25 Key Grunge Albums of 2025

Who really knows what defines the world of grunge in 2025? As fans, we’re still divided on countless questions—what counts as grunge or post‑grunge, who belongs in the category, what doesn’t fit, and when exactly the movement lost its grip on mainstream rock. Yet grunge continues to seep into all kinds of rock subgenres, most recently spilling heavily into shoegaze. This list is meant as a guide back into the fold for anyone who drifted away or lost track of grunge’s increasingly fragmented landscape.

Part of the mission at The Rock Lair is to uncover that unmistakable grunge spirit wherever it appears—across eras, across countries, and far beyond the 1990s Seattle scene. We’ve highlighted 25 rock albums that contain enough grunge DNA to satisfy any fan. They’re not necessarily the biggest releases or the best‑selling acts, but they’re essential to understanding where grunge stands in 2025 and it stands in several countries beyond just the U.S., particularly England.

Only a handful of veteran artists released new albums this year—Bush and Puddle of Mudd among them. Others on this list are rising younger acts like Soul Blind and Scowl. Some represent long‑awaited comebacks from major contributors to the genre, including Superheaven, Dinosaur Pile‑Up, and early‑’90s originals Coffin Break. The most commercially successful grunge‑related release of the year was Alienation by Three Days Grace, boasting three #1 Mainstream Rock hits.

Of course, there are more grunge‑leaning albums out there—some we may have missed, some from artists still too new to judge, and others that only flirt with grunge on a track or two. But these 25 records offer a clear snapshot of how grunge continues to evolve, mutate, and survive in 2025.

Oversize – Vital Signs (February)

Oversize are aptly named. The Salisbury, England band create a hazy, atmospheric chasm of sound and flood it with massive waves of melodic guitar distortion. Often labeled “grungegaze”—a term finally catching on for shoegaze bands that get aggressive—Oversize lean into that hybrid beautifully. Sam McCauley (vocals), Tazz Edwards and Lewis Lennane‑Emm (guitars), George Lewis (bass), and Sam Shutler (drums) released several EPs and singles before their debut album 'Vital Signs' arrived in February 2025. They channel ’90s influences while exploring themes of grief and healing, washed in reverb and slow‑to‑mid‑tempo guitar swells. Highlights include the catchy “Are You With Me” and the single “Fall Apart.”

Hot Wax – Hot Shock (March)

Hot Wax weave grunge into their punk‑leaning rock sound, scratching the itch for both genres. 'Hot Shock' might be a top‑five album including grunge of 2025—it’s packed with killer hooks and riffs. Formed in 2021 in Hastings, England, the trio features vocalist/guitarist Tallulah Sim‑Savage, bassist Lola Sam, and drummer Alfie Sayers. After the breakout single “Treasure” and several acclaimed EPs, they unleashed their blistering debut Hot Shock in March 2025 via Marathon Artists. With support slots for Royal Blood, Yeah Yeah Yeahs, and The Libertines, Hot Wax are overflowing with talent. Energetic standouts like “She’s Got a Problem” and “Strange to Be Here” prove it. The album reached #38 on the UK Official Albums Chart

The Superjesus – The Superjesus (March)

The Adelaide band returned in 2025 with their first studio album in 22 years—and they’ve lost none of the songwriting spark that earned them five Australian Top 40 hits in their prime. 'The Superjesus' blends post‑grunge and modern pop, with polished production that amplifies their melodic strengths. They sound as strong as they did around the millennium, delivering a surprisingly vibrant comeback. Original members Sarah McLeod (vocals) and Stuart Rudd (bass) are joined by Cameron Blokland (guitar) and Ben Todd (drums).

Momma – Welcome to My Blue Sky (April)

Texture is Momma’s secret weapon—the way their layered structures seep under the skin is one of their most compelling traits. On 'Welcome to My Blue Sky', they blend grunge and noise‑rock tones with pop‑leaning melodies and vocals. They’re neither as methodical as Oversize nor as aggressive as Hot Wax; instead, they strike with precision, getting loud only when the song calls for it like with the excellent single “I Want You Fever”, and letting softer moments breathe like indie rock. Founded by longtime friends Etta Friedman and Allegra Weingarten, the lineup also includes Aron Kobayashi Ritch and Preston Fulks. Now based in Brooklyn and signed to Polyvinyl, Momma continue building on the acclaim of Interloper (2018), Two of Me (2020), and Household Name (2022).

