For my first “favorites” list as an OG, I waffled quite a bit about where and how to make the cut-off. It’s not hard to scatter 18 or 20 great records that deserve your attention from the last 6 months, but when you start trying to trim it down .... there’s so many different ways to judge an album. Do I value a striking new sound over a well-crafted entry from an old favorite? Try to quantify the ratio of rippers to skippers? Best album released in each month? Representation from different genres? It was all a bit overwhelming, until I realized the answer is looking back at me from my bookshelf.
Here, then, are the five 2026 albums that I have bought physical copies for my collection. All but one of these, in fact, were bought at live shows (Lime Garden doesn’t come to town until November). There might be albums that are greater technical achievements than these, or encapsulate the mid-20’s zeitgeist of indie rock better. But I’m putting my money where my mouth is with this set, and I’ve invested in these albums for the long term. They are certainly the ones that will be enduring favorites over the years as I revisit them.
cootie catcher - Something We All Got (Feb)
This Toronto band was a new find for me this year, and their unique style of lo-fi jangle pop grabbed me immediately. It’s driven by simple guitar riffs, but also features record scratches, vocal loops and electric piano. Drumming is alternately understated and comically overplayed. Everything including the vocals is just slightly out of tune, giving it the joyfully unpolished sound of 4 friends sitting down to see what they can play together. Is it a carefully curated attempt to sound effortlessly careless? Maybe, but it works. Their show was also at the Pie Shop in DC, which is literally a pie shop with a venue upstairs, an unbeatable combination in my book.
Remember Sports - The Refrigerator (Feb)
No surprise here. Dedicated readers will remember that I’ve been a big fan of this Philly post-punk band since first hearing them on the Five Guys playlist. The Refrigerator is their best since their magical debut, Sunchokes, managing to maintain much of the raw energy of that release while bringing more polish and sophistication. At their show in the First Unitarian Church basement in Philadelphia, I realized how much of their sound’s power comes from drummer Julian Fader, providing the foundation for vocalist/songwriter Carmen Perry and guitarist Jack Washburn to really unleash their instruments.
Robber Robber - Two Wheels Move the Soul (Apr)
I featured this album after seeing Robber Robber at the Rhizome, and it has kept its hold on me. Spastic, barely controlled beats with shifting meters. Angular guitar licks. Expertly built musical tension. Nina Cates’ rich vocals alternately crawling, soaring, and growling out spoken word. All win.
Ratboys - Singin’ to an Empty Chair (Feb)
A lot has been said and written about this band this year, including by OG Brian, and all of it is well-deserved. Singer Julia Steiner commented during their sold-out show at the 9:30 Club that they had spent many years coming through DC’s much smaller nightclubs like DC9. Their recent rise is driven by clever songwriting, a down-home but modern blend of alt-country, power pop, and experimental rock, Dave Sagan’s sick guitar work, and an infectious energy in their live shows - the embodiment of Jack Black’s mantra: “Putting on a great show is the most important thing you can do - one great rock show can change the world!”
Lime Garden - Maybe Not Tonight (Apr)
This is the 2nd album from all-women indie outfit Lime Garden, bursting with guitar pop with electronic accents that give vibes of 80’s New Wave. The focus is on simple song structures and fun, danceable beats, ranging from disco-esque to a “Cool For Cats”- type groove. Singer Chloe Howard’s voice and English accent are irresistible, as are the melodies. You’ll be singing along with LG’s wry takes on self-image (”All bad parts, that’s what I’ve got”), sexual politics (”You want a free ride - I think maybe not tonight”) , and losing your youthful self-confidence (”At 17 I had the world in my hands, at 23 I just lost it”).
Honorable Mentions: If you have more listening time, or want to venture outside the realm of indie rock, here are a few off-format winners that I’ve enjoyed this year:
Pittsburgh’s feeble little horse shift their mix from heavy distortion toward indie strumming with electronica elements on bitknot.
Slippers 08, a retro surf pop joyride, arrives just in time for summer.
Tom Rowlands (of Chemical Brothers) matches Norwegian siren AURORA’s mystical, ethereal vibe perfectly on their TOMORA collab, COME CLOSER.
CARR flies the flag of modern sex-positive feminism in her relentlessly catchy pop punk album CARRGIRRL.
fcukers debut, Ö, is a non-stop electronic dance party with some quavery world-music influences
hemlocke springs may have a divisive voice but the apple tree under the sea showcases unabashedly imaginative story-telling and mood-setting - the Tim Burton of bedroom pop
Annabelle Chairlegs continues an OG-approved trend of very satisfying retro-60s sounds on Waking Up, including some soaring self-harmonizing that sends my mind back to the prime days of the B-52s. (Dave)