Credit: Tom Gilliam
Credit: Tom Gilliam
Daytonian Kim Deal — known for her work with Pixies, The Breeders and The Amps — released her debut solo album “Nobody Loves You More” in late 2024, and kicked off the tour in February in her hometown. Tickets to the Brightside show sold out in just three days. The album is a lo-fi sonic exploration that’s willing to experiment while maintaining a solid sonic throughline.
Tony Goff, the frontman of one-man metal band, idiedtrying, released his latest album, “Gimme Color / Volume One,” in May. The album, eight years in the making, flipped the script on the bleakness of some black metal and added different hues to the typical palette. While the screams and ripping guitars keep it undeniably heavy, Goff knows that life isn’t black and white.
M Ross Perkins’ self-produced and self-referencing album “What’s the Matter, M Ross?” released in May from Coalmine Records. The songwriter’s third full-length album is deeply activist, offering pointed social commentary about internet validation and systemic inequality through his brand of ‘60s-inspired vintage sounds.
In June, Brainiac guitarist Tim Krug released a new album with his solo side project Halicon, titled “Relocation Spells.” The experimental/intelligent dance music/ambient electronic project is meditative music for the unquiet mind, inviting stillness without ever sitting still. It’s liminal and dreamlike, crafted with analog synths, feedback loops, spaghetti patching and drum machines.
Dayton band Thunderlover blends arena rock with grunge on its debut album, “Size Doesn’t Matter,” released in August. It channels the hugeness of the Sunset Strip in the ’80s, stripped of glam excess and spandex, and filters it through a flannel-clad Gen X lens. It’s the sound of four dudes who love to rock.
EPs
Music can help salve the tremendous weight of grief, which is what Katie and Josh Swift of Wakelight explored on their three-song EP, “As Long As It Takes.” The album comments on the cyclical nature of loss through heartbreaking yet hopeful pop and indie-folk. Katie said that picking up the guitar and singing is almost like purging those emotions.
Dark fuzz power-trio All Hallowed released its EP, “III,” in February. The album features vocals from Jeff Suffering of Ninety Pound Wuss. The band continues its specific aesthetic of monochrome imagery, overdriven bass and concision.
On the same spectrum, Dayton/Canada-based hardcore punk band Wounded Paw delivered an EP so short it can be listened to in its entirety before your pasta boils. The frenetic EP bears the cheery title “Excruciating Pain.”
Dayton band She’s Deadly brought anthemic rock to its debut EP, “Tall Tales,” in August. Singer Emily McGuff’s natural timbre is a consistent vibrato, which may stem from her love of musicals, and guitarist Bradley Bowermaster’s metal background contributes to the band’s big arena guitar sound.
In September, Kittinger released its debut EP, “California.” The guitar tones, reminiscent of ‘60s spy-pop, Led Zeppelin and My Bloody Valentine, are wrapped seamlessly into basslines woven from soul, R&B, funk and rock. It’s an experimental diversion from singer Amber Hearts’ Americana material, but a natural direction for some the group’s other members.
Divorcing life experiences from anyone’s art is simply not possible. Dayton band Sadbox explored that concept on its latest three-song EP, “Everything’s A Shame.” Each of the songs play into the album’s title, which can apply to many things in the modern world. According to Sadbox, those things include doomscrolling, lost felines and the ultimate reality of impermanence.
Singles
Singles can signal where an artist is heading next, and this year’s batch delivered plenty of signals.
After stepping away from music in 2018, pop singer-songwriter Ali Auburn returned with a newfound creative awakening this year with the release of her latest single, “Win or Lose.” Her acoustic songs have efficient architecture, which she honed from her time with songwriting professionals in Nashville.
Modern yacht rock band The Bruins released “Honeymoon Phase” in June. Vocalist Gabe Maas describes the current definition of “yacht” as “music music that is kind of laid back, with simple drum grooves that have a nice deep pocket that you can weave things in.” Mission accomplished.
Dayton rapper Illwin dropped back-to-back singles, “Mr. Get Stupid Wit It” and “My Life,” ahead of his “FEARLESSLY IN LUST” EP in July. His stage histrionics won him first place in the Hip-Hop/Rap/R&B category at the 2025 Dayton Battle of the Bands.
Gran Gran dished out “A Cold Dish,” and Mike Bankhead gave us “Something That I Can’t Explain.” Outlaw country and Southern rock band The Filthy Heathens hit a stride with “Etheridge” and “Cyril.” Greg Bowers’ Arland showed us “Beyond the Open Door” and “Scream.” “Anxiety” by Leaving Off informed us that pop-punks can be vulnerable, too.
Other notables
This year, seminal Dayton punk band Poetic Justice reunited for the 40th anniversary of its first show. Andy Smith’s Me Time returned to the stage after an eight-year hiatus, too, as did Jayne Sachs Band.
Bill and Alice Saurber, of Hamilton cigar box duo Pallin’ with Al, didn’t win America’s Favorite Couple contest, but Springfield country-rock band Matt Clarkson Band did take home the Fan’s Choice Award from the Josie Music Awards in Nashville.
“Dayton’s Third Best Record Store” Blind Rage Records had its last show at its Belmont location before relocating to the Oregon District. Cosmo Joe’s Atomic Lounge rebooted the beloved Rock N Roll Play Date open mic, now called Cosmic Rock Play Date. And Daniel Hood, aka Super Diesel, host of the Pod-Shirt Network, brought the spirit of the MTV era to the YouTube generation.
Thanks for listening. See you in 2026.
Brandon Berry covers the music and arts scene in Dayton and Southwest Ohio. Reach him at branberry100@gmail.com.
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