Top 55 Albums of 2025

Top 55 Albums of 2025

words by Caden Brown

Written and compiled by KJUC volunteer Caden Brown – “I enjoy journaling albums that
I’ve enjoyed throughout the year, so that I don’t forget them in the future.”

This year, he overindulged. In a long, ranked list, here are his favorites of 2025!

55. “Blizzard” – Dove Ellis

Dove Ellis’s “Blizzard” was a release hyped by the opportunity of him opening for Geese, an
opportunity he seized with only three songs released under his belt. Gigging for the location of the Windmill scene’s creation, Windmill in Brixton, London, Ellis gained the attention of many, including Geese and musical professionals, such as the engineers for Florence and the Machine and Dijon. The raw talent of his debut record, “Blizzard,” proves Ellis is here to stay in
the indie rock/chamber pop scene. In under 35 minutes, Ellis combines the post-punk flavor of Windmill with delicate singer-songwriter, indie folk, and chamber pop to construct a passionately yet cryptically written record about the dramas of love. “Blizzard” is a tasteful piece of indie folk that fans of Thom Yorke or Elliot Smith should appreciate.

54. “October Country” – Ghost Mountain

Ghost Mountain’s contribution to the Haunted Mound collection of emo witch house experimental hip-hop with “October Country” is more accessible than usual. Instead of the usual distorted horrorcore and abrasive trap Sementary and much of Haunted Mound releases, “October Country” brings synthpop, wave, and post-punk into the mix while still including classic cloud rap bangers such as “By The Flame” or “Kevlar.” Although less hip-hop-inspired than usual releases, its diverse sound makes “October Country” a much more intriguing listen than most Haunted Mound releases and supports the overall narrative of the Haunted Mound’s usual conceptual themes: alienation, nocturnal fantasy, drugs, addiction, and occult.

53. “Vanities” – Malibu

Malibu’s “Vanities” is a perfect example of an album that is clearly portrayed by its cover. Through surreal soundscapes, nature recordings, and ambient choral, Malibu looks down upon an imperfect cityscape from her luxurious apartment. Yet as the title hints, the album revolves around themes of self-admiration, success, and “self-relativity,” as she ponders her existence in
this world and her mental well-being. She meditates on this personal psychological system to master a relationship with herself and relate it to others and her environment, learning self-awareness and finding an increased control over her life. This album isn’t a romanticization of her “vanities,” but a mental reorganization of where she belongs and how she came to be in this world. It’s about self-awareness and appreciation of successes, and the calm, mysterious existentialism that accompanies these thoughts, making this album an anxious but soothing ambient album simultaneously.

52. “Total Freedom” – Cowgirl Clue

Cowgirl Clue is one of the more interesting modern electropop artists out there, meshing the two
contradicting worlds of country horse girls and indie sleaze witch house. “Total Freedom” is a
continuation of her last record sonically, but with more synth-up production that embraces a
“new rave” sound, especially seen in songs like “TNT” or “Casual Promises.” Her casual,
deadpan delivery is effortlessly perfect on these instrumentals, especially when delivering
moodier, apathetic lyrics such as “Lost control, did you die inside?” Overall, “Total Freedom” is
an absolute party in 14 tracks for the niche audience of angsty rural-origin rave-goers
somewhere out there; however, this album is recommended for anyone looking for a fun listen
of alternative indietronica!

51. “Chaponomical” – Mel V

To put it simply, Mel V’s “Chopanomical” is GloRilla and prime, aggressive Rico Nasty on
anabolic steroids! Mel V, also known as Mel V Chapo, contains a rage in her delivery of quick
bars that put the terror in terror plug, a genre known for its relentless, loud, and experimental
808s and fast-paced rapping, credited by producer boolymon. Artists like LAZER DIM 700 and
2Slimey do this genre justice at times; however, Mel V’s sound has much more variety and
clever but humorous lyrics, making this record a favorite of mine in the genre. Mel V’s
passionate delivery almost transforms these hardcore rage hip hop songs into trap metal as if it
were the 2015-2017 era of SoundCloud rappers. Mel V is also no stranger to the underground
rage sound throughout this album, even including a bouncy prettifun producer credit throughout
this madness of hardcore trap. To have the best experience with this album, you must listen at a
piercingly loud volume. The first song, “NEVER GAF,” is one of the most raw and unhinged
intros I’ve ever heard in plugg hip hop.

50. “I’ll Be Waving as You Drive Away” – Hayden Pedigo

Hayden Pedigo’s story is as interesting as his take on American Primitivism is entrancing. The virtuosic finger-picker guitar absurdist ran for city council in his hometown after a social media post of him entertaining the idea during the promotion of his music went viral on Facebook. The first video promoting his campaign is a VHS-style short. He throws metal chairs off cliffs, measures short streams of water with a measuring tape, and the background music is the instrumental of “Die Like A Rockstar” by Danny Brown. However, unlike his social media presence, his music is downright peaceful, soothing, and meditative. He truly showcases his technical talent of warm, lush Ambient Americana, this record being his most hypnotic to date. As the title describes, this album sonically imagines the experience of driving through endless cornfields in the gentle sun, feeling the soft regret of leaving everything behind, while looking forward to an optimistic future.

49. “Once Upon a Time… In Shropshire” – Jerskin Fendrix

2025 was definitely an eventful year for Jerskin Fendrix. The English composer and musician responsible for the Academy Award-winning score in 2023’s “Poor Things” is also responsible for 2025’s “Bugonia.” Alongside the score is this record, which delves into a more rural environment of sound, similar to the landscape of “Bugonia,” rather than the eclectic debut album in 2020 that matched the vibe of “Poor Things.” Continuing the theme of albums that match the themes of the movies he scores, this record delves into themes of childhood, grief, religion, and the pastoral lifestyle, while maintaining his signature wacky, avant-garde, maximalist, and humorous style of Windmill Scene. In fact, Fendrix has been credited as a true innovator of the Windmill post-punk and post-rock sound, as he was part of the band Famous, had past work with Black Midi, and was mentioned in Black Country, New Road lyrics, as well as personally praised by ex-frontman Issac Wood in an interview. Jerskin’s take on the Windmill scene is more similar to Black Country, New Road member Georgia Ellery’s band Jockstrap, as it merges the Windmill sound with experimental electronic art pop and progressive pop. Yet, unlike Jerskin’s debut, art rock and heavier rock influences are alive, especially in “Jerskin Fendrix Freestyle.” Still, surreal, complex art-pop-inspired ballads and stream-of-consciousness structures are everywhere throughout this record. Similar to the scores of the movies he produces, this record is a poetic and difficult-to-define epic that captures the unique artistry of Fendrix’s career.

48. “Showbiz!” – MIKE

After MIKE’s 2023 masterpiece and my personal favorite of his, “Burning Desire,” “Showbiz!” steers towards a mellower sound, yet not in a bad way. Alongside the classic deadpan MIKE delivery that Earl Sweatshirt popularized, themes have repositioned from African spirituality to ancestral grief and family, ultimately leading to a more nonchalant sound, while maintaining his psychedelic take on abstract rap’s definitive sample-heavy production. Even the more trap-influenced tracks on here are mellow, almost dancing on cloud rap. Short song lengths and cohesive transitions make these songs melt into each other. MIKE’s flow is as strong and passionate as always. “Showbiz!” is truly just another hit in MIKE’s long discography that abstract hip hop fans can’t complain about.

