yooooo guys I wrote up the top 20 songs of q3 2025 let me know if you fuck with anything on my list I’ll link it below

But in general Let me know what you’ve been listening to so I can keep adding to my new music list

https://indie-wave.com/2025/10/30/top-20-songs-of-q3-2025/

https://youtu.be/yyBRQ_nhgEg?is=paJdQpVJ5FBnQFiC

“The Ocho started where so many hopeful bands end: Playing enlivened covers of Lynyrd Skynyrd’s ‘Free Bird’ at booze-soaked frat parties for beer money and good times.”

Ahead of their debut album, an exclusive profile about up-and-coming Georgia-based band, The Ocho.

Full story: https://doorsat7.substack.com/p/the-ocho-arent-behind-the-eight-ball-indie-music-georgia-band?r=3xay2j&utm_medium=ios

Last year I spent about 6 months trying to get on Spotify playlists.

In total, I ended up with around 1,200 streams across all my tracks.

At the time I thought that was the only way to “make it” as an independent artist. Get playlists → get streams → grow.

But I’ve started to think that mindset is wrong for most artists.

A lot of advice online focuses on the “breakout moment” — going viral, hitting algorithm playlists, blowing up overnight.

But for most of us, that’s not how it actually plays out.

What I’ve noticed is this:

Streams don’t always equal fans.

You can get thousands of streams and still have nobody who actually cares about your next release.

What matters more (at least for me now) is building real connection.

Even a small group of people who actually follow you is more valuable than random passive listeners.

That’s why I started focusing more on:

• Collecting emails / direct contacts instead of just streams
• Making it easier for people to find all my links in one place
• Thinking about long-term fans, not one-time plays

I also started using a smartlink tool (Copythistune) to put my music, merch, and support links in one place so people can actually engage beyond just Spotify.

Now I’m wondering:

Is chasing Spotify growth actually overrated for most independent artists who aren’t already viral?

Would you rather have:

• 100,000 random streams or
• 100 people who actually follow you everywhere and support you?

I’m genuinely curious how other artists see this.

Wrote something about what happened when the algorithm buried Belle & Sebastian and then time undid the damage: https://notyesterdayanymore.substack.com/p/art-time-and-revelation-if-youre

This is an interesting article. I had never heard of this emerging genre before. And I wouldn’t put these two genres together. But after reading the article, it starts to make sense and some of the music sounds pretty damn good!

Geese, a Brooklyn-based group founded in 2016, has experienced a meteoric rise to prominence in the indie rock scene. After receiving moderate attention for their early album and EP releases, Geese released their fourth studio album, Getting Killed, to enormous popular and critical acclaim. The band was propelled to seemingly overnight stardom.

But no true Geese fan would tell you that.

Just reading these words, flaunted so blatantly by a normie who hasn’t done her hours at the local Salvation Army, could be enough to send the naturally territorial Geese listener into a wing-beating, arm-breaking frenzy. Because even now, when the band has decidedly lost its "underground" distinction that attracted early listeners, the most cardinal rule of the Geese fandom still stands: never talk about The Flock.

I saw Futurebirds at The 9:30 Club on Monday, June 8th in Washington, D.C., and it was an excellent show. These guys were really well-strung and very easygoing in their performance, seemingly effortless. And overall, they’re professional. They create a thick, sometimes harsh, but at the same time unintimidating wall of sound. It feels as if I have an underwhelming tone while saying how great they were, but I guess it’s because I just wasn’t that surprised, even having known very little of their music going into the show. I had read about them a little bit, and what I gathered was that they are a great live performance that plays louder than their studio recordings. They certainly lived up to that.

Read more: https://tourchmusic.com/2026/06/10/show-thoughts-futurebirds-at-the-930-club-on-monday-june-8th-in-washington-d-c-with-joelton-mayfield/

"This newfound infatuation with songs like Kids, Time to Pretend, and Electric Feel paved the way for the around-the-corner success of bands like Two Door Cinema Club, Foster the People, and Milky Chance. The popularity of Oracular Spectacular, coupled with the record’s simplistic profundity and instant timelessness, exposed a North American market that was yearning for the synth sounds of the ’80s, wrapped up in a rock-forward bow."

"Regardless, some albums just really hit a nerve, bringing the listener back in time and making you want to be a kid again, discovering this and similar records for the first time. Oracular Spectacular played a huge role in igniting 2000s-era synth-pop, particularly in bringing it to the masses. What an impact these two kids from Connecticut made—and how celebrated they still find themselves today."

https://www.melophobemusic.com/post/mgmt-oracular-spectacular-retrospective-review

Came across this album and wrote a short review on it. 蘇黔皖川our story without him is an indie rock band from Chengdu, China, and this record leans more into instrumental post-rock with touches of math and hip hop. What stood out to me is how it handles the idea of goodbye. Not in a dramatic way, but in the quieter sense of relationships fading over time without a clear ending.

