As another year of Canadian music comes to a close, we’re looking back at the albums that shaped our 2025. These are the ones that moved us, surprised us, challenged us, and stayed glued to our headphones long after release day. This list isn’t ranked and it isn’t definitive; it’s simply a reflection of the records that lived with us.

Some of these artists played unforgettable sets at festivals across the country. Others were featured on REVERIE, offering insight into the worlds behind their work. And many of these albums became the soundtracks to long drives, late nights, print deadline sprints, and quiet moments in-between.

What ties them all together is impact. Each release, in its own way, captured something essential about the musical landscape in Canada right now. Here are REVERIE’s favourite Canadian albums of 2025, in no particular order:

Austra - CHin up, Buttercup - (Domino Recording CO.)

Austra’s long-awaited return after five years feels like a deep exhale — a dance-floor cleansing, a reminder that movement can be a form of healing. Chin Up, Buttercup leans into buoyant, whimsical textures with contributions from Canadian’s who are shaping the electronic music scene today like Patrick Holland and Tess Roby. It’s a record about stitching yourself back together after heartbreak and choosing joy again, even tentatively. Sneaking in just before year’s end, Austra offered one of 2025’s most quietly triumphant returns.

Backxwash - Only Dust Remains - (Independent/Ugly Hag Records)

Only Dust Remains is a seismic shift for Backxwash. Yes, the industrial, rap, and hip-hop grit remain, but this time she cracks open the door to something softer, stranger, and beautifully ethereal. Tracks like the Chloe Hotline collaboration “DISSOCIATION” shimmer with synth-heavy lightness, revealing a new facet of her artistry. Shoegaze textures seep into the edges, offering listeners a different emotional register without losing the weight or urgency her work is known for. It’s Backxwash at her boldest as she expands her palette while preserving her power.

Bonnie Trash - Mourning You - (Handmade Dracula)

Haunting and heartfelt, Mourning You cements Bonnie Trash as one of Canada’s most compelling post-punk voices. Rooted in Italian ghost stories, grief, and personal mythologies, the album weaves vulnerability into serrated riffs and hypnotic rhythms. It lingers long after the final note with a slow-burn masterpiece that balances intensity with unforgettable hooks. Mourning You doesn’t just tell stories; it possesses you.

Bria Salmena - Big Dog - (Subpop)

On Big Dog, Bria Salmena steps fully into her own world. The FRIGS frontperson’s solo debut is a gripping study in reclaiming power after a relationship with a howl of self-validation that transforms hurt into confidence. Her voice remains unmistakable: rich, unruly, capable of utter ferocity and deep tenderness. No matter the project, Bria releases music that lands with impact, but Big Dog feels especially definitive. This is Bria at her most assured, her most magnetic — her era as the “big dog” truly begins here.

Cassia Hardy - In Relation - (Mint Records)

Cassia Hardy’s debut solo album arrived ahead of the curve with a physical-only release that felt intimate, intentional, and deeply rooted in place. In Relation plays like a love letter to the prairies, to the community that shaped her, and to the long-standing collaborators that are shaping the music scene in treaty 6. The former Wares bandleader proves her strength as both a lyricist and instrumentalist, crafting songs that explore what it means to feel at home, both geographically and emotionally. A thoughtful, resonant debut that rewards close listening.

cootie catcher - Shy At First - (Carpark Records)

Toronto’s cootie catcher delivered one of the year’s sweetest surprises. It’s an indie-pop record with all the charm of classic twee. While the genre is rarely centred in today’s landscape, Shy At First throws back to the earnestness of bands like The Pastels, Belle and Sebastian, and Camera Obscura. It’s soft, jangly, refreshingly sincere and a reminder of a simpler era when vulnerability was the whole point, versus leaning into genres that are considered “cool” for its time.

