Your 90s Vote Decided + 2025’s Most Surprising Comebacks

Southern rock wins the day while Good Charlotte returns, Peter Gabriel digs deep, and experimental artists push boundaries

Latest Podcasts

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The People Have Spoken: Drivin’ N Cryin’ Takes the Victory!

Our community has delivered a decisive victory for Drivin’ N Cryin’ and their 1991 masterpiece Fly Me Courageous! Keith Miller—your nomination crushed it.

Final Results:

1. 🏆 Drivin’ N Cryin’ - Fly Me Courageous: 56%

2. Fantômas - Fantômas: 28%

3. Ramones - Mondo Bizarro: 12%

4. Paula Cole - Amen: 4%

Over half of you connected with that “heavy southern rock R.E.M.” vibe Keith described perfectly. Props to Patrick, Eric, and Keith A. for passionate advocacy—you sparked exactly the kind of discussion we live for.

We’re diving deep into Fly Me Courageous on the next podcast. Atlanta music scene, that accidental military anthem story, Persian Gulf War timing, and why this deserved way more than just going gold. The episode drops soon.

Drop your nominations for our next 90s hidden gem poll! Bring us your 90s orphans—the weirder, the more overlooked, the better. Keep digging!

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New Releases

Rise Against - Ricochet

Remember when punk rock meant something? When every song felt like a battle cry against the machine? Rise Against never forgot. For over two decades, Tim McIlrath and crew have been carrying that torch, refusing to let it flicker. Their tenth album Ricochet finds them working with producer Catherine Marks (Manchester Orchestra, Boygenius) for the first time, adding some fresh blood to their time-tested formula.

The sound is polished punk with that familiar Rise Against urgency intact—driving rhythms, soaring guitars, and McIlrath’s voice cutting through like a knife. What’s novel? The interconnectedness theme running through every track, exploring how our actions ricochet through society. It’s their most philosophical effort yet, wrestling with modern connectivity and consequence.

Critics are calling it a triumphant return to form. Kerrang! gave it 4/5 stars, praising how “Rise Against’s sound is tried and tested, tireless in its ability to rouse and empower”. Fans are eating up the political fire that made them legends in the first place—proving some things never go out of style.

Chevelle - Bright As Blasphemy

Chevelle has been the thinking person’s metal band since the nu-metal explosion. Brothers Pete and Sam Loeffler have outlasted trends by staying true to their heavy, atmospheric sound. Bright As Blasphemy marks their first release since leaving Epic Records, giving them complete creative control—and you can hear the liberation in every riff.

Sam called the recording process “torturous,” comparing it to “pulling your hair out and then trying to put it back in”. That struggle birthed nine tracks of uncompromising rock, self-produced and engineered with touring bassist Kemble Walters. The result is their heaviest material in years, with tracks like “Rabbit Hole (Cowards, Pt. 1)” diving deep into digital-age paranoia.

Early reviews are split but passionate. Some critics find it lacking hooks, while others praise its “emotional weight and mature songwriting”. Long-time fans are calling it their best work since 2004’s This Type of Thinking (Could Do Us In). Either way, it’s Chevelle on their own terms—take it or leave it.

Cowboy Mouth - Cover Yo Azz!

Louisiana legends Cowboy Mouth have been the South’s best-kept rock secret for over three decades. Their high-energy blend of “rock, blues, punk, funk, country, pop, soul and whatever else feels good” has powered over 3,000 shows and earned them a spot in the Louisiana Music Hall of Fame. After eleven years away, Cover Yo Azz! brings them back with pure, unadulterated fun.

This is a covers album with no rhyme or reason—just pure joy. Fred LeBlanc explains: “we compiled a bunch of songs we liked and threw them together”. The sound spans decades, from Frank Sinatra to The Replacements to Queen, all filtered through Cowboy Mouth’s infectious carnival energy. Their take on “Can’t Hardly Wait” alone is worth the price of admission.

Fans and critics are grinning ear to ear. The consensus? Cowboy Mouth proves that sometimes the best music comes from bands just having a blast. After a world gone serious, we needed someone to remind us that rock and roll is supposed to be fun.

Alison Goldfrapp - Flux

Alison Goldfrapp has been pop music’s shape-shifting queen since Goldfrapp’s debut Felt Mountain in 2000. From trip-hop cinemas to disco euphoria, she’s never been afraid to reinvent herself. Her second solo album Flux continues that fearless evolution, pairing up with producer Richard X and Stefan Storm for her most intimate work yet.

The sound is luminous synth-pop with raw emotional undertow—think Robyn meets St. Vincent with Goldfrapp’s trademark sensuality. Lead single “Find Xanadu” is pure sugar-rush pop, while tracks like “Cinnamon Light” glow with ‘80s nostalgia. What’s novel? Goldfrapp’s voice cuts through with new intimacy, less layered production revealing the person behind the persona.