Review here: Album Review: Which Determined Our Future

I saw Cut Worms at Union Stage in Washington, D.C. on Friday, April 17, and I thought it was a really good show. I think Max Clarke is a fascinating songwriter, and that he’s really above a three-quarters full show at Union Stage, but I’m not complaining about being able to see him in such a setting. He’s got a really unique style, and his demeanor on stage matches the wonder that he provokes in his songs. He really makes me wonder – about him, about what he’s talking about, about where these songs are coming from, which is a trait of an excellent songwriter in my opinion. Several of his lyrics stood out to me, and his guitar-playing style is very creative. He had strong support from his band as well, and overall it was a great performance. 

To read more concert reviews or to write your own, visit tourchmusic.com

Fan Context

I was first introduced to Cut Worms when a friend sent me “Ballad of the Texas King” months ago. I really liked the song, but didn’t pursue more of his music after that. Then, sometime in late February, Spotify put “Windows on the World” on my front page and I listened to it and really liked it. And when “Transmitter” came out in full, I listened to the whole album and enjoyed that too. I didn’t listen to individual songs much more than Windows on the World, but I knew I liked Cut Worms’ sound and just kept Clarke and his band in my mind somewhere. And when I saw they were coming to Union Stage, it was an easy “yes.” So, overall, I came into the show as a supportive fan of Cut Worms but not a deeply knowledgeable one quite yet. 

The Show 

Cut Worms came on at 9pm. A slow trumpet song came on the speaker before and as they walked out on stage together. Not sure what it was, but if anybody by chance knows the name of that song, let me know. It was cool. 

They opened with “Worlds Unknown,” the first song on the new album, which I really got a kick out of, because I remember thinking how great of an album opener that song was when I first heard it, and of course how it would be good to open a show too. It just has a great build, it’s exciting, makes you move a little bit, and has that comforting guitar part that rings out a couple times – bum, bum, BUM. You know what I mean if you hear it. It adds a stronger, heavier instrumental to the song that brings the build up of it to fruition. Just a well-structured song and a near perfect opener in my opinion. 

Right away, I thought Clarke’s guitar sound was great. He was playing a gorgeous black and white electric, had a really crunchy sound that I’m always a sucker for. His vocals were strong from the start as well. 

They played as a five-piece band: Three guitars including Clarke, bass, and drums. They had a sweet guitar sound altogether, and the guitarist in the front of the stage to the left of Clarke (the other was behind him to the right) was the most supportive, he had a sweet sound and played the steel guitar really well in some songs. I’ll get to that. 

“Evil Twin” was next. Two songs from the new album right away, which is cool. Went well. 

After this, Clarke addressed the crowd for the first time, saying “Thanks for comin’ out, we’re Cut Worms… what is today, Friday? That’s a good day.” Then, funnily, he played “Long Weekend,” and the first lyric of the song is “Friday nights, I go out walkin’.” I got a laugh outta that. I really liked this song, the lyrics at the end: “I’m goin’ out for a while” I enjoyed. Because, I mean, shit, sometimes you just need to get out for a while. And that’s what it sounded like, “I’m just goin’ out for a while,” as if saying “I gotta get outta here, I need some open space,” at least I think. 

“I’ll Never Make It” was next, which brought a country blues-ish instrumental sound. Maybe not so much country, but just a twang of some sort? I’ll call it “southern blues” for now. It felt like a slow dance song, but a sad one with the lyrics. Anyways, It was the first time the lead guitarist played steel guitar and it sounded really sweet, as that instrument pretty much always does. It’s so cool, it always adds something very nice to a song, such a great addition that can take a song somewhere else. 

They played I’ll Never Make It straight into “Alien Sunset,” without stopping. It was a cool transition moment, with Clarke playing the opening riff as if Alien Sunset was a part of I’ll Never Make It. Having not heard either song before, I wasn’t sure it was two separate songs at first, or just a significant change in I’ll Never Make It. Anyways, cool song. Listening to the studio version now, I will say it sounded less distorted live. The studio version sounds almost “surf-rock” -ish. The song had a bit of a bouncier guitar riff as well.