47. “Blurrr” – Joanne Robertson

Longtime and core Dean Blunt collaborator Joanne Robertson blew me away with 2023’s delicately performed “Blue Car;” however, “Blurrr” is a nocturnal version of that, even more hazy, soft, and melancholic, like an even more gutted out version of Grouper’s “Dragging a Dead Deer Up a Hill.” As “Blue Car” was similar to a dawn campfire of psychedelic, contemporary folk, “Blurrr” is a dark and cryptic cave of ambient loner folk, accompanied by Oliver Coates’s frequent collaboration of chamber instrumentation. Robertson’s voice contains so much emotion and lethargic mystique, a quality of her voice that’s intensified by a simple, gentle trickling guitar. This album will put you in a lull in the best way possible and is definitely Robertson’s most cohesive work yet.

46. “Lust (1)” – Voice Actor & Squu

Voice Actor is one of the most enigmatic figures in the ambient dub-combined hypnagogic pop sphere. Releasing the insanely long 4 and a half hour 109-song project “Sent From My Telephone” in 2022, Voice Actor cemented herself a cult-fanbase alongside other English oddities in hypnagogic pop such as Lolina, Klein, and Florence Sinclair. Throughout “Sent From My Telephone,” Voice Actor experimented with ASMR, minimal wave, sound collage, poetry, and ambient pop; however, in her collab tape with Squu, a Welsh producer who only has a mysterious collection of tracks on Bandcamp, Voice Actor also adds UK Bass into her long list of
influences. Her signature numb delivery is still here, but it’s commonly chopped up and pushed into the background rather than classic spoken word. There are some hints of atmospheric techno and sampled vocals in the background throughout the record, too, which is presumably also Squu’s addition to the sound. This release definitely adds variety to Voice Actor’s discography, as this album is much groovier, hypnotic, and cohesive than the unpredictable eclectic “Sent From My Computer.” The addition of UK Bass and dense, cloudy atmospheres presents a dreamy, futuristic, and metallic vibe to Voice Actor’s music, a vibe I’ve never grasped
from her music before. Hopefully, Voice Actor continues to release fascinating ambient dub like this in the future.

45. “Tether” – Annahstasia

Annahstasia’s voice is the clear highlight throughout this album. It’s soulful, bold, and smoky. Her soothing melodies and free-folk-inspired cadences are tied perfectly to bittersweet lyrics about longing for love, exploring trauma, and human connection. There’s some real gospel-influence throughout this album, too, containing group vocals in the background of some tracks. Overall, there’s not much to dislike about this album, and even in portions where the instrumentation is bare, her vocal style can shine through the minimalism. Yet, in some parts, acoustic guitar and plucking transform into an expansive orchestra. It’s loose, but that style is
obviously intentional. It’s definitely one of the most vulnerable-sounding folk albums of the year.

44. “Lotus” – Little Simz

The legendary Little Simz is back again, releasing a more afrobeat-inspired record, her last containing a more orchestral style of production. “Lotus” is an introspective exploration of personal events in her past couple of years, as she takes a confrontational stance towards those who wronged her, most notably producer Inflo. Allegedly, Inflo failed to repay Little Simz a large loan of 1.7 million pounds, leading to a creative fallout with the artist and some months of financial uncertainty. Inflo was responsible for the production of her greatest works, including “NO THANK YOU,” “Sometimes I Might Be Introvert,” and “Grey Area,” so the fallout was extremely painful for Little Simz and also resulted in albums being scrapped that she had been working on before the eventual fallout. Without Inflo, Little Simz is still as strong as ever, and the fallout might have sparked creativity within her pen game, especially in songs such as “Thief” and “Lonely,” where she confronts the pain of the betrayal. Through the symbol of the lotus flower, a flower that grows in murky conditions and transforms into a beautiful flower, Little Simz claims that she’s grown as a person from these difficult circumstances into something new. Little Simz is as great a conscious hip hop star as ever, and “Lotus” is only evidence of her resilience.

43. “Luster” – Maria Somerville

Almost like modernizing and slowcore-ing the works of early Cocteau Twins and Grouper, “Luster” is dream pop bliss. Somerville’s vocals are breathy and raw, blending into the vast, atmospheric soundscape. Like similar modern dream pop artists in Europe, ML Buch and Astrid Sonne, to name a couple, Somerville plays with low, lush, and reverbed guitar tones that you can truly feel in your soul. Alongside great guitar work are soft, electronically produced drums, or just no drums at all in more ambient tracks. Somerville is a professional at creating atmospheres that invoke “ascension.” Plus, although many dream pop or ambient pop albums fail at doing so, melodies and choruses are quite memorable, interesting, and catchy here, too. In summary, listen to this album if you enjoy calm, peaceful, and bright dream pop that still contains the slight angsty edge of slowcore.

42. “The Velvet Underground & Rowan” – Worldpeace DMT & Rowan Please

Worldpeace DMT is an artist hard to define or pin down. Supposedly, it’s just one guy, too. Yet, it’s honestly the collaboration and chemistry he has with Rowan Please, the female vocalist, throughout this album that truly makes it so great. Rowan Please is an unhinged and quirky vocalist, channeling the spirit of Sarah from Kero Kero Bonito through smooth, cutesy vocal performances, while also making angular, brash vocal performances that maybe Maria from Bassvictim would. Alongside the chaos of her as a vocalist, DMT’s production matches her energy completely. His style of indietronica is similar to the humorous, cartoon-ish, and wacky
production style of Lil Ugly Mane’s “Volcanic Bird Enemy and the Voiced Concern,” although less shoegaze-y and even more ridiculous. Obviously, the themes of this album are much brighter as well, relating to love, friendship, and the creative liberty music presents. This is one of the strangest yet rewarding listens of the year, with many songs getting an audible laugh out of me upon first listen. Definitely listen to this album if you’re interested in music that pushes the boundaries of certain already out-there genres such as twee pop, bit pop, hyperpop, and even folk at times.

41. “Micrographia” – Bug Teeth

Bug Teeth’s debut “Micrographia” is an ambient pop and neo-psychedelic powerhouse that went under the radar. Her voice is comparable to Mica from Magdalena Bay or Maria from The Marias, yet in some tracks, she even channels some Emma Ruth Rundle, an insane dichotomy. The production is all over the place, as well. “Topiary” is dance-punk inspired, while “Merricat” is old-style psychedelic pop, like Cindy Lee. In another case, “Ammonite” has doomgaze influence, similar to Chelsea Wolfe, while “Thin Circle” includes microbeats, like Björk. Honestly, the general direction of the sound of this record is hard to explain; however, she somehow
masters every sound she attempts and ties them all into an extremely cohesive record. The variety of sounds aligns well with the album’s themes, exploring the handling of grief through an awareness of the world’s natural cycle. Her alias and this album are influenced by Robert Hooke’s novel Micrographia, in which Hooke used microscopes to describe the previously unseen beauty of microscopic organisms, including their teeth, hence the name Bug Teeth. Through understanding a new world of detail, one can find acceptance in grief, as everything in the world is constructed through flawless detail and reason, including the losses we go through.

40. “Dali Aint Dead” – ZelooperZ

ZelooperZ delivers his strongest record yet with this one. “Dali Aint Dead” takes everything that ZelooperZ has attempted in prior albums and strengthens it. He’s really perfecting his classic trap Detroit sound, delivering rapid, head-bopping flows, and even finding his groove on more R&B-influenced album cuts, like “Art Of Seduction.” The abstract trap cuts are as punchy as ever, the production is sample-heavy and energetic, and the variety of the sound adds to this album’s consistent excitement. There are no lulls on this album. It’s banger after banger all the way through, and proves that ZelooperZ is really the best Bruiser Brigade member behind
Danny Brown.