James and the Cold Gun – Face in the Mirror (April)

James and the Cold Gun pull from the 2000s New York rock revival while also tapping into the rawness of ’80s proto‑grunge. Their sound carries punk bite, garage looseness, and flashes of ’70s boogie‑rock swagger. Formed in Cardiff, Wales in 2019, the band is fronted by James Joseph (vocals) and James Biss (guitar). Their gritty, high‑energy post‑grunge on 'Face in the Mirror' works especially well on tracks like “Guessing Games” and “Above the Lake.” Signed to Pearl Jam’s Stone Gossard via Loosegroove Records, their 2023 debut hit #10 on the UK charts, while this second album reached #27.

Superheaven – Superheaven (April)

If any band helped reignite the modern grunge‑meets‑shoegaze movement, it’s Superheaven. Their word‑of‑mouth resurgence led to a 2022 comeback after forming in 2008 in Doylestown, Pennsylvania (originally as Daylight). Their albums 'Jar' (2013) and 'Ours Is Chrome' (2015) remain some of the finest grunge releases of the 2010s, so anticipation was high for their 2025 return. Fortunately, Taylor Madison (vocals/guitar), Jake Clarke (guitar), Joe Kane (bass), and Zach Robbins (drums) delivered an album worthy of their legacy. Even with a couple of minor misses, the overall strength of the material is cause for celebration. Peaks include the soaring “Numb to What Is Real”, the riff‑heavy “Stare at the Void”, and the irresistibly catchy “Cruel Times”,one of 2025’s best grunge songs.

Puddle of Mudd – Kiss the Machine (May)

Puddle of Mudd still retain flashes of the energy that fueled their early‑2000s success, though the songwriting here is uneven. “Beautimous” opens the album with a Stone Temple Pilots‑style swagger, complete with Wes Scantlin’s shredded vocals. “Firefly” brings a country‑rock flavor reminiscent of the Rolling Stones, featuring guitar work from Duane Betts. “Win Win Win” closes things out on a breezy note. With numerous guest musicians and yet another shifting lineup on 'Kiss the Machine', Scantlin remains the band’s sole constant—though recent legal troubles have drawn more media attention than the music itself. The album won’t win over new listeners, but longtime fans may appreciate the familiar sound.

Hinder – Back to Life (May)

Hinder are veterans at this point, with seven albums behind them and hits nearing their 20‑year mark. They also lost rhythm guitarist Mark King in 2021. Current vocalist Marshall Dutton continues stepping into the role once held by Austin John Winkler, delivering strong pop‑leaning melodies on the single “Bring Me Back to Life” and matching the band’s heavier edge on the opener “Live Without It.” Hinder lean more pop/rock than before, but they still land solid hooks and memorable melodies.

Swain – Infinite Child (June)

The Dutch band Swain, now based in Germany, show both their melodic and crushing sides on 'Infinite Child'. “Unbecome” has clear hit potential, while the opener “Goodbye Kiss” stomps with massive, elephant‑sized force. Noah Cohen’s ’90s‑style slacker vocals and sharp lyrics contrast well with the band’s gritty backdrops. Guitarist Bram Van Montfort, bassist Boy Tillikens, and drummer Boris Brouwer diversify their arrangements, covering a lot of sonic territory across their fourth album. Their production leans more toward Tad and early Afghan Whigs than the mainstream grunge giants.

Badflower – No Place Like Home (June)

After breaking out with O.K. I’m Sick, the L.A. band Badflower have had mixed chart success, and 'No Place Like Home' continues that trend. The excellent single “Detroit” set expectations high in 2024, but the other singles didn’t perform as well though “Paws” charted too. Still, the album contains plenty of quality rock from singer/songwriter Josh Katz, lead guitarist Joey Morrow, bassist Alex Espiritu and drummer Anthony Sonetti—more dynamic range, softer atmospheric pop moments, heavy grunge bursts, and updated production including keyboards and synths; Katz is credited with programming too.  Badflower remain one of the strongest modern bands blending post‑grunge with hard rock and pop.