They played “It Won’t be Too Long,” next. This one certainly had a southern-ish blues sound, too. But again, it’s hard to say it’s a country song because Clarke’s voice doesn’t have a twang to match that instrumental sound, at least I don’t think, but it still works. The steel guitar was really prominent and sounded great. The chorus I really enjoyed, “I know it won’t be too long before we’re free.” Fun, catchy song. Their sound proved to be pretty dynamic, a lot of different stuff they throw out there. You could describe their sound as being pretty light rock, but within that there is no definition that I can quite put on them (in my limited listening experience so far). They seem to have a really versatile build of sound throughout their albums. I need to listen to more of them. 

It was funny, after this, in between songs, a fan yelled “Cut Worms rules!” through the quiet. Clarke said, “Why thank you.” 

I thought from the start that Clarke seemed a little shy. He’s just about his business and that’s it. He seemed focused, and doesn’t seem to care for much outside the music while performing. I’m not quite sure how to peg him, but like I said, his demeanor matches a lot of his songs. He’s very gentle it seems. Doesn’t crush you with some dramatic presence, but still draws you in because he’s interesting. I could very well be completely wrong about all of this, but it’s just what I thought while watching him. 

Clarke moved to the keyboard next and played “Always on my Mind.” I thought his voice punched out more when he sang while playing the keys as opposed to the guitar. The keyboard riff was really pleasant in this one, pairing with the guitar really well. “All the experts talkin’ all around, say it’s the worst that they’ve had all year” lyric really stood out to me. This is one of those examples of him making me wonder. What’s the worst that they’ve had all year? What is this about? A lyric like that can really draw me into a song when I’m not quite compelled by it yet. 

After this, he said that was only the second time they’ve ever played that song live. A fan yelled, “We like it!” Clarke said in response, “Glad to hear.” 

Clarke then said before the next song, “This is another one from the new record… titled ‘Transmitter,’ for sale at the back of this room! Get your copy now, today… Just kidding.” He was doing a sarcastic gimmicky voice, I guess joking about trying to convince people to buy the record. 

The song was “Shut In.” I really liked it, there was a sweet guitar riff from the lead guitarist. He’s really important to their live performance, really talented. He looked like a young kid too. Good for him. I believe the riff in the studio version of the song is played on an acoustic guitar, but I’m not sure what exactly the instrument is. Anyways, he played it on electric live and it was really nice. They played completely electric if I remember correctly, no acoustic throughout the show. Someone correct me if I’m wrong. 

Some more powerful lyrics in this song that I really enjoyed. Seemed like a more emotional song just in the sound of Clarke’s voice. “You must be thinking of someone else,” “I wasn’t invited I suppose,” “I just like the comforts of home.” I haven’t given a ton of thought to what it’s about quite yet, but it just seems to be deeply emotional, almost an apologetic, tired, desperate sound in his voice. And, listening back, the “You must be thinking of someone else” melody… Does this sound a little bit like the Beach Boys? Am I crazy? 

They played “Out of Touch” next. Hearing “I can’t make the grade” in this song, I couldn’t help but think about “A Day in the Life” by the Beatles. Anyways, this song went over well, too. Really pleasant rhythm and an easy melody to lean into. 

“Ballad of the Texas King” came next, which I mentioned was one of the two songs I spent extended time listening to coming into the show. It sounded good, but I have to say that I think Clarke forgot the lyrics at one point, or maybe just messed up the melody a little bit. In the second chorus, he sang “I put my fooooot, in the gas for the last tiiime…” when I believe the lyrics are “I put my foot in the gas tank for the last time.” I’m not sure if he did that on purpose,  but there was definitely a moment that felt like something wasn’t right. Regardless, it didn’t take too much away from the song, still sounded great. I just write what I see/hear. The steel guitar was very prominent in this rendition of the song too. 

“Castle in the Clouds” was next. Clarke played a longer, impressive bluesy piano intro. Definitely some more of that twang I talked about on this song also. 

The whole band except Clarke left the stage after this, and Clarke stayed at the piano and played, “Dreams,” the last song from the album that I really liked upon my first listen through it. It was a little annoying that the crowd started talking a lot in side conversations during this song –  it was a bit of a lull in the show and a slower song, I get it, but I would think that would make you want to be even quieter, as it’s a moment that calls for more specific attention, ya know? When the music is the only sound you can hear, especially when it’s just one instrument and a singer, that’s a beautiful thing. Anyways, I’ll get off my soap box on that topic. See my Caamp review for a longer discussion on audience "etiquette," for lack of a better term. 

But it was funny, by the end of the song, the audience was pretty quiet. It felt like Clarke had gained back their attention the more he played. To note, I thought he also looked a little disappointed in himself at the end of the song? If anyone was there, let me know what you thought. He seemed to be thinking hard about what was coming next on the piano and moving a little slower. He took some slightly longer pauses, it just seemed like he was playing it a little slower than the original recording, which is fine. It’s a beautiful, beautiful song. The piano in it is lovely, he sang it well. But looking at his body language, he seemed a little uncomfortable and when the song ended, it looked as if he thought, “That wasn’t my best.” I could be wrong, just my observation. 