39. “Terra infirma” – Deer Park

“Terra infirma” is an angsty cloud rock masterwork – cloud rock being hazy, internet-influenced indie rock inspired by hypnagogic pop, many say was pioneered by Dean Blunt or Alex G. The folkier, slacker rock cuts do read like Alex G songs, however, dimmer in tone. Others explore the punkier elements of modern English hypnagogic pop, similar to Bar Italia. In the middle of the album, there’s an ambient interlude cut with a Jackzebra monologue, as well. Although the influences are clear, the originality of their sound still shines through, exploring a variety of sounds. Downtempo instrumentals are experimented with throughout the latter half of the
album, as well as traditional ambient. The vocals from collaborators and Deer Park himself are strong, matching the atmosphere with angsty, deadpan vocal performances. Overall, “Terra infirma” conveys a cohesive album experience in the cloud rock subgenre, an accomplishment rare due to the subgenre’s fresh presence.

38. “Tranquilizer” – Oneohtrix Point Never

It’s been an eventful year for Daniel Lopatin, aka Oneohtrix Point Never. Not only did he release this album, but he was also responsible for the score to “Marty Supreme.” So, if you enjoyed the music from that movie, give this a listen as it’s similar, but glitchier. Many people credit Lopatin as an early innovator of Vaporwave, and listening to this, it’s clear that the influences of
vaporwave remain in his music. Lush, electronic atmospheres cloud this record, as do glitches of microbeat patterns and crackly, surreal synthesizers. Like the Vaporwave aesthetic, this record invokes feelings of nostalgia and mystery, as if exploring and trying to recall memories in a large semi-familiar cityscape. The utopian virtual sound has persisted in Lopatin’s music, a genre that involves MIDI music inspired by the early days of 90s corporate-associated background music, also taking influence from new jazz and new age. There’s also an overwhelming amount of layered samples on top of each other, all glitched up and mashed, which adds to the futuristic energy of the project, but also creates some anxiety-inducing moments within meditative moments. Overall, “Tranquilizer” is a bittersweet listen and an extremely rewarding listen. Lopatin’s technical mastery is like no other, and his production style is deeply eclectic and alive, switching the tone and emotion of a track every ten seconds as if a machine were evolving in front of the listener. If you like electronic, ambient, or instrumental music, this is a recommendation.

37. “The Most Dear and the Future” – ear

In under 17 minutes, this debut album from ear is the real deal. “The Most Dear and the Future” is a quick but extremely clever take on glitch pop. Ear takes influences from Y2K electronic music and IDM. Their take on electropop is unconventional; it includes a minimalistic and sparse production style, yet a buzzing bass that resembles iconic indie sleaze revival musicians such as Bassvictim or The Hellp. Unlike these musicians, however, ear leans into the atmosphere rather than its energy, prioritizing ethereality and a melancholic tone. The duo’s cold, quiet vocals blend perfectly with the production, too, and enhance moments when there are sudden “beat drops” of buzzing synth. Overall, the quietness is the strongest factor throughout this project. The choppy IDM production style is a genius blend with modern electropop, and it’ll be clear soon that this album is ahead of its time, although influenced by many old-school genres.

36. “Damage Collection!” – Puzzle

The art punk twin brother duo, The Garden, is known for their eclectic experimental rock, taking inspiration from horror punk and electronic genres, such as drum and bass. However, “Damage Collection!” from member Puzzle, although also eclectic, delves heavily into synth pop, sounding completely different from The Garden. Still, the punk influence is clear, but it’s more comparable to synth punk rather than post-punk or art punk. There are clear influences of coldwave and hypnagogic pop within the instrumentals, and Puzzle executes these influences in a way that gives the production an ethereal, atmospheric, and lush energy. This tone works quite well with Puzzle’s cryptic lyrics, containing fantastical imagery. The overall listening experience felt as if I were pursuing an out-of-this-dimension mission, and I consistently encounter sci-fi aliens that I have to fight off to get to the next stage; yet, as the sound
continues, I’m just going deeper and deeper into this mythical world. It’s clear that “Damage Collection!” felt very sci-fi to me and was also just a consistently great, unique record with no duds, an impressive variety of sounds and influences, and catchy hooks. I mean, listen to “Blind As A Bat” or “The Long Way” and tell me that those songs aren’t incredibly catchy! “Damage Collection!” is most definitely Puzzle’s most realized, cohesive, and outstanding work yet as a solo artist, and I just hope he continues to put out quality work in the future!

35. “Some Like It Hot” – bar italia

Although this album has received some questionable feedback due to the fanbase’s inability to accept bar italia’s switch to a more garage band-inspired sound, I believe that “Some Like It Hot” truly lives up to their prior work and is a refreshing change of pace for the band. Plus, this isn’t just basic garage band; the slacker rock vibes and post-punk are clearly still there. And in addition, we’re getting sounds we’ve never heard from bar italia, such as in “I Make My Own Dust,” where the band fuses dark cabaret into their classic post-punk style. NINA, as a vocalist, is as angular as ever, really putting it all on the floor on this one. Bar italia is getting hype rather than slow and hypnagogic, and it’s a shame that people are scared of that! The energy especially shines through during the hooks on this record, “Fundraiser” and “Cowbella” being personal standouts. It’s impossible not to love their exhibition of extreme English rockstar angst during the raw, urban “rooster.” Even on moodier cuts, that angst is alive. Give this album a shot if you’re looking for some real consistent garage rock by a band that, especially vocally, has amazing chemistry.

34. “Magic Of The Sale” – Teethe

“Magic Of The Sale” is a near-perfect mesh of slowcore, alt-country, and dream pop that’s incredibly accessible, yet defies being basic. The male and female vocalists create these hauntingly beautiful harmonies, establishing a cold yet lush atmosphere. I’d also describe this album as very patient, taking its time to reach crescendos and finding solace in silence. However, when a crescendo is reached, it’s gratifying and well-structured, not being totally unexpected but earned. Its slower portions are attention-grabbing as well, pushing the boundaries of slowcore through unique vocal performances, often fluctuating between which harmony is more pronounced: the male vocalist or the female vocalist. Definitely listen to this album if you’re seeking dreamy, melancholic music to listen to at 3 AM with guitar work that is both aggressive and soothing at the same time.

33. “LUX” – Rosalía

Rosalía’s “LUX” is not only a masterfully executed attempt at combining classical music with art pop, but it’s also a masterfully executed attempt at combining and representing culture in art. She sings about 13 languages, each language representing a different female saint, which ties into the main religious theme of the project. Through religious allegory, the album expresses female desire, divinity, and the reclamation of the feminine mystique, in which women found ultimate fulfillment and identity in domestication as housewives and mothers. Instead, she transforms this definition from objectification to female individualism, speaking of female saints whose paths were not paved due to existing as mothers or wives. Sonically, the combination of electronic music, classical music, and flamenco pop makes for an engaging and gorgeous listen. The way that the beat halts, then drops into a vocal-sampled, glitchy IDM at the end of “Reliquia” after the song had been art pop the whole time, is my favorite moment on the album. Rosalía’s voice is just insanely beautiful and unique, as she is classically trained. “LUX” is a theatrical journey that’s delivered in the form of movements and is incredibly complex. I’d recommend this album for sure if you’re interested in complex concept albums that could be warranted to win a Pulitzer Prize.