Critics are divided on the solo direction. The Independent noted she “seems less edgily present” without longtime collaborator Will Gregory. But fans are embracing the vulnerability, with early reviews praising the “beautiful melodies and beautifully detailed production”. With over 400 million streams across her catalog, Goldfrapp clearly knows what she’s doing.

Ellefson-Soto - Unbreakable

When Megadeth legend David Ellefson teams up with metal vocalist Jeff Scott Soto, you know the riffs are going to be massive. Their second collaboration Unbreakable delivers exactly what the title promises—eleven tracks of classic metal meeting modern intensity. Joining them are Italian guitarist Andy Martongelli and drummer Paolo Caridi, with guest appearances from Tim “Ripper” Owens and Burning Witches’ Laura Guldemond.

Recorded at Rogue Studios in Wembley and produced by Chris Collier (Mick Mars, Korn), the sound is a sonic assault packed with catchy riffs and thoughtful lyrics. Ellefson calls it “heavier, more personal, and shaped by everything we’ve experienced on and off the stage”. The brotherhood between these metal veterans comes through in every note.

Early word from metal heads is overwhelmingly positive. Fans are calling it everything a metal supergroup should be—heavy, melodic, and authentic. It’s the sound of two lifetimes colliding in “riffs, rage, and redemption”.

The Flaming Lips - Pretty In The Sky (Live Ventura ’95)

The Flaming Lips have always been beautiful weirdos, but 1995 caught them at a special moment. Pretty In The Sky (Live Ventura ’95) captures the band during their Clouds Taste Metallic era, when they were still a four-piece with guitarist Ronald Jones. This soundboard recording from Ventura Theatre has been bootlegged for decades—now it’s finally getting an official release.

The sound is raw, psychedelic rock in its purest form—Wayne Coyne’s vocals floating over walls of guitar feedback and Steven Drozd’s thunderous drums. What makes this special? It’s The Flaming Lips before they became stadium spectacle masters, when they were still scrappy experimentalists pushing boundaries. Highlights include “She Don’t Use Jelly” and a haunting cover of “What a Wonderful World”.

Fans are treating this like archaeological gold. Long-time Lips devotees have been trading bootlegs of this show for years. Now that it’s properly mastered and officially available, it’s being hailed as essential listening for anyone who wants to understand the band’s evolution.

Insane Clown Posse - The Naught

Love them or hate them, Insane Clown Posse has outlasted every trend by staying true to their carnival of chaos. The Naught completes the second deck of Joker’s Cards, exploring what happens when there’s no afterlife—a concept that’s quintessentially ICP. Violent J and Shaggy 2 Dope tackle mortality with their trademark mix of humor, horror, and heart.

The sound blends their classic horrorcore with modern trap influences, working with producers like Mike E. Clark and Brian Kuma. What’s novel? They’re sampling Toto’s “Africa” on the closing track “While It Lasts,” showing a vulnerability rarely seen in their catalog. The album serves as both conclusion and new beginning for the Dark Carnival mythology.

Juggalo nation is divided but engaged. Some find it underwhelming compared to their classic material, while others appreciate the conceptual depth and emotional growth. After three decades, ICP is still starting conversations—mission accomplished.

Brad Laner - Scopaesthesia

Brad Laner has been electronic music’s best-kept secret since his days with Medicine in the ‘90s. The Los Angeles-based artist continues his exploration of ambient textures and found sounds with Scopaesthesia—a four-track journey through processed soundscapes. Released on his own Laner Archival Service, it’s deeply personal experimental music.

The sound is minimalist electronic composition—think Brian Eno meets Tim Hecker with a West Coast sensibility. Each track unfolds slowly, revealing layers of processed sound and field recordings. What’s novel? The title refers to the sensation of being watched, adding psychological depth to the ambient exploration.

Critics and ambient fans are calling it essential listening for experimental music nerds. It’s challenging, rewarding music that demands attention but pays it back in spades. Laner continues to prove that the most interesting music often comes from the margins.

The Black Keys - No Rain, No Flowers

The Black Keys have been through the wringer lately—cancelled tours, management splits, and industry drama. But Dan Auerbach and Patrick Carney channeled that struggle into No Rain, No Flowers, their most collaborative album yet. Working with songwriters like Rick Nowels (Lana Del Rey) and Daniel Tashian (Kacey Musgraves), they’ve crafted their most ambitious and adventurous album.

The sound braids together rock, blues, disco, and psychedelia with more piano than usual. The title track, co-written with Nowels, embodies their current philosophy: “Live long enough, and you will be burned/But all these little messes/Are only little lessons we’ve learned”. It’s The Black Keys growing up in real time.

Fans and critics are calling it a triumphant return after last year’s setbacks. NPR praised how they “bounce right back” from adversity. The album proves that sometimes the best art comes from the worst circumstances—no rain, no flowers indeed.