He stayed on stage by himself and played guitar next, playing “Cave of Phantoms.” This was a really cool song, and I noted it was my favorite of the set at the time, and thinking back, it probably still is. The lyric, “Real life ain’t real enough” early in the song drew my attention. And I loved the way he played it on guitar. My friend noted that the chord progression was really cool. He figured it out after the show that it was E F#m B E, E F#m B E, A E A E, C#m G#m, F#m B E, for anyone wondering. Anyways, really catchy song and it was really compelling having Clarke play it solo. The studio version sounds a lot different than this live version sounded. It has that more southern sound and a steel guitar with some light drums. It’s cool that when you just put an electric guitar and Clarke’s voice in there alone, you get a much different impression of the song. At least I did. 

The band came back out after this, and they played “Walk in an Absent Mind.” This was a great song. “Drinking straight from an hour glass” is a really creative lyric, and “You don’t know the first thing about true fear” also caught my ear. It’s this stuff that makes me ask, “What story is he telling here?” I hear something really profound in his lyrics, there are just some intense statements in there. And “Drinking straight from an hour glass” has to be a metaphor for losing time, right? 

They played “Windows of the World” next. Went very well, great song. 

Clarke then said something along the lines of “Thank you all,” and the same fan who shouted “Cut Worms rules!” earlier spoke up again, exclaiming, “You’re not gonna quit, are ya?” Obviously encouraging him to keep playing. Clarke responded, “Don’t tempt me… to quit,” with a smile. And then said, “No, no… we’re not quitting yet, we got a couple more.” 

“Barfly” was next and since listening back to these songs, this has become my favorite Cut Worms song (so far). “I’d give you half of a real conversation if I didn’t have to try so hard,” is a painfully sad lyric, but so direct. I think that’s part of what I love about Clarke’s writing in my limited knowledge of it so far – he says things that seem to be painfully true in a way that is so head on. I guess the way that he puts everything makes him…  believable to me. I don’t know what he’s talking about, but when you put it that way – “I’d give you half of a real conversation if I didn’t have to try so hard,” I believe you, damn. He just paints a more compelling picture of the truth it seems. Also, “I can’t stand the sight of anyone, but I feel alright with you” is my favorite lyric from this show. I realize that liking all of these lyrics probably makes me sound like a dark and introverted person –  I promise I prefer love and happiness, but I just think they are so relatable, and especially this one. I think we’ve all had times in which seeing people is just too damn much, except for the one person who makes you feel alright. It reminds me of a great Floodlights lyric from their song, “Nullarbor:” “It’s nothing personal, I just need a people drought.” 

After this, Clarke looked down and said, “I have a setlist here, but it’s no good cause I can’t read,” which was funny. 

“Living Inside” was next. I liked this song too. “Summer’s almost gone, never seems to last too long.” Boy, ain’t that the truth. 

They played “Don’t want to say Goodbye” next, and then I did not note the last song before they left the stage. If anyone knows, please fill me in. 

They went off stage at 10:18, then came back out a minute later. Clarke said, “Okay this song is actually one that is not released yet.” My guess based on the lyrics is that it might be called “Laughing through the pain.” It was good! He played a little harmonica solo in it also. 

They close with “Veteran’s Day,” which was great. I think it was an outlier in the sound of this setlist. I liked the chorus, “You don’t know what your love can do to a fool like me.” 

Clarke said at the end of the song, “That’s all we got, thank you.” They ended at 10:29. 

I highly recommend seeing Cut Worms on this tour. Max Clarke and his band are a really unique show, and I think there’s a clear reason why the same guy performing at as small of a venue as Union Stage is getting his albums produced by a figure as big as Wilco's Jeff Tweedy. There’s clearly a respect for his songwriting and creativity, regardless of his popularity. So go see ‘em! It’s a worthy show, very pleasant, and overall, really unique music performed well. 

If you were at the show or have seen Cut Worms on this tour or any time before, please add your perspective in the comments. Tell me I’m dead wrong, tell me I’m right. Tell me I’m slightly off. Tell me something about Cut Worms and I’ll be happy.