Devours - Sports Car Era - (Independent)

Devours continues to redefine electronic pop with Sports Car Era, a synthwave gem charged with emotional stakes. The arrangements shimmer, but it’s the lyrical delivery that aches as it addresses aging, identity, gender, heartbreak, self-mythology, and the exhausting act of caring too much. It’s a soundtrack for anyone living with big feelings and cinematic ambitions that makes you feel like the protagonist of your own beautifully messy film.

DVTR - Live aux Foufounes - (Lisbon Lux Records)

One of the most electrifying bands we saw at Purple City, DVTR bottle that chaotic brilliance on Live aux Foufounes. Their punk-infused electronic sound rips through the sold-out walls of Montréal’s iconic Foufounes Électriques, delivering a set as feral and fun as the band themselves. A live album we missed in 2024, but one that still hits with full force in 2025.

Family Man - So It Goes - (Independent)

Discovered during Sled Island, Family Man’s noisy, confrontational post-punk left a mark. So It Goes dives into sexuality, religion, trauma, and death with biting lyrics and guitars that snarl back. The layered backup vocals add unexpected richness, creating a full, forceful sound rarely found in the genre. A cathartic, standout release from a band unafraid to dig deep.

Fulfilment - Husky House - (Revolution Winter Records)

Husky House deliver mature, muscular math-rock and punk for listeners who miss the intensity of Mineral or Unwound. Led by Calgary multi-hyphenate Kevin Stebner — a songwriter, label-runner, and perennial local anchor — the band’s newest release critiques global warming, wealth disparity, and Canadian identity with urgency. Stebner notes many songs directly respond to the state of the country, making Fulfilment both musically nostalgic and politically present.

Kimmortal - Sunniest of Days - (Odd Doll Records)

Featuring collaborations with Shad and Super Duty Tough Work, Sunniest of Days reflects on the strangeness of being human during global crisis. Melancholy threads through lofi hip-hop beats, while Kimmortal processes personal and collective grief with poetic clarity. It’s introspective, tender, and spiritually resonant — a soft beam of light in a dark year.

Marlaena Moore - Because You Love Everything - (Independent)

On Because You Love Everything, Marlaena Moore leans into raw, unvarnished indie rock in a way that lets every emotion crack through. Working with Monty Munro (Preoccupations), she expands her sonic palette while keeping the intimacy intact. These songs are deeply personal explorations of self-discovery, creativity, and perseverance like an unguarded collection that feels like reading someone’s journal with their blessing.

Marie Davidson - City of Clowns - (Deewee)

In an era dominated by AI aesthetics, Marie Davidson turns the critique into art. City of Clowns mimics the machine while calling out the system behind it, eviscerating male ego and societal performance with icy precision. She becomes the technology, exaggerates it, and dominates it — the heel-stomp dominatrix of 2025, dragging us across the dancefloor as she dismantles the world in real time.

Men I Trust - Equus Caballus - (Independent)

Equus Caballus is a testament to what independent music can still accomplish. Released without label support or major marketing, the album spread organically, landing across playlists simply because the music resonated that deeply. Relatable, contemporary, and gorgeously understated, Men I Trust reaffirm the quiet power of staying true to your vision.

Midnight Peg - Skinning - (Thousand Islands Records)

Three years after their debut, Edmonton’s Midnight Peg return with Skinning, a sharp and darkly humorous post-hardcore record. The band prioritizes matching lyrical cadence to instrumental energy — nowhere more evident than in standout line: “take a bat and hit your brother, what a twat, pull my hair I’ll tell your mother, what a cunt” from “Politicaster.” It’s unhinged and will make you feel completely alive whether you want to or not.

Oranje - In Irons - (Independent)

On In Irons, Oranje shift focus from instrumentals toward vocals, revealing a dynamic emotional range. Some tracks lean soft and introspective, reminiscent of Black Country, New Road, while others scratch the post-punk itch with the ferocity of IDLES, particularly the single “Prospects.” What shines brightest is their musicianship: classically trained players crafting intricate lines and unconventional melodies with remarkable ease.

