Mota

“I’m Your Man” by My Wonderful Boyfriend

Going against the grain by releasing a five-minute-long single, My Wonderful Boyfriend continues to challenge expectations and deliver indie-rock bliss with “I’m Your Man.” Intentionally-placed vocal strains from lead singer P.J. McCormick paired with grounding electric guitar riffs signal the exasperation of infatuation that lies at the song’s core. — Janie Bickerton

“Pirate Radio” by Genesis Owusu

Genre-bending iconoclast Genesis Owusu ruthlessly dissects the crumbling empire of the West in his new single, “Pirate Radio.” His first single in nearly two years pulls no punches as Owusu raps about the “cheap abusers” and “toupéed totalitarians” within the government. A pulsing, electric beat underlines the powerful and confident lyric delivery. Maintaining his punk spirit, Owusu signals that he's not backing down any time soon. — Joseph Gonzalez

“People Need People” by Good Neighbours

Self-described as a band “born out of small towns and spare time,” Oli and Scott released their fifth single, “People Need People,” in preparation for their debut album, Blue Sky Mentality. True to Good Neighbours’ signature indie-pop style, the track is bouncy, warm – even euphoric. It feels like driving with the windows down late at night, cannonballing into a pool on a hot summer’s day, or running around the city without a care in the world.  — Ana Salgado Soberanes

“APEROL SPRITZ” by LAUNDRY DAY

One of the first singles ahead of LAUNDRY DAY’s much anticipated headline North American tour, “APEROL SPRITZ,” completely captures the organized chaos of the band. The bedroom-pop band stylizes the track with jaunty piano-like riffs and lead singer Jude Ciulla-Lipkin's (purposefully) monotone voice. The band’s humor is perfectly shown through the lyrics, with Ciulla-Lipkin singing, “Got a six pack on his chest / But I could beat his ass in chess.” The pop anthem is only the beginning for the new era of LAUNDRY DAY, and I can’t wait to see what’s next in store. — Claire Hookstra

“Everyone Bleeds” by Love Is Noise

UK alternative metal band Love Is Noise return to their heavy shoegaze roots with a wicked new single “Everyone Bleeds.” The track layersCameron Humphrey’s plaintive vocals with harsh low gutturals and fry screams, ending in a minute-long brutal breakdown. As they prepare for their upcoming European tour opening for fellow alt metal band LOATHE, Love Is Noise explores themes of heartbreak and betrayal while maintaining an intense sound exterior. — Angelina Conde

“We Can Pretend” by Baby Universe

In its debut single, mysterious UK band Baby Universe leans into a dreamy, electronic sound imbued with nostalgic, indie-pop vibes à la Cocteau Twins. Delicate vocals and celestial, sparkling production call the listener back to an era of house parties, windows-down car rides, and careless youth. — Kaileen Rooks

Glowing Albums & EPs We Loved This Month:

God’s Favourite by Georgia Maq

Image courtesy of Bandcamp

In less than 20 minutes, former Camp Cope frontwoman Georgia Maq mixesclassic country elements with modern rock guitars and a twinge of cynicism on her latest EP. On God’s Favourite, the Australian musician shifts from her former band’s indie rock to raw ballads that reflect on LA’s dating culture, perfectly showcasing Maq’s expressive vocals. The opening track, “Pay Per View,” relies on simple drum beats before electric guitars elevate the track to an honest and almost gritty atmosphere that emphasizes Maq’s feelings on modern dating; yet, she maintains the desire that she will “find love again,” which carries throughout the EP’s five songs. Maq’s self-deprecating tracks are perfect for screaming along while still maintaining a clever sense of humor. The song “Slightly Below the Middle”  features memorable lines like “I know some day they’re going to say / I fucked my way to the top / Just know I didn’t / Ok, slightly below the middle,” before coming to the glum conclusion that “There’s no love in LA / just fun and big guns.” While the project is relatably pessimistic, Maq  consistently underscores her hope of finding love. The artist closes the album with the introspective “Mercy & Grace,” where she belts that she’s “Got a darkness before the dawn / And it’s worth the watch.” Despite the sardonic tone that permeates the EP, God’s Favourite still provides hope of finding love in desperate times with familiar acoustic guitars, passionate electric guitar riffs, and gorgeous vocals. — Valeria Mota