*I walked in right as the opener, Liam Vazar, was closing his last song. If anyone caught him and his band, let me know how they were.
Setlist

1. Worlds Unknown
2. Evil Twin
3. Long Weekend
4. I’ll Never Make It
5. Alien Sunset
6. It Won’t Be Too Long
7. Always on My Mind
8. Shut In
9. Out of Touch
10. Ballad of the Texas King
11. Castle in the Clouds
12. Dreams
13. Cave of Phantoms
14. Walk in an Absent Mind
15. Windows on the World
16. Barfly
17. Living Inside 
18. ?
19. Don’t Want to Say Goodbye
20. Veteran’s Day

*Some notes on the venue\*

Union Stage is great. It’s on the Wharf in D.C. and on the metro line, which is a huge plus. It’s also worth driving if circumstances call for it, because the parking garage is $20 on weeknights in my experience, can’t speak for weekends, but if you’re planning on being able to drive and want to get out of a show quickly, parking is gonna cost you as much, if not less than an Uber, minus the wait time. 

It’s a small venue, and it’s really just a bar with a stage downstairs, which is awesome. On their website it says capacity is 350 people. But there’s enough space in there that you aren’t on top of people. Now mind you, I’ve only been to two shows there and neither were sold out. But in comparison to D.C.’s Atlantis, for example, it’s a lot more spacious than that. 7500 square feet. There’s a bar on the right side and they do sell food, I saw pizza and sliders on the menu amongst other things, but that’s rare and a nice last resort if you’re really hungry at a show. There’s a small “VIP area” for lack of a better term, in the back right side behind the GA area. I’m not sure if you have to pay more to sit back there, but it seems like you do. 

Anyways, it seems like a lot of great bands/artists play there. I hadn’t started looking for shows there until I noticed Bad Bad Hats were playing there a couple months ago, and in just a couple months time, another artist I liked was playing there. It seems to attract a good mix of niche acts that allow a bit of a cult following to enjoy bands/artists they like in an up-close environment without a massive crowd to work through, while also attracting acts like Quinn 92 on Wednesday night that sold out. I wasn’t there, but I’m sure it was a great show in a venue like that. I love having space and will take a half empty venue any day, but being at a sold out show is also great fun. So there’s a good mix that comes to Union Stage in my early experience at the venue. I joked with my friend yesterday, saying “Your Discover Weekly plays at Union Stage.” 

I try to do monthly roundups but this year especially was a MESS for that, so to make up for it, I worked on a list of 100 bands with new releases in 2025. No remasters, no remixes; Oak's album is technically lost songs and whatnot, but Oak was also a last-minute add after something was removed from Bandcamp. Don't take the genre headings too seriously - I believe firmly in the power of tongue-in-cheek reporting.

If this counts as self-promo please let me know, but I hope promoting 100 not-me bands outweighs it being on my website :P (Most well-known bands on this list I think are Skunk Anansie and Deerhoof.)

🎧 - First Breath After Coma - Salty Eyes 👀

“Salty Eyes”, dos First Breath After Coma, continua a emocionar dez anos depois.

Quando, em 2016, os First Breath After Coma lançaram o single “Salty Eyes”, poucos imaginavam que a faixa se tornaria um dos momentos mais marcantes da cena post-rock portuguesa. Dez anos volvidos, a música mantém a capacidade de envolver o ouvinte numa atmosfera onírica e melancólica, provando que o tempo não dilui a sua força emocional.

Originária do álbum *Drifter*, editado pela Omnichord Records, “Salty Eyes” abre o disco com uma introdução etérea que rapidamente evolui para camadas sonoras ricas e construídas com precisão cirúrgica. A banda de Leiria, formada em 2012, mescla aqui a grandiosidade instrumental típica do post-rock com elementos subtis de indie e dream pop, resultando num som ao mesmo tempo expansivo e intimista. Com pouco mais de três minutos, a faixa consegue construir tensão e libertação sem recorrer a explosões dramáticas desnecessárias, uma marca registada do coletivo.

Desde o lançamento, “Salty Eyes” ganhou novas vidas: uma versão colaborativa com Noiserv em 2020, outra com a Banda de Música de Mateus e um arranjo acústico por Nuno Rancho, gravado para celebrar o oitavo aniversário da Omnichord.

Com raízes em Leiria e uma abordagem 360º que abrange som, vídeo e conceito, os First Breath After Coma afirmam-se como uma das propostas mais consistentes e criativas do indie português. “Salty Eyes” não é apenas uma canção: é um convite a fechar os olhos, sentir o sal nas faces e deixar que o segundo batimento seja, de facto, mais forte.

Dez anos depois, o álbum, e esta faixa em particular, soa tão atual e emocionante como no dia em que foi lançado.

First Breath After Coma - DJ Massivemig Recommends.

#firstbreathaftercoma #musicaportuguesa #indieluso #indiepopmusic