Ribbon Skirt - Bite Down - (Mint Records)

One of the catchiest and impactful albums of the year, Bite Down pairs frenetic breaths on “Cellophane” with grunge-tinged moments like “Cut”. It’s a debut that was on the mouths of everyone we know and it was for good reason. Tashiina Buswa (vocals) and Billy Riley (guitar) co-wrote the album, writing candidly about Indigenous identity and colonial tension, produced by Scott ‘Monty’ Munro (Preoccupations) and Marlaena Moore. It’s a capsule of Canada and the conflicting truths of the music industry, that drips with clever song-writing which is summarized best on “Off Rez,”: “They want 2000s Buffy Marie / They want my status but they’re getting my teeth.”

SAMWOY - Even Sad boys Like to Have Fun - (Hidden Ship)

SAMWOY’s record is gloriously hard to categorize, but unmistakably anchored in razor-sharp songwriting. Dirtbag humour over psych-rock musicianship Sam showcases how sometimes he’s his own worst enemy — “she said I smoke too much weed and I never get horny” — meets tender vulnerability, revealing a deep longing for connection beneath the antics. Musically playful and lyrically exposed, the album becomes a coping mechanism, a celebration, and a shrugging acceptance of life’s chaos. Even sad boys need joy, and SAMWOY makes space for both.

Saya Gray - Saya - (Dirty Hit)

Saya feels like timeless, left-of-centre pop royalty — lush, regal, and completely unconcerned with convention. Japanese-Canadian artist Saya Gray builds a world where experimental production is at its best, with hints of Japanese Breakfast if she stumbled across FKA Twig’s laptop. It's pop music that isn’t afraid to explore the sacred, strange, and unforgettable.

Shiv and the Carvers - Tell me You Love Me Again - (Twin Fang Records)

A riot grrrl revival delivered with pure, chaotic joy. Hitting early in the year, just around the time everyone was abandoning their resolutions (let’s be real), this EP reignited our desire for impulsive fun. It tackles instant gratification, yearning, and danger-girl energy, from a band like Toronto’s Shiv and the Carvers who know exactly how to ignite a room.

Slash Need - Sit & Grin - (Slash Need Inc.)

A blistering industrial debut unlike anything else released this year. Sit & Grin is theatrical, grotesque, and hypnotic. It’s a nightmare, rendered in techno form without repetition, and one we’re reluctant to wake up from. But what solidified Slash Need as one of 2025’s defining acts wasn’t just the album, it was the year they had. The band seemed to be everywhere, playing nearly every major festival in Canada and quickly becoming one of the busiest, most talked-about touring acts in the country.

Tawni Bias - Saddle Fawn - (Independent)

A local standout blending indie-folk and electronica reminiscent of Bon Iver’s woodsy warmth. Saddle Fawn is soft, winter-ready, and emotionally restorative — a balm for gentle souls seeking brightness. An emerging artist to watch, Tawni Bias crafts folk that feels intimate and yet mysterious as we wait patiently for what’s to come next.

The Blue - So Look At the Bright Side - (Independent)

This release marries prairie imagery with The Blue’s optimistic songwriting, moving between hope and reflection. Featuring Lowkita, Bijaan, K-Riz, Tea Fannie, and so much more, the album shines through collaboration — a mosaic of voices and perspectives that feels communal, generous, and deeply grounded.

TOPS - Bury the Key - (Ghostly International)

Montreal legends TOPS return with a record full of graceful indie rock and Jane Penny’s ever-tender vocals. Her flute solos remain one of the most charming signatures in the genre. Bury the Key captures the turbulence the band has navigated — shifting lineups, personal evolution — yet emerges resilient.

water margin - Gleaming Cursed - (Independent)

A heavy, exhilarating release representing Vancouver’s thriving underground. Drawing from Fugazi, Drive Like Jehu, and ‘90s emo grit, Gleaming Cursed sounds like a lost classic reimagined for 2025. Despite the touch-points of emo greats, the themes are unmistakably contemporary and standout in the modern post-hardcore genre.

Graphic by Lucas Scali (@syfono4).

25 Best Canadian Releases of 2025