Support Georgia Maq on Spotify and Apple Music

LSD by Cardiacs

Image courtesy of Joyzine

After a 25-year hiatus, Kingston-based art rock brother duo Tim and Jim Smith have returned weirder and more triumphant than ever with their latest LP, LSD. LSD lives up to its name by feverishly blending genres and artistic influences, such as Mastodon-esque technical death metal and Popeye-styled sea shanties. “The May” perfectly exemplifies the Cardiac’s ethos: a ragtag sibling duo breaking genre molds to create music that is sonically—yet compellingly—absurd. With thumping percussions and a vocal delivery furiously marching over enigmatic lyrics, such as: “Clip and tag my ears and give me a shot clip and tag my ears bad / Then will you be glad / Yeah will you gimme a shot of your glad sad,” Cardiacs cast a wide net of sounds and plausible interpretations that may require a rhetorical analysis. The quirkiness established by “The May” extends to tracks such as “Woodeneye,” where classic rock and metal influences tussle with the band’s mysticism. Megadeth and Metallica are evoked through shredding guitars that slice through operatic vocals; however, lyrics like “A holy ghost make him kiss it make him cry / Wears their colors in the grey / Blooms are away wears magnificent display,” could read as lyrics from a b-side on Joanna Newsom’s folky Ys. “The May” and “Woodeneye”’s  playfulness climax on the cut “Volob.” The track still integrates the same energetic tempos of their classic rock forefathers and the lyrical levityof the folk tradition. However, on “Volob,” Cardiacs brandishes its artistic versatility. “Volob” drips with contemporary influences from modern rock music; the track contains the vocal chirpiness of Julian Casablancas, the sprightly melodies of Vampire Weekend, and the jazzy proclivities of the Windmill scene. LSD, through instrumental playfulness and equally cheeky lyricism, energetically transports listeners through the annals of music history and artistic influences. — Zachary Bolash

Support Cardiacs on Spotify and Apple Music

8000 Days by West Texas Exiles

Image courtesy of Apple Music

The members of West Texas Exiles have their roots in places like El Paso and Amarillo, but it’s in Austin where the band created their debut album, 8000 Days. The five-piece country group opens the album  with an aching, acoustic ode to the hometown of guitarist and lead vocalist Marco Gutierrez. In perfect harmony, the band sings, “I spent 8000 days in the desert / Somehow I got away / I can’t go home.” The album shifts to more upbeat tracks with “Cards” and "Circles In The Yard." The band showcases their chemistry and range as Gutierrez's guitar goes from bluesy to frenetic, as bright notes of piano and mandolin underscore the composition. The theme of new beginnings continues in “Bright Yellow Sun,” where the dreamy, bass-driven verses give way to an explosive chorus. Vocalist and guitarist Daniel Davis praises the bright yellow sun for shining upon him and making it feel like the first day of his life. The album concludes with the melancholic slow dance of “Already Gone,” which mourns the imperceivable nature of time’s passing. The song ends without resolution. Tenderly, he sings, “The moment’s already…,” lingering on a dissonant note and choosing not to finish the phrase. The message feels particularly authentic coming from a band with middle-aged members. In 8000 Days, the West Texas Exiles finally find themselves and perfect their own brand of Texas Americana. — Joseph Gonzalez

Support West Texas Exiles on Spotify and Apple Music

You’re Weird Now by Guerilla Toss

Image courtesy of Bandcamp

Teeming with delicious eccentricity and refreshing creativity, avant-garde punk band Guerilla Toss’s new album, You’re Weird Now, encourages listeners to unleash their inner rabid animal. Primarily produced by Pavement frontman and indie-rock giant Stephen Malkmus, this record is delightfully unique and overwhelmingly fun. The opening track, “Krystal Ball,” kicks off the album with a distinct psychedelic, danceable sound. The song’s lyricism is typical of Guerilla Toss’s style, vacillating between abstract, somewhat existential lyrics and dreamy, descriptive lyrics. This particular strategy draws the listener into a dusky nightclub, caught in a throng of gyrating people, bathed in neon lights and clouds of smoke. The listener finds themself torn between melting into the throng and reveling in the carelessness of it all, or finding themself lost in contemplation. Strangely, this sense of the band’s two differing realms only adds to the whimsical, avant-garde feeling. Similarly, skronk takes on a new form in the following track, “Psychosis Is Just A Number.” “Cut my happiness it's fleeting and it's truly not the only factor,” asserts the band’s lead vocalist, Kassie Carlson. “Psychosis Is Just A Number” is equally as funky as the opening track, but doubles down with abstract lyricism cut with lively production. Carlson’s vocals only add to the inherent, luscious confusion of it all with a distinctly bouncy, unconventional, and effortlessly energetic delivery. “Red Flag to Angry Bull” marks a shift in the album’s progression, as the rest of the album leans away from the danceable, disorienting sound of the first few tracks into a more melodic, psychedelic sound. This track features Malkmum and Trey Anastasio, lead guitarist of the American rock band Phish, and, following the influence of the featured artists, embraces a smoother indie-rock vibe with a rambling guitar in the backdrop undercut with the band’s signature abstract lyrics. Dream-pop effervescence glitters through the whispered lyrics of “Deep Sight,” which switches between Carlson’s characteristic vivacious delivery and a softer, almost monotone vocal tone, adding to the track’s trippy, hazy energy. The album closes out with “Favorite Sun,” a pulsing, spirited, and hopeful track filled with reverberating synths and contemplative lyrics. Alive with tension and thrumming with unbridled energy, the entire record beckons the listener to embrace chaos and authenticity, after all, as the band questions in the final track, “Why not take part in this madness of sunlight?” — Kaileen Rooks

Support Guerilla Toss on Spotify and Apple Music