Bush – I Beat Loneliness (July)

Gavin Rossdale keeps Bush’s signature sound alive on their tenth studio album. While they’ve incorporated some modern pop and 2020s production touches, the core of their style remains intact. Guitarist Chris Traynor, bassist Corey Britz, and drummer Nik Hughes complete the lineup. Though their last three albums didn’t chart, the single “The Land of Milk and Honey” reached #2 on the Mainstream Rock chart, proving Bush still have fuel in the tank.

Coffin Break – Revival (July)

One of the earliest bands to play grunge, Coffin Break were long thought to be a relic of the ’80s Seattle underground—known mostly to die‑hard fans while casual listeners stuck to the big names. Their return after more than 30 years without new material is one of the most surprising reunions in recent grunge history. 'Revival' sounds modern in places but retains their anti‑commercial, rough‑edged approach throughout its old-fashioned double album length: 24 songs, 58 minutes.

Three Days Grace – Alienation (August)

Keeping both vocalists, Adam Gontier and Matt Walst—one replacing the other—seemed unconventional, but 'Alienation' proves the pairing works. Three Days Grace’s chemistry is strong, their live shows have been revitalized, and they’re enjoying their biggest success in a decade. The album reached the Top 40, and all three singles—“Mayday,” “Apologies,” and “Kill Me Fast”—hit #1 on the Mainstream Rock chart. Barry Stock, Neil Sanderson, and Brad Walst keep the post‑grunge energy pumping. With its riffs, melodies, rock‑forward production, and infectious drive, Alienation stands as one of the year’s best grunge‑adjacent releases.

Chevelle – Bright As Blasphemy (August)

'Bright As Blasphemy' is stronger than its chart position suggests. Despite containing plenty of solid post‑grunge and hard‑rock material, their first self-produced work, but it became Chevelle’s first album since 2011 to miss the U.S. Top 10, landing at #150. Still, “Rabbit Hole” and “Pale Horse” charted. Some of the album’s eccentric lyrics and titles may have limited its reach, and Pete Loeffler has spoken about writer’s block. Sam Loeffler continues delivering powerful drumming, and the band’s core sound remains intact.  After a long time on Epic, this is their first album on Alchemy Recordings.

Dinosaur Pile‑Up – I’ve Felt Better (August)

After a long illness sidelined Matt Bigland, it seemed Dinosaur Pile‑Up might be finished—despite being one of the best grunge‑leaning bands of the 2010s. But after six years of silence, Bigland returned with a new batch of songs that feel both cathartic and revitalizing. It’s hard to believe this Leeds trio will be 20 years old next year, as they still sound like a fresh force in modern grunge. Bassist Jim Cratchley and drummer Mike Sheils return as well. “‘Bout to Lose It” and “My Way” charted, proving there’s still an audience for their raw, unpolished, production‑light approach.

Die Spitz – Something to Consume (August)

Die Spitz are an Austin‑based quartet known for explosive live shows and a chaotic, high‑energy sound. Formed in 2022 by Ava Schrobilgen, Chloe De St. Aubin, Ellie Livingston, and Kate Halter, they quickly became local standouts, winning multiple Austin Music Awards including Best Punk and Best New Act. Their debut album 'Something to Consume' arrived in 2025 via Third Man Records. Blending grunge, punk, and shoegaze with a raw, minimal production style, they bury vocals in the mix like many ’90s indie records—giving the album a gritty, underground feel.

Sweetwater – Shine On (September)

Sweetwater formed in Seattle during the height of grunge but rarely leaned fully into the label, instead favoring broader alt‑rock while still delivering heavy moments. Their 2025 release continues that approach after a seven‑year gap, offering everything from bright pop‑leaning tracks to thick post‑grunge rockers. Their songwriting remains sharp, and most of the classic lineup is intact: Adam Czeisler (vocals), Rich Gredo (guitar), Cole Peterson (bass), and Chris Friel, who has handled drums since 2009.