32. “Getting Killed” – Geese

Probably one of the most hyped albums of the year, Geese’s “Getting Killed,” is a step away from the wackiness of their prior record, “3D Country,” which experimented with Southern rock and alt-country alongside art punk. Instead, “Getting Killed” is an assortment of psychedelic rock, art rock, and Krautrock. As a result, the new record is stripped back, more mature, and more focused compared to “3D Country,” which served as an experiment with sounds for the band. Still, I enjoy “3D Country” more overall for its relentless chaos and country influence; however, “Getting Killed” is an improvement in lyrical depth and Geese’s search for a more refined sound. Delving into themes of religion and power, Geese explores the troubles of the modern generation, the disillusionment that’s natural growing up, and general existentialism. Cameron Winter’s solo project “Heavy Metal” was my 2nd favorite album of the year last year, behind Magdalena Bay’s “Imaginal Disk,” mostly due to Cameron Winter’s unbelievable songwriting talent, and “Getting Killed” is a testament to his skill once again. There’s not much that can be said about this album that hasn’t already been said; it’s manic, bright, still quirky – even if less than “3D Country,” and lush. Cameron Winter’s vocals are phenomenal, chaotic as always, and one-of-a-kind. Overall, “Getting Killed” is a fantastic art rock album that’s impossible to leave out on any list, and it’s deservedly getting the hype it deserves.

31. “Only Dust Remains” – Backxwash

Horrorcore, industrial metal, and hip-hop artist and activist Backxwash is no stranger to making a statement throughout her projects. All of her projects explore rebellious themes against religion, politics, and gender, and this album is no exception; however, there is a striking change of pace in “Only Dust Remains.” Stepping away from the loud, metal-inspired hip-hop for which she was known, Backxwash finds that the conscious and abstract hip-hop sounds better fit the themes of this album. These themes involve the exploration of violence, death, and the pursuit of hope amidst her own trauma and global trauma, such as the tragedies in Palestine, which she’s extremely vocal about throughout the album. Backxwash’s expressed personal traumas delve into substance abuse and the process of exploration of gender identity, as she identifies as transgender. Sonically, this album still contains rock and metal-inspired instrumentals, but they’re stripped back, as her delivery, which is more focused and less enraged, though still intense. Due to the stripped-back and ethereal production, this is her most introspective work yet, as the instrumentals give her more room to focus on her flows and the impactful delivery of intense, protestful lyrics. Flow-wise, this is her most intricate and varied, too. Definitely listen to this if you’re looking for a new abstract hip-hop artist to appreciate, or if you’re into protest rock and meaningful concept albums. The track “Dissociation” is a personal favorite; the beat is incredibly atmospheric, and the punchy drums and roaring guitar in the middle of the song are otherworldly.

30. “God’s Gonna Give You a Million Dollars” – Shallowater

Shallowater’s new record is the most crushing and somber slowcore album I’ve heard all year, and that doesn’t get tiring or boring. It’s long, stale, and repetitive, but these qualities actually add to the haziness that the record intentionally pushes. Slow, tinny drums back up soulful guitar tones, and the production’s minimalism emphasizes the hopelessness in the lyrics. However, throughout the slow, depressing muck are these occasional bursts of raging noise that are worth the patience. Plus, I don’t always want to be given gold; this album’s patient muck is just as entertaining to wade through. Vocally, the lead singer’s pastoral-sounding voice sounds amazing on slowcore instrumentation. His mellow voice works very well with the overall depressing and lonely vibe. “God’s Gonna Give You a Million Dollars” is a poetic piece of alt-country slowcore accompanied by influences of shoegaze, post-rock, and midwest emo that crushes a listener’s soul. So with that, I’d recommend it if you are looking for extremely sad music!

29. “[********]” – billy woods

Throughout every new billy wood’s album, there’s a new sound that he explores. In this one, however, billy wood’s directs his experimental, abstract hip-hop sound into horrorcore, introducing hauntingly dark and disturbing sample-based production to carry the album’s themes of addressing U.S. anti-black economic exploitation, societal indifference towards social class organization, and the overall lasting effects of the dehumanization of black people in U.S. history. Both the lyrics and the production include Wood’s darkest and provocative yet; I mean, even the title of the album itself is a slur that represents the caricature doll shown on the album
cover. It’s a confrontational piece, and like all of Wood’s albums thus far, a masterful exhibition of descriptive poetry and flows. I believe that billy woods has the greatest pen game and some of the best flows in all of hip-hop, and this album continues to prove that. The featured producers on this album are truly an all-star list, as well, including The Alchemist, Conductor Williams, Kenny Segal, DJ Haram, Steel Tipped Dove, and more. In conclusion, you do not want to miss this album if you’re a conscious hip-hop or experimental hip-hop fanatic.

28. “The Spiritual Sound” – Agriculture

Agriculture’s “The Spiritual Sound” is blackgaze and post-metal insanity. It’s loud, dense, chaotic, dark, and aggressive, just absolutely perfect for the gym with its fast-paced black metal riffs. Lyrically, its spiritual themes of Zen Buddhism and anarchism blend perfectly into its sound of scary, screeching vocal performances from both a female and a male vocalist. Additionally, for a blackgaze album, the sound is quite varied, also leaning towards noise rock, avant-garde metal, and slowcore. The second half is a stark change of pace, as the band plays with silent moments that collide harshly with metal in an instant. The band doesn’t just stick to the formula of black metal; they often switch things up, and it’s clear that they’re doing whatever they want, which is what makes it so much more enjoyable to listen to. If you’re looking for unique black metal, listen to this for sure.

27. “Big city life” – Smerz

Smerz’s newest album is a change of pace I did not see coming. Their previous work, “Believer,” contained modern classical and UK Bass influences throughout their classic minimalist art pop sound; however, “Big city life” throws that out the window and replaces these influences with trip hop, indietronica, and hypnagogic pop to convey the themes of big city living. Honestly, this style fits them quite well, even if, personally, the sounds of “Believer” were generally more impressive. Still, electronic influence is alive in their use of these new influences, often implementing raw synths and minimalist MIDI drums. Smerz’s vocals and lyrics have grown more confident and engaging with time; they’re even making ballads, such as the incredible song of the year candidate, “You got time and I got money.” The duo’s voices are still pretty deadpan, though, in a way that adds to the urban flair of “we’re that cool.” Sonically, this album is quirky and raw like their past work. I’d definitely recommend it if you’re into the minimalism that the music sphere of Dean Blunt-esque musicians offers. The album captures how the nightlife in old-time New York and wearing fluffy boa scarves and high heels feel; it captures the excitement of gambling and the mysterious romance in the air. Smerz’s existence is an example of the recent increase in Copenhagen’s hypnagogic, minimalist alt-pop musicians due to the Rhythmic Music Conservatory (RMC) in Copenhagen. This specific school seems to have birthed every interesting and unconventional English niche star: Erika de Casier, Clarissa Conelly, Molina, ML Buch, and Astrid Sonne, to name a few. Smerz is definitely one to keep an eye out for, because this album is amazing.

26. “Baby” – Dijon

Dijon’s 2025 has been far from lazy, as he has worked heavily on Justin Bieber’s “SWAG,” contributed to Bon Iver’s “SABLE fABLE,” and made an on-screen debut in One Battle After Another. Most impressively and anticipated, however, was his album “Baby,” which focused on his new life as a father and communicated personal life changes. “Baby” is an absolute maximalist showcase of experimental Neo-soul, glitch pop, alternative R&B, bedroom pop, and more, that sounds very Prince-inspired. The production style is almost sound collage and is unexpectedly avant-garde compared to his last release, although his sound was never very conventional. Although the production is so chaotic, his raw expression of warm love for his family shines through in every song, the first song being titled “Baby!” for his wife, and the next, “Another Baby!” for his child. I don’t think I’ll hear another modern R&B album that sounds like this again; in fact, when samples in the production were extremely chopped up and manipulated, it even reminded me of the maximalist sound collage you’d find in a Slauson Malone record. He does his past influences justice by taking the sound and modernizing it, for sure.

