By Brontë H. Lacsamana, Reporter
AS WE NEAR the halfway point of the year, with occasional rain and thunderstorms gradually encroaching upon the summer heatwave, interesting music steadily comes out of the woodwork. April and May have been strong months for new releases in the realm of indie pop.
Here is a quick rundown of some albums you can check out that dropped in April and May 2025.
FACE DOWN IN THE GARDEN — TENNISTennis is an American indie pop band based in Colorado, USA. Made up of husband-and-wife duo Alaina Moore and Patrick Riley, they’ve been creating comforting dream pop tracks since 2010.
To the dismay of fans, the band announced an indefinite hiatus that will take effect after their 7th album release and farewell tour this year. The album, titled Face Down in the Garden, came out on April 25.
The nine tracks in this solid record range from lusciously produced, emotional midtempo tracks to pleasant lo-fi bops, all coming together in a wistful, dreamlike goodbye. It’s a captivating experience overall, evoking sensibilities akin to Beach House and Cocteau Twins.
Songs to enjoy are “Weight of Desire,” with Moore’s signature dreamy vocals taking on a catchy chorus; “At the Wedding,” a rhythm-driven indie pop anthem that showcases the best of Tennis’ vivid storytelling; and “Sister,” a heartfelt tune supported by a rich yet easygoing sonic atmosphere.
SONOR — ENJIA fascinating new album that probably nobody knows about that’s worth a listen is Sonor, made by Mongolian singer-songwriter Enji (real name: Enkhjargal Erkhembayar).
Born in Ulaanbaatar and trained in Mongolian folk song traditions, she studied jazz in Munich, Germany, and has been based there since 2015. Her fourth album further hones her unique blend of the traditional elongated singing style from her home country with lively jazz rhythms, a cool progression of her singular music career.
In the first track, “Hungun,” gentle instrumentation drives forward Enji’s warm voice, backed by beautiful saxophone notes. “Ulbar,” a fast favorite off the album, has her inject soft and lilting vocals into a tapestry of calming guitar and piano. “Ergelt” is a stunning duet, of a melancholy melody and a sick double bass performance.
The album is a collection of music birthed on the precipice between two distinct cultures. The track “Eejiinhee Hairaar” encapsulates it perfectly — it is a popular Mongolian folk song from the 1980s, vibrantly covered by Enji atop a fun, jazzy bassline. It drives home how Sonor is one of the most wonderful new releases this year so far.
THE SCHOLARS — CAR SEAT HEADRESTAmerican indie rock band Car Seat Headrest has been delivering amazingly angsty and energetic garage rock since 2010. Their fifth album, The Scholars, continues to serve the emotional bite that the four-piece band, led by Will Toledo, is known for.
This time, it’s done with ambition, the over-the-top concept album channelling quirky characters and extended narratives that play out across the tracks (some of which reach up to eight, 10, even 11 minutes!).
“Devereaux,” one of the shorter ones, is a banger of a track. It features cathartic vocals, powerful drums, and a crisp guitar riff that feels so distinctly Car Seat Headrest. A track that provides an awesome sonic experience is “The Catastrophe (Good Luck With That, Man),” a frenzied rock tune evoking a wild, cross-country drive.
An honorable mention goes to “Gethsemane,” clocking in at nearly 11 minutes, an almost Bowie-style dance rock epic filled with engaging angsty vocals and lyrics imbued with religious themes.
EQUUS CABALLUS — Men I TrustCanadian indie pop band Men I Trust dropped the second installation of its two-part album early in May. The first, Equus Aquinus, came out in March, laying the groundwork for the three-piece band’s signature smooth and moody atmosphere.
Equus Caballus builds on this, with groovier and grungier tracks pumping up the tempo a bit, like “To Ease You,” which boasts a keyboard hook reminiscent of a lot of new wave music. Vocalist Emmanuelle Proulx has honed her dreamy vocals well, accentuating the deep synths and guitars that populate each track.
“Husk,” a single from 2024, is given new life in the album, feeling right at home with the other synth-pop-style tunes. Another standout is “Carried Away,” its production having the most depth as it pairs the chime-like guitars and steady beats with Proulx’s wispy voice.
Men I Trust, for many, is too mellow and comfortable in their dream-pop genre sensibilities to be memorable, but Equus Caballus shows how electronic, synth-pop influences can easily refresh their style.
