An Ode To Outliers
A collection of pop outcasts. In their betrayal of the mainstream, they pull the curtain back on fantastical worlds never before seen. These records conform to nothing. Sometimes they are aimless explorations. Other times they are rich with history. As they confidently break down walls, the strange, unpredictables spaces they reveal take on both new forms of the beloved genre and embrace the ambiguity of what it means to be truly without one. What ties these records together is their avant-garde creative visions that somehow remain tied to the heart of experimental (indie) pop. This is An Ode To Outliers.
Sinister Grift, Panda Bear (2025)
You know a pop record is good when Anthony Fantano rates it a 9/10. For both long-time fans of Animal Collective and those that have never heard of the band before, frontman Noah Lennox’s most recent solo album is for you. While staying somewhat in-line with his own solo discography and that of his own experimental pop group, Sinister Grift strays slightly, too. The LP not only more accessible than his early work, but therefore more pleasurable as a result.
Instead of having to rummage through the “freak folk” of Sung Tongs (2004) for something worthwhile or meditate in the psychedelic headache of records like Strawberry Jam (2007) to feel something meaningful, Lennox delivers - tied together with a beautiful bow - to our front door on Sinister Grift. But not to worry - Sinister Grift sacrifices none of the complexities or weirdness that Lennox and Animal Collective are so loved for. With all the same psychedelic, Krautrock, folk, and avant-garde elements of his previous works, Lennox gives us something tangibly enjoyable. It is not surface-level. It is pop. Done right.
Mark William Lewis, mark william lewis (2025)
mark william lewis’ newest, self-titled record is among the best of 2025. The LP is unconventional pop at its finest - riddled with pain, anger and imagination, it is a perfect expression of cynicism in a modern world. With a sound that echoes Mark Kozelek’s Red House Painters and Sun Kil Moon, Lewis’ music is not made for running. It is for sitting and staring at the River Thames.
The tracks are coherent without being overly repetitive. Melodies, however (intentionally) weak and fragile they may be at times, are distinguishable from one another. Above all, they are tied together by Lewis’ shattering storytelling. Although pessimistic, it does not feel unfair. It is a hard truth. An honest portrayal of doubt that lives within us all. How emotionally stimulating the record manages to be while being easy on our nervous systems is truly impressive. Unsurprisingly, Mark William Lewis won’t lift your spirits. Between Lewis’ tortured, (perfectly) lifeless voice and the haunt of his harmonica, this is an album that exists as a soundtrack to the gloom of roaming an industrial jungle that is at once both full of life and devoid of it. But if you can accept and embrace this album as one that thrives on the mellower end of the pop spectrum, it is sure to carry you away with it. Like a river. As Lewis talks about in Tomorrow is Perfect (one of the best tracks of the year), this record is for those escaping solitude just as much as it is for those seeking it: “The way the fangs of the hound look inside the mouth of the storm; The sinner speaks the loudest, as usual; The inner beast conforms; You had a history of heartbreak; The brutal bridge of betrayal; And life moves so fast these days; You never get, you never get to just be alone; To just be alone.”
In Russia. A is a 9, EXUM (2025)
EXUM is an anomaly. The former NFL star (with an ego ten times the size of his discography) has made a diverse collection of records over just the last 4 years. This makes it hard to pinpoint his genre (if he has one at all). He amassed a fan base through pop rap and experimental hip-hop across his first two records, Xardinal Coffee (2021) and Tickle Pink Hotel (2022).
These records were successful among experimental hip-hop fans, earning him a substantial loyal fan base. But this success is the reason why In Russia. A is a 9 is his least-loved to date. Simply, the record has nothing to do with his early hip-hop sound. With this record, EXUM has departed entirely from hip-hop, taking only his experimental attitude with him from his earlier records. But instead of being angry like other fans, this is precisely what I find so exciting. I dare say the avant-garde pop EXUM embraces on In Russia. A is a 9 suits him better than the hip-hop of his early days - much of which felt shallow. As he jumps between drone, indie folk, grunge, dream pop and unidentifiable clanging on the LP, his experimentation shines - as if the confines of hip-hop had been holding him back. It is this patchwork of sounds that make this album at-home in this playlist. EXUM has fallen on the outside of his fans - but this is a good sign. He might not be the next Kanye (he would disagree), but the young star is going places - I only hope it is in the direction of this record.
Dancin’ In The Streets, Rat Heart (2025)
Arguably the boldest, most experimental record on this playlist. As Rat Heart, British DJ/producer Tom Boogizm emerges from the shadows of the abyss (no literally, this is his first recorded piece ever) alongside his rat pack of accomplices to present us with the wretched and mesmerizing Dancin’ In The Streets. Drawing on jazz, folk, ambient, blues, sludge rock, dystopia, and humor, this LP is a real mixed bag - that still feels pop?
Through the breakbeat layers of distorted sounds, piano, and unpredictable bursts of spoken word, Dancin’ In The Streets manages to tell a story. It is an authentically experimental but coherent exploration of small things - the beauty of fleeting moments and the unsatisfied desires that grip our heart. Unlike some of the smooth-talking experimental pop in this playlist, Dancin’ In The Streets feels intentionally abrasive at times. But there is something addictive about it. As succinctly said by Walden Green for Pitchfork, “The album’s mixing—the electric guitar’s always a little too loud, the lyrics hard to parse without cranking up the volume—literally pushes listeners away, then pulls us back in close.” Give Dancin’ In The Streets a listen. Then do it again. And again. And see what happens.
Pedestrians of Bright Silence, Jespfur (2024)
Jespfur is among my best finds of the year. Born Jesper Vervoort, the mysterious Amsterdam-based artist remains on the outside of any real “scene” as he blends electronic with indie, R&B and ambient pop. He is left somewhere in the crossroads between Joji, Mk.gee and Blood Orange, while still offering a distinct charm of his own.
Jespfur credits spur-of-the-moment feelings, casual observation and coincidences as his artistic inspirations. His sound reflects the spontaneous way in which he creates it. This approach gave birth to Pedestrians of Bright Light, a brilliant pop record. Somehow, Jespfur makes the off-kilter sonic wandering of the album into something not only coherent but recognizably pop. The LP, based on Jespfur’s exploration of light and silence, is absolutely among the best I have heard this year (nil-Luuped is an unbeatably good track run). It does not demand anything from you. It only asks that you pay close attention. Notice the small things. Like the silence within yourself and the light beams that stream through the window. This - the art of constantly reimagining how to go through life - is what all good music does.
The Road To Hell Is Paved With Good Intentions, Vegyn (2024)
Vegyn is an ellusive man with an even more ellusive discography of genre-blending music he has been recording for over ten years now under PLZ Make It Ruins. Despite only being released last year, The Road To Hell Is Paved With Good Intentions is not Vegyn’s most recent record. In fact, the English artist has released two albums since, both in 2025.
Amongst Vegyn’s impressive slew of other works, you might not necessarily be able to tell the LP’s songs apart from his others. In this way, it is yet “another ornate but shadowy collection in his discography, not revealing much beyond [Vegyn’s] wide-ranging taste.” But this wide-ranging taste, experimental attitude and excellent production is what ultimately what matters most to this playlist. The Road To Hell Is Paved With Good Intentions might not have invented the wheel, but can we ever have too much high-quality avant-garde pop? I think not.