25. “SISTER” – Frost Children

Lulu and Angel Frost’s “SISTER” is an album that demands your constant attention. You cannot physically listen to this album sitting down. Frost Children is really bringing back the 2010s rave and festival progressive house with this one. Steering away from their traditional fidget house production, “SISTER” is mechanical, aggressive, and relentless in its drops. The first half of the album is especially ruthless and energetic before it takes an introspective and sentimental turn in “Sister,” the title track, which delves into their childhood as siblings. The song addresses childhood regret and dreams, dreams that’ve come into fruition as adults, and their passion for making music together as siblings. Still, as the tracklist continues, the bangers persist. The catchiness of the choruses, vocal performances, and chemistry between Frost Children and their collaborators are definitely highlights. Lulu’s whisper and emo rap-inspired vocals in “Radio” completely match the energy of Kim Petras’s 2010s Ke$ha flair; that’s definitely a song that’ll get stuck in any listener’s head. The extreme dichotomy of the acoustic guitar into the buzzing, tinnitus-inducing drop in “Bound2U” should be illegal. This is an album that needs to be at every rave, because let’s admit it, festival house and bloghouse were the best in the early
2010s.

24. “Friend” – james K

James K’s “Friend” is an album I did not see coming from the experimental producer. Her last album, “Random Girl,” tackles post-industrial, dark ambient, and death industrial genres, and mostly rejects a structured, pop-vocal performance; however, it was still amazing, even if ominous, dark, and cold, and one of the best electronic albums of that year. “Friend” is a completely different change of pace, as it’s a lengthy piece of psychedelic downtempo, indietronica, dream pop, and trip hop, equally as enjoyable as “Random Girl.” James K has a long history of featuring her voice for electronic artists, such as Yves Tumor, LEYA, Moin, and Mykki Blanco, so I’m happy that she’s found confidence in her vocal performance in a more accessible record, as the sound really fits her. This lengthy album is extremely atmospheric, dreamy, and lush. Her vocals, although quiet and smooth in an ambient pop fashion, are bright and match the hypnotic vibe of the album. The production is some of the most meditative and ethereal you’ll hear out of an ambient pop album this year. As before an underground legend, james K’s “Friend” is a push into a more mainstream sound and world, a world that should embrace her with open arms, because this sound is enchanting on her. Her vocal cadences on these instrumentals are so distinctive and new, too, proving she could have done this sound whenever she wanted to.

23. “Eusexua Afterglow” – FKA twigs

“Eusexua Afterglow,” the counterpart and sister album of the earlier “Eusexua,” is not a deluxe album, but instead a completely different concept and sound. Reverting to her career’s earlier sounds of post-dubstep, UK Bass, and UK Garage that you’d hear in “LP1” or her initial “EP” projects, this is the most refined that sound has ever sounded for her. As “LP1” was, it’s incredibly psychedelic, bassy, mechanical, punchy, and almost deconstructed; however, it’s also even more futuristic than “LP1,” since 2014, when it was released, had a different definition of futuristic than it does now. Still, “LP1” has aged like fine wine and is honestly my favorite album from her, but “Eusexua Afterglow” introduces some of the best atmospheres that FKA twigs has ever played with. The sound, as the name suggests, is post-Eusexua, or delves into the experimentation of the original “Eusexua” record. The club music inspiration is more alternative and avant-garde, as if “Eusexua” were for your general gay club, and this record was for Berghain. Vocally, FKA twigs obviously sounds as good as ever, even if the production is in the forefront of many of these tracks rather than her vocals. Definitely listen to this if you’re looking for alien, experimental, club music that’s surreal, eclectic, and embraces the simple pleasures in life.

22. “sleep with a cane” – Klein

Klein’s newest mixtape/album is ambient drone perfected to its core. This dreamy, strange, and dark ambient album is my favorite strictly ambient and mostly instrumental album of the year, as Klein is a master at creating surreal, distant, and cold atmospheres. Her take on ambient is off-kilter, sparse in sound, and extremely meditative. I’ve fallen asleep to this album numerous times because the dissonance is that calming. The tracklist is varied in emotion, some tracks soothing and expressing contentment, while others are apocalyptic and a little scary. The track “it is what it is in d minor” is one of the best ambient tracks I’ve ever heard; it’s a 13-minute otherworldly, ethereal piece that progressively grows larger, concluding in laughter in the background. I believe, thematically, that certain sounds she implements represent certain ages, experiences, and relationships she’s had with family and friends throughout her life. As the album progresses, she’s growing older. Klein is widely known for her work with MIKE; however, Slauson Malone, FearDorian, and Mica Levi are other past collaborators. In this record, she includes features from Space Afrika, although the song is a hilarious 16 seconds. Another notable feature is legendary Ecco2k, an artist I believe is underrated for their ambient work. The ending track has a surprisingly placed, raw vocal performance by Klein, which is a perfect conclusion to the project’s intensity. If you enjoy dark ambient with conceptual themes, “sleep with a cane” is for you!

21. “45 Pounds” – YHWH Nailgun

In only 21 minutes, “45 Pounds” is the nastiest-sounding experimental rock album I’ve heard all year. You could describe this album as industrial rock, math rock, noise rock, art punk, post-punk, or whatever might come to mind; however, “45 Pounds” is no-wave-based rock that I find exceptionally unique and hard to define. Alongside tribal, polyrhythmic, and abstract instrumentation are the lead vocalist’s raspy and manic vocals that loudly whisper-shout into the atmosphere. All the tracks follow about the same formula; however, I’m not even mad at that, as it makes for a super-engaging album experience when all the songs perfectly blend into each other. Plus, each track has its own unique, special moment; for example, when all of a sudden there are machine-gun-sounding power electronics that blast in the middle of “Pain Fountain” or when the whole instrumentation dissolves and implodes in the opening track, “Penetrator.” Overall, this album sounds like one continuous song that evolves until the very end. Because of this, “45 Pounds” was one of my favorite albums to play as a whole at any time of the day. I can’t listen to one song without wanting to play the rest of the album. Expect absolute insanity when listening to this one!

20. “K1” – kmoe

Kmoe’s highly anticipated debut album is everything I would have wanted from the young artist. Although the hyperpop, digicore sound suited him well, “K1” is a step towards maturity, as he blends his past sound with indietronica, shoegaze, and noise pop. My favorite track on here, “Idiot,” is a bizarre fusion of emo-pop, electronic dance music, and shoegaze, and as the album progresses, his sound becomes even more versatile. There are slow pop-rock songs and hip-hop-inspired digicore bangers on here; I can’t complain about much except for the runtime, which I wish were a bit longer than 35 minutes. Vocally, kmoe is the strongest he’s ever been. His voice is hit-or-miss with many, but personally, I love the youthful and grew-up-on-the-Internet quality of his voice. The themes of the album match his voice perfectly, as the lyrics relate to aging, breakups, and depression, all concepts the modern young teenager could relate to. Many artists struggled growing out of the early 2020s hyperpop scene, but kmoe’s debut album proves that he has a lot more up his sleeve.

19. “Lifetime” – Erika de Casier

Erika de Casier is back with another batch of downtempo trip-hop and alternative R&B in this short album. Although existing at a 30-minute runtime, there are no misses, and every song does exactly what it needs to do. Casier is most known for her hip-hop soul and contemporary R&B fusion; however, this album prioritizes atmosphere and mellow, good vibes above anything else. The artist is also known for her songwriting capabilities, most notably writing “Super Shy” for NewJeans, and this album is another testament to that skill. When listening to this record, expect a cozy and lush batch of consistent, meditative, and lowkey downtempo bangers. I believe that the prerequisite for enjoying this album is enjoying music, period. I truly don’t think someone can dislike this one.