Phil Elverum and Arrington de Dionyso - Giant Opening Mouth on the Ground

When Phil Elverum (Mount Eerie) collaborates with experimental musician Arrington de Dionyso, expect the unexpected. Giant Opening Mouth on the Ground captures their drone explorations using Elverum’s giant gong-and-subwoofer sculpture. It’s the sound of 2025—a “giant gaping chasm swallowing society as we know it”.

The sound is pure experimental drone—walls of resonant metal and subsonic rumble recorded in vast spaces. What’s novel? Elverum calls it “aggressively free” music that operates outside expectations. It’s simultaneously “chaotic massage music” and profound artistic statement. Six tracks explore the intersection of sound art and emotional catharsis.

Experimental music fans are calling it essential. Elverum promises it will weird you out but “begin a whole new chapter in your life”. For adventurous listeners, it’s the kind of challenging beauty that makes all other music sound small.

Good Charlotte - Motel Du Cap

Good Charlotte defined early 2000s pop-punk with anthems like “Lifestyles of the Rich and Famous” and “The Anthem”. After seven years away, the Madden brothers return with Motel Du Cap—named after a wedding gig that reignited their passion. Working with Jordan Fish (ex-Bring Me the Horizon) and Zakk Cervini, they’re updating their sound for 2025.

The album blends nostalgic defiance with refined maturity. Lead single “Rejects” captures that balance—gritty verses building to anthemic choruses that remind you why they were pop-punk royalty. What’s novel? Heavy collaboration with artists like Wiz Khalifa and genre experimentation that doesn’t always land. They’re middle-aged musicians trying to recapture their twenties energy.

Fan reaction is mixed but passionate. Some love the nostalgic return, while others find it “criminally underwhelming” with too many guest features. The AU Review calls it “pleasant but lacking emotional grit”. Still, Good Charlotte back in the game beats no Good Charlotte at all.

Galaxie 500 - CBGB 12.13.88

Galaxie 500 existed for just three years but left an indelible mark on indie rock. The Boston trio’s live album CBGB 12.13.88 captures them at a crucial moment—supporting Sonic Youth at the legendary New York club just as their debut Today was gaining traction. This recording has been bootlegged for decades; now it’s finally getting proper treatment.

The sound is lean and raw compared to their cathedral-sized later work. Dean Wareham’s elongated vocals float over Damon Krukowski and Naomi Yang’s locked-in rhythm section, creating proto-slowcore perfection. What makes this special? It’s Galaxie 500 still learning to harness their awesome power, slightly nervous about their sonic possibilities.

Critics are calling it vital archaeology. The Quietus notes how the band sounds “hungrier, less magisterial, but more human” than on their posthumous Copenhagen live album. For shoegaze and indie rock fans, it’s essential listening that shows legends in their ascent.

Peter Gabriel - Live at WOMAD 1982

Peter Gabriel didn’t just create great art—he created platforms for other artists to shine. The first WOMAD Festival in 1982 was his vision made real, showcasing music from around the world. Live at WOMAD 1982 captures Gabriel’s performance from that inaugural festival, debuting most of his upcoming Peter Gabriel 4 album.

The sound is Gabriel at his most experimental—accompanied by David Rhodes, Peter Hammill, John Giblin, Larry Fast, Jerry Marotta, and Bristol drum group Ekomé. Seven tracks from Peter Gabriel 4 get their world premiere, including future classics like “Shock the Monkey” and “The Rhythm of the Heat”. What’s novel? Gabriel was so preoccupied with the festival’s potential financial disaster that he overcame his usual nerves about new material.

Fans and critics are treating this like historical treasure. Gabriel himself calls it “a landmark and edgy gig both personally and musically”. For art rock devotees, it’s a chance to witness the birth of both a festival and an album that changed everything.

The Kowalskis - 30 Years Of Goofballs

The Kowalskis were NYC punk rock royalty in the ’90s, playing alongside D Generation, NY Loose, and The Heartdrops. Led by the indomitable Kitty Kowalski, they combined Ramones energy with girl-group melodies way before it was cool. 30 Years Of Goofballs celebrates three decades with a deluxe reissue of their debut, adding compilation tracks and unreleased gems for 25 songs total.

The sound is raw, exciting ‘90s punk rock with ‘60s pop DNA. Kurt Bloch remastered everything, capturing the energy of all-ages shows and bedroom floors littered with 7-inches. What’s novel? Unreleased tracks like “Oh Dee Dee” (a tribute to Dee Dee Ramone) and their blistering take on the New York Dolls’ “Human Being”. It’s power-pop punk at its finest.

Fans are calling it perfect ’90s nostalgia without the cringe. RPM Online notes how the songs “still sound as fresh as an ice cold beer and twice the fun”. For anyone who missed the ’90s NYC punk scene, this is your time machine.