Druidess – All You Are (October)

The unsigned Druidess independently deliver a raw sound for the 2020s, with a subtle, stripped‑down production style that keeps their music rooted firmly in grunge. There’s nothing particularly innovative here—but the songs, harmonies, guitar tones, and melodies stay true to classic grunge without unnecessary embellishment. “To Love & To Lose” is the one moment where they veer into nu‑metal territory. Formed in Montreal, the group—vocalist Beiss, guitarist Vera, drummer Valenstine, and bassist Lennox—have been gaining attention recently. Their name comes from the Type O Negative song “Be My Druidess.” “Saved By You” and “Varsity” are the standout tracks on 'All You Are'.

Mammoth – The End (October)

Now officially going by Mammoth rather than MammothWVH, Wolfgang Van Halen continues to refine his post‑grunge vision on his third album. 'The End' has earned strong critical praise and leans far more toward Foo Fighters and Stone Temple Pilots than toward metal—aside from the fiery guitar‑solo intro on the title track. “Same Old Song” and “All in Good Time” have clear commercial potential. Wolfgang writes everything and plays every instrument, showcasing a confident command of melody, arrangement, and rock dynamics.

Soul Blind – Red Sky Mourning

From New York’s Hudson Valley, Soul Blind carve out dark, echoing spaces filled with deadpan vocals, crushing riffs, and thick distortion. They bring serious weight when they want to, with metallic tones reminiscent of Alice in Chains on “Dyno,” Deftones on “Mistake to Wonder,” and Korn on “Billy.” Yet, like all these bands, Soul Blind maintain their own electrically charged, lethargic atmosphere—one that reveals more depth with repeated listens. Cen handles vocals, Justin Sarica and Finn Lovell play guitar, and Steve Hurley is on drums. They cite post‑grunge, shoegaze, and heavy alt‑rock influences like Failure, Hum, and Deftones rather than classic grunge.

Revis – Killing Time

Revis formed in 1999 in Carbondale, Illinois, honing a primarily post‑grunge sound before moving to Los Angeles and signing with Epic Records. Their 2003 debut Places for Breathing produced the hit “Caught in the Rain,” which reached #8 on the Mainstream Rock chart. After splitting in 2005, briefly reuniting in 2010, and returning again in 2023, Revis now deliver 'Killing Time'—a concise, hook‑driven album just over 30 minutes long. Justin Holman’s slightly huskier vocals add warmth and grit to these straightforward, melodic post‑grunge tracks.

Local H – ReFisted

To celebrate the 30th anniversary of their debut 'Ham Fisted', Local H re‑recorded the entire album in 2025, cheekily titling the new version 'ReFisted'.  There are a few changes like the running order and “Sports Bar” turning into a quiet acoustic number, but it’s mostly similar to the original.  It hasn’t added any 2020 production touches – it feels like it could have been re-recorded in the 1990s. 

Sponge – Electric Cattle Gods: The Lost Tracks

Composed of songs recorded before their breakthrough Rotting Piñata, Sponge’s 'Electric Cattle Gods' is another surprisingly strong archival release. The title reportedly references a temporary early band name. The collection works as an excellent companion to their debut, 'Rotting Piñata', despite Sponge including a few recent tracks like the catchy “Wet Brain” and “Desert Low.” Fans also get the demo for “Molly (16 Candles Down the Drain),” a new piano mix of “Drownin’,” alternate versions of B‑sides, like the gem “Welcome Home,” “Cowboy Eyes,” and “Slower Suicide.” The previously unreleased songs are impressive—“In the Name of God” and “Nadja Hello” stand out as massive grunge epics.

Smashing Pumpkins – Machina Aranea Alba

One of rock’s most significant archival releases this century, the original 'MACHINA' arrived in 2000 as a single 16‑track album—despite Billy Corgan’s intention for it to be a conceptual double album about the fictional rock star Glass and his spiritual visions. The story was muddled in the editing, and 'Machina II'—released for free online via fan‑distributed tapes—became a cult favorite in lo‑fi form.

After decades of delays, fans finally received the complete vision in 2025 with 'Machina Aranea Alba': a 48‑track album with more than 30 additional bonus tracks. However, its limited, expensive, vinyl‑only release frustrated many fans who don’t own turntables, meaning only a fraction of listeners have heard the full project. It’s a shame, because the songwriting quality is remarkably consistent, the audio pristine, and the expanded narrative more coherent though the story is not as long as once thought. If it ever reaches streaming, this definitive Machina is absolutely worth the 8-LP, 80-track marathon listen.