18. “Vanisher, Horizon Scraper” – Quadeca

Quadeca has returned to the game of concept albums after releasing his 2024 mixtape “Scrapyard.” This new one, rather than a collection of songs, is experienced more as a journey, a quality that’s for better or for worse. Quadeca’s sound is difficult to pinpoint nowadays, as it touches upon a great deal of influences. Some of these influences include folktronica, chamber folk, neo-psychedelia, and experimental hip-hop, baroque pop, and more. However, the art pop label makes the most sense in “Vanisher, Horizon Scraper” when listening to tracks such as “Monday,” “Ruin My Life,” or the otherworldly climax, “Forgone.” As the album title and cover suggest, this album is lushly aquatic and makes me feel as if I’m and explorer sailing for treasure on a rustic sailship. Through the concepts of sea mythology, exploration, and escapism, Quadeca’s main talking points involve the fears of aging, death, and never finding love. Vocally, Quadeca is strong, sounding very folk or Bright Eyes-inspired. However, it’s the production that really makes this album as great as it is, which Quadeca is mostly responsible for, as he’s grown more talented over the years. Quadeca’s sound is incredibly complex, containing countless layers and details, as many sounds match the experience that the protagonist of the concept album is undergoing at sea, the concluding song involving his eventual death, which is portrayed by extreme distortion of the featured live band, Maruja, who also released a great album this year. This is another album for lovers of eclectic concept albums, for sure!

17. “Hagen” – Titanic

Titanic’s “Hagen,” although an album I didn’t dive into too much lyrically, is one of the most interesting-sounding Latin, art rock, and art pop albums of the year. The vocalist of the duo, Mabe Fratti, was an artist I was already fond of; however, the duo’s choices in production, as Titanic, give her bright and playful voice an angular, abstract edge that I enjoy very much. The complex time signatures and instrumentation, combined with her vocals, result in an ethereal and dramatic product that I could visualize being performed in an experimental musical theater. The quieter, less dramatic, and more ballad-based songs are also captivating and meditative. Overall, listen to this album if you’re looking for dramatic, eclectic, and soothing art pop that’s unconventional in a unique way from U.S. musicians, as only an album like this could be made by Latin musicians.

16. “Mark William Lewis” – Mark William Lewis

Mark William Lewis’s self-titled album is a more advanced take from his breakout EP releases, introducing more singer-songwriter elements into the mix. As a result, the structure of this work is more focused and cohesive as a project, making this my definite favorite of his thus far. Interestingly enough, this album is also the debut release from A24’s new music label. Sonically, this album contains Lewis’s classic mix of slowcore, neo-psychedelia, and folk rock. Lewis’s signature instrument is his harmonica, which hits every single time amid melancholic guitar and slow drums. Lewis’s deep voice is also one of his most distinctive qualities, as he delivers lethargic, lonely lyrics in a mellow fashion. His music has always been comparable to the works of Dean Blunt; however, this project is somewhat distanced from that likeness, as it seems he’s found a refined sound here. The consistency of this album is another major factor in my enjoyment, as there are no misses throughout this project. My favorite track is definitely “Tomorrow is Perfect,” a lengthy, slowcore beauty that makes me feel as if I were walking the dock of a windy coastal city at night, only slightly able to hear rough waves near me. For A24’s new music label, this is as great a start as a label can have!

15. “The Revolving Star: Archive & Practice 002” – Cities Aviv

Cities Aviv’s new record is officially interpreted as a compilation album, described as containing a collection of unreleased tracks ranging from 2018 to 2025; however, I would have never assumed that, as these songs blend into each other perfectly as if they were created around the same time. Cities Aviv’s style of experimental hip-hop has always been the most interesting to me, as early in his career, cloud rap and coldwave were a strong influence in his music. However, as his career has progressed since his breakout 2012 mixtape “Black Pleasure,” Aviv has leaned into the more ambient aspects of vaporwave production and abstract hip-hop’s sample-based production. Aviv chops up vocal samples like no other producer, though, often rapping on eccojams-instrumentation, a style of genre that’s influenced by the vaporwave, chopped-and-screwed, and glitch styles of Oneohtrix Point Never, alias Chuck Pearson’s “Chuck Pearson’s Eccojams Vol. 1.” While Aviv’s lean towards this style of production has been gradual, “Man Plays The Horn,” being glitchy, drumless hip-hop, this new record is a final fusion of the mellowness and glitchiness of Eccojams and abstract, drumless hip hop. Still, it’s not his most subdued and vaporwave-inspired album, as I’d have to give that to my personal favorite of his, “GUM,” which is one of my favorite hip-hop records of all time. Still, this record is a solid and highly anticipated addition to his discography, as it has been three years since his last non-instrumental-based album. Rather than hip-hop, Aviv dropped several ambient tapes under the Cities Aviv name and other aliases, such as African-American Sound Recordings. Throughout his records, the variety of sound is the most refreshing in this one, although “Man Plays The Horn” was also versatile. Like “Man Plays The Horn,” its variety is supported by an insanely lengthy but satisfying runtime, as this record clocks in at about an hour and thirty minutes. It’s a combination of hip-hop and psychedelic instrumentals, rather than just one or the other. Listen to this one if you’re looking for a new experimental hip-hop artist to obsess over. Cities Aviv has it all: insane and varied stream-of-consciousness flows, subdued and aggressive deliveries, and eclectic lo-fi instrumentals.

14. “Choke Enough” – Oklou

Oklou’s “Choke Enough” is a great follow-up to her prior “Galore” mixtape. This album leans more into the Y2K vibes of ambient trance, indietronica, and ambient pop. The atmosphere is prioritized above anything, which others might dislike, but I love. As always, Oklou’s voice is very soft and endearing, fitting her signature style of creating ethereal, melodic, and hypnotic synthscapes. The only thing different in this record from “Galore” is that she pushes the nostalgia of these sounds a step further by implementing more Y2K-driven production, even having a guitar-focused alt-pop song at the end. Bladee and Underscores are the only features on this album. These artists are entirely different but can both relate to Oklou’s sound. Underscores embraces the album’s more hyperpop influences, while Bladee embraces delicate synthpop. This album is the easiest listen I’ve had all year; there’s not much to decipher, and it’s just an extremely enjoyable listen altogether. Listen to this, for sure, if you’re looking for transcendental, futuristically minimalist, hypnotizing, and almost mysterious-sounding pop music.

13. “Racing Mount Pleasant” – Racing Mount Pleasant

Racing Mount Pleasant’s self-titled is a melodramatic chamber pop, art rock, and post-rock masterpiece that many have compared to Black Country, New Road’s more notable releases. And although the post-rock, almost Windmill scene influence is there, this album delves more into slowcore and indie folk, where I believe that comparison is unjust. Racing Mount Pleasant had released only one prior album under a different alias named Kingfisher. Although that album was pretty good, the consistency, cohesiveness, and theatrical nature of this one make it much more enjoyable. The record’s sound is captured perfectly on the album cover. The instrumentation is cold, lush, somber, and soothing; the vocalist fluctuates from talk-singing to beautiful harmonies with the female vocalist. The combination of post-rock horns, indie folk guitar, and slowcore drums is heaven-sent. Listen to this album if you’re into impressive, abstract live instrumentation in rock music, but still want something soothing enough to listen to while taking walks in the cold.

12. “Willoughby Tucker, I’ll Always Love You” – Ethel Cain

Ethel Cain’s album lore is a subject people have written essays on, so I’ll spare the description of conceptual themes; however, sonically, this album is Ethel Cain’s strongest yet. Her accessible take on slowcore, ambient, post-rock, ethereal wave, and dream pop creates personal earworms, even if these genres aren’t generally known for being catchy. But above catchiness and memorability, this album is soul-crushing to its very core. It’s an incredibly depressing, lethargic, and dark experience, and that’s not even including its lyrics or conceptual themes. Cain is a professional at creating ambient compositions, as seen in her EP earlier this year; however, rather than dark ambient, this album’s ambience stems from post-rock, sounding melancholic and existential. Amid the sulky and hazy ambience are a couple more pop-influenced tracks, “Nettles” and “**** Me Eyes.” “Nettles” is my favorite song behind the slowcore, moody “Dust Bowl,” as in its 9-minute runtime, it’s a catchy piece of Americana and her strongest vocal performance. This is probably the saddest album of the year; however, it’s incredible. I’d recommend this to anybody mentally strong enough to endure it!

11. “Riviera” – The Hellp

A darker change of pace for The Hellp, “Riviera” is just as much a party as “LL,” but colder in tone. As “LL” was a display of talent and bangers, the bangers on “Riviera” are much more serious in concept and instrumentation, introducing darker synths and deeper sounds altogether. The product is an outstanding fusion of electropop, indietronica, and electroclash with great hooks and rave-y production that’s no less enjoyable than “LL,” although much shorter. I always believed that Noah Dillon’s anxious, sometimes deadpan vocals matched perfectly with Chander Lucy’s production, although many criticize Dillon for his imperfect vocals. There are so many great experimental moments on here as well, especially when the production really starts to pick up at the end of tracks. The absolute breakdown of the instrumental in “Meridian” in the middle of the track, as well as the ending chorus, is mind-splitting. The concluding track, “Live Forever,” is also a highlight, having sounds that almost reference their last album-concluder on “LL,” “Distribution.” Still, this is everything I could have wanted from a new The Hellp album, and “Riviera” serves as an impressive, more serious contribution to their catalog that I hope will grow more with time. I can say now with confidence that The Hellp is the best contributor to the modern indie sleaze revival era, because not only do they do the sound justice and creatively, but they also form it into cohesive, well-thought-out records.

10. “I Love My Computer” – Ninajirachi

“I Love My Computer” is the most fun listen I’ve had all year. As probably the most impressive electro house I’ve ever heard, Ninajirachi blends themes of being chronically online, nostalgia, and her love for technology into hard-hitting electropop and beat drops I wish I could experience for the first time again. The beats are so incredibly punchy, mechanical, bright, bouncy, and dense with sounds; this could be the most colorful album of the year. Ninajirachi’s quirkiness shines through in her bright vocals and lyrics that describe her love for making music. “I Love My Computer” is exactly what I was wishing for from Ninajirachi, as her last projects weren’t as focused and cohesive. In this project, the songs blend flawlessly into each other, and I found myself enjoying it as an album experience, rather than a couple of songs standing out to me. Listen to this if you like electronic music of any kind; this is one-of-a-kind fun electronic music!

9. “Pirouette” – Model/Actriz

Model/Actriz turns down the No Wave, noise rock dial on this one and leans more into dance-punk. Their classic EBM sound and guitar or synth pluck is still there, but it’s even more pronounced this time, making this album more danceable than their last. This album could easily be played at a horror-themed drag show, and it wouldn’t even be inappropriate, as the themes lie heavily upon sexuality and gender. “Piroutte” is lead singer Cole Haden’s truest embracement of sexuality thus far, even if “Dogsbody” expressed the more vulnerable sexual aspects of his sexuality. “Pirouette” is also vulnerable, but more emotionally, twisting their industrial sound into queer pop, expressing its influences of disco and club music, while still maintaining their experimental edge in noise music. The production is as incredibly unconventional and evil-sounding as always. Haden’s vocals are stronger and more passionate
than ever; his yearning, anxious, and angular vocal performance is an obvious highlight throughout the record. His strange, talk-singing vocals also fit lyrical themes and their poetic structure, too, as if he were performing in a theater, dancing seductively while singing. Overall, his performance is raw and emotionally demanding. This album is definitely the most raw expression of sexuality I’ve ever heard in an album this year, both containing the good, the bad, and the in between.

8. “Through the Wall” – Rochelle Jordan

Rochelle Jordan’s “Through the Wall” is her most expansive project yet, at an hour of music. Throughout this runtime, it’s an unbelievably consistent batch of deep house, alternative R&B, and dance-pop bangers that transition into each other to create a nonstop, nocturnal party. It’s impossible to stay still throughout this album, and I even caught myself dancing without knowing
during my first listen. Producer K L S H’s production is smooth, similar to some of Kaytranada’s work, which makes sense since Rochelle Jordan and Kaytranada have collaborated in the past. Influences of garage house and post-dubstep are also clear, resulting in a bouncy, bassy, and psychedelic atmosphere. This is one of the most consistently great house records I’ve ever heard in my life, and Rochelle Jordan’s vocals and hooks kill it the whole time. Any pop fan needs to listen to this album, especially those who are fans of Kelela, PinkPantheress, or Kaytranada.

7. “Sky Record” – Dan English

Dan English’s “Sky Record” is an album that went under the radar, but I believe deserves some serious credit as one of the best albums of the year. It’s an intricate and versatile piece of neo-psychedelia, chamber folk, and hypnagogic pop. The production is especially lush, bright, and theatrical. It’s definitely one of the more unique experiences I’ve had with a folk-based album all year. Dan English’s voice reminds me of a very mellow Bob Dylan, or maybe even A.G. Cook. My favorite aspect of the production is the random, sparse electric guitar solos that interrupt otherwise smooth, folky production. This album involves its fair share of ambient moments, too. Most notably, the vocal ambient piece “Sky Record Song” featuring Melody English is transcendent. Martha Skye Murphy’s art pop album from last year, “Um,” somewhat reminds me of this album, which makes sense, as Dan English offered some background vocals throughout that album. I do enjoy “Sky Record” more, however, due to the overall consistency that English brings to the table. Each song varies in sound, yet they all fit into this atmospheric, fantastical narrative that’s almost a little bit medieval. Listening to this record, I almost feel transported into a heavenly, sky-island dimension, where the sun never sets.

6. “Unmusique” – Lucy Bedroque

Lucy Bedroque is an artist I’ve had the privilege of diving into for the last year and some through his release of “Fête de la Vanille,” a small EP that contained a large variety of sounds: art pop, indietronica, cloud rap, digicore, alternative R&B, and more. However, on “Unmusique,” Lucy manipulates all of these sounds into rage hip-hop and experimental hip-hop, amplifying the electronic aspect of digicore to the next level, where some tracks even contain influences of hardcore EDM. Not many rage artists can release an album where the sound is new and interesting throughout the whole project; however, “Unmusique” is that and more. It’s honestly hard to pick a favorite aspect of Lucy’s performance. Whether it’s the production, his androgynous vocals, or melodic, ever-changing flows, “Unmusique” is my favorite rage project of all time, although Bladee and Che have come close. When tasked with describing this album to a general music listener, I’ve explained that “Unmusique” is anime, rave Playboi Carti, and although funny, it’s partly true. The anime influence throughout all of Lucy Bedroque’s music is impossible to ignore, and releasing rage music in that style is so incredibly unique and ethereal. Definitely listen to this album if you’re into rage; it’s bouncy, atmospheric, chaotic, surreal, bassy,
fiery, and a top-tier rage experience.

5. “BLACK’!ANTIQUE” – Pink Siifu

Pink Siifu is undoubtedly one of the most unconventional artists to come out of the abstract, experimental hip-hop world, and this album is a recollection of all the styles he’s committed to throughout his career. Delving into industrial music, abstract hip hop, cloud rap, jazz rap, and sound collage, this album is an eclectic journey of surprises that never has a dull moment. Opening the album with a few noisy, experimental hip-hop bangers that express the classic Southern hip-hop aggressive flair, Pink Siifu’s deadpan voice flows effortlessly on loud bass and buzzing synths. The first third of the album, I could only describe as evil “car music,” or music I’d
blast while driving 90 down an empty freeway at the dead of night. Yet, as this album progresses, the tone grows more mellow, transforming from loud, horror-industrial hip-hop to psychedelic, cloudy trap. Siifu’s voice is continuously mellow, his flow hypnotic, rhythmic, and ever-changing. Once again, the last third of the album is more mellow-based hip-hop, some songs being straight-up abstract hip-hop supported by sample-based instrumental loops that MIKE or Earl Sweatshirt would rap on. Then, the last song is a hauntingly executed work of reverbed spoken word above a sound collage of water pouring, leading to a transition into more spoken word that concludes the album and its themes of what “BLACK’!ANTIQUE” means. Overall, this album is an absolute journey of intense, scary, and complex experimental hip-hop that touches upon seemingly all subgenres of the hip-hop world. Listen to this for sure if you’re into the more abstract musicians of hip-hop, including JPEGMAFIA, Injury Reserve, or even Kanye’s “Yeezus.”

4. “caroline 2” – caroline

Caroline’s second album is a major step up for the band. Continuing their totalist and progressive sound in post-rock, avant-folk, and even a little bit of slowcore, “caroline 2” is the most cinematic album of the year, period. All the songs start slow, quiet, and progressively build into large crescendos that remind me of the cinematic feeling of riding a bike and feeling the wind blow against your face. The production almost feels improvised; it’s off-kilter, warm, avant-garde, melancholic, and surreal. Vocally, the harmonies between all the vocalists create a lush atmosphere, especially when they overlap. The album also features Caroline Polachek in “Tell me I never knew that,” who I assume only featured because it would be funny to see the song display as “Tell me I never knew that” by caroline featuring Caroline on “caroline 2”. Lyrically, this album is poetic and displays themes of longing, existentialism, and love. This album is a unique masterpiece, and caroline’s sound is impossible to replicate. This album stuck with me the most out of any other folk album here.

3. “Iconoclasts” – Anna Von Hausswolff

Anna Von Hausswolff is back after 7 years without releasing an album with vocals on it. 2020’s “All Thoughts Fly” was her last album, which was strictly Holy Minimalism and drone. Her most notable work, however, was 2018’s masterpiece, “Dead Magic,” which had vocals and was undoubtedly one of the best records in the Neoclassical Darkwave genre. Back again, “Iconoclasts” delves into art rock and post-rock, and still carries the influences of Holy Minimalism and Neoclassical Darkwave. While “Dead Magic” was dark and ominous, “Iconoclasts” is triumphant and maximalist. The production is melodramatic, orchestral, and much fuller than her prior work. As hard as it is to speak badly of “Dead Magic,” with some time, “Iconoclasts” is now my favorite Hausswolff album and the best rock album of the year, period. Hausswolff’s voice is like no other. It’s shrill, evil, and full of emotion. Hausswolff’s signature church organ sounds transcendent on art rock instrumentation. Each song feels like its own individual chapter in an epic; this album is so incredibly immersive. Hausswolff doesn’t usually include features in her work, but Ethel Cain, Iggy Pop, and her sister, Maria Von Hausswolff, make an appearance. Although I was hesitant to an Iggy Pop feature at first, his addition to “The Whole Woman” gives the song its meaning. Their vocals harshly contradict, displaying the raw, emotional love a father and his daughter have for each other. Continuing themes of family relationships, “Unconditional Love” with her sister is another sweet duet. “Aging Young Women”
with Ethel Cain is one of my favorite songs, and one of the best hooks Hausswolff has ever performed in her career. There’s so much to say about the album’s themes, as it relates to the definition of “iconoclasts,” a person who attacks cherished beliefs and institutions. Hausswolff, through self-destruction, wants to find new meaning in the rubble. Overall, listen to this album if you’re looking for gothic art rock with intense, conceptual meaning and an epic vocal performance like no other.

2. “The Passionate Ones” – Nourished by Time

Marcus Brown’s “The Passionate Ones” is the grooviest and warmest album of the year. It’s a perfect blend of bedroom pop, sophisti-pop, alternative R&B, UK street soul, and neo-psychedelia. Nourished by Time’s production is some of the lushest and creative that’s ever grazed my ears in the R&B sphere. His voice, deep and soothing, reminded me of the 90s Lighthouse Family, a duo that, interestingly enough, sounds like some of the songs on this record as well. Tony Bontana, an underground, experimental U.K. rapper, also features on this record, which I would have never expected, as I’ve been a fan of his for a couple of years. Highlight tracks include “Max Potential,” which has such a satisfying electric guitar entrance throughout the chorus. “9 2 5” is another catchy banger of engaging hypnagogic pop with charming synth work and an incredibly catchy chorus. “Tossed Away” has to be my favorite, though, as it’s a passionate ballad with more impressive, lo-fi synth work. Finding passions while in the age of late-stage capitalism is the album’s theme; in fact, passion is so important that Brown creates a “cult” around the theme, this cult being an environment to channel passion into action and social change, hopefully to break free from capitalism’s shackles. The passions that Brown delves into include love and romance, hobbies and interests, and spirituality. His sound perfectly captures the warmth of finding passion and the feeling of yearning for your passions. This album’s criticism of capitalism is also evident, especially in “BABY BABY,” describing it as “Operation, brainwash,” and being vocal about the tragedies in Palestine. Overall, this album is hazy, rebellious, rhythmic, and one of the best-sounding albums you’ll hear all year!

1. “Revengeseekerz” – Jane Remover

Jane Remover’s “Revengeseekerz” is a sonic representation of pyrotechnics. There is no limit to Jane Remover’s sound. They’ve tackled hyperpop, indietronica, shoegaze, post-metal, rage, digicore, experimental hip hop, post-rock, and more. As an artist, Jane Remover is completely undefinable, and each release is a complete surprise. But previous releases aside, “Revengeseekerz” is Jane’s reclamation of a genre that they invented, that others have been “biting.” Dariacore, a subgenre originated by one of Jane’s aliases, leroy, is an association with EDM involving glitched, sporadically chopped samples of popular media blended with hardcore EDM, including gabber, future bass, hard dance, and more. “Revengeseekerz” utilizes some of these influences, meshing them into the new sounds performed by those inspired by them. These new sounds include rage and digicore, explaining the large industrial hip-hop influence throughout the album. However, as the title suggests, Jane is not happy with those who’ve forgotten to credit them for the sound’s reinvention, so they’re here to take revenge. Thematically, Jane is also reverting to their old sound to prove that they can do it so much better. All of these tracks are punches in the face of distortion, samples from the Internet and popular culture (they spams Pokémon samples), glass breaking, and other influences of rock and metal to prove that they can do that too. Danny Brown is the only feature on this album, featuring on “Psychoboost,” which contains the album’s most obvious example of ear-numbing, hardcore EDM. “Star people” is an industrial take on jerk and Jersey music, as they’re from New Jersey. “Dreamflasher” and “Professional Vengeance” have to be my favorites, as both have extremely catchy choruses. The lyric, “Please God save me, I’m so turnt right now,” is so “tough” for lack of better words. This album never has a lull moment, and even in its slower portions, where Jane sings of self-hatred and paranoia in “Dark night castle,” a peaceful piano and guitar-driven instrumental is interrupted with piercingly loud electronics and noise. “Revengeseekerz” is easily the most eclectic work of the year, and Jane Remover expresses anger and self-fragility through a contradicting confidence that no one else can. Listen to this album if you’re looking for boastful yet introspective rage, digicore music that you can blast and blow out your eardrums to!