30
Earl Sweatshirt Live Laugh Love
Top Track: TOURMALINE
Live Laugh Love feels like Earl Sweatshirt easing the blinds open. Theravada’s production coils in warped, trance-like loops; creating a gentle yet off-kilter calm that invites repeat listens rather than instant impact. It’s certainly not a sharp sonic left-turn from Earl, but it is warmer as his long-held world-weariness softens into glimpses of domestic contentment, unfurled as ever through his razor-sharp wordplay. Once again, Earl proves himself as a low-key master of abstract hip-hop; rewarding patience with slow-burning beauty.
29
Open Mike Eagle Neighborhood Gods Unlimited
Top Track: my co-worker clark kent’s secret black box
The 10th album from the art-rap veteran unfolds through a series of hazy vignettes, drifting between introspection and surrealist fantasy. OME is the deadpan everyman navigating through Lynchian dream sequences to daily mundanities with wry, self-effacing humour and sharp self-reflection. His conversational flow, combined with gentle production welcome you into intimate yet expansive tales. An ambitious feat of world-building from one of hip-hop’s most thoughtful and imaginative voices.
28
Moonchild Sanelly Full Moon
Top Track: To Kill a Single Girl (Tequila)
The South African star’s reputation has been on the rise over recent years, featuring alongside the likes of Gorillaz, Ezra Collective, and Self Esteem. Her third album, Full Moon, provides a more rounded view of a larger-than-life persona and establishes her as a worthy main character. Sanelly’s self-styled brand of ‘future ghetto-funk’ merges amapiano roots with mainstream hip-hop and pop influences. Bursting with her twist on the kind of brash, sex-positive party hits in the lineage of Minaj and Megan (“It’s your God-given duty to appreciate my booty”). But also balanced with open-hearted ballads revealing the humanity and vulnerability beneath the bravado. A portrait of a potential crossover star, that’s full of heart, humour, and horniness. (Read More)
27
Nobody Jones Missing Person
Top Track: Facing Away
The debut from Philadelphia’s Nobody Jones is a stark set of alt-country ballads. The instrumentation is consistently gorgeous, Silas Reidy’s mournful pedal steel twangs, Paul Royse’s twinkling piano lines, or the rolling bass of Tyler Lynch. At times, the arrangements are pulled back to just an acoustic guitar and a lonely moog drone, leaving the voice of the eponymous Jones exposed; coarse and commanding yet also utterly vulnerable and tender as he navigates dejection, resignation, defiance, and hope. These are beautifully fragile songs exploring the fragility of the human psyche.
26
Fatboi Sharif & Driveby Let Me Out
Top Track: Battlestar Galactica
New Jersey’s Fatboi Sharif is an infamous torchbearer for experimental hip-hop; always pushing into new extremes in search of the unknown and unexplored. On Let Me Out he teams with frequent collaborator, Driveby, whose production conjures up something barely recognisable as hip-hop, or any particular genre; like a soundscape of transmissions shot in from another dimension. On this canvas, Sharif lays out expressionistic sketches of harsh, hauntingly evocative imagery capturing life’s absurd horrors; a surrealist philosopher reflecting the grotesque terror of our times. A disconcerting but utterly compelling album. (Read More)
25
Tunde Adebimpe Thee Black Boltz
Top Track: Magnetic
The TV On The Radio co-founder’s solo debut captures the eclecticism and intensity of the New York art-rock innovators. The album moves restlessly, but adeptly, between styles. From the electrifying dance-punk banger, Magnetic, through dreamy and disorienting electro experimentation, to tender ballads, and the masterful 80’s synth-pop of Somebody New. Adebimpe references “the age of tenderness and rage”, and it often feels like he’s caught somewhere in between as darkness looms over the record; reflecting the recent death of his sister, plus the general angst of our times. But Adebimpe never quite succumbs to despair; instead Thee Black Boltz celebrates the sparks of inspiration, love, and hope that still emerge amongst it all.
24
Bon Iver SABLE, fABLE
Top Track: Day One
With the weight of the Bon Iver/Justin Vernon mythology behind it, SABLE, fABLE is both a paean to the transformative power of love, and a caution against such over-romanticised cliché. The opening SABLE section returns to the stripped-back, introspective folk of their debut. While the fABLE section sees Vernon basking in the light of love, pushing the glitchy electro experimentation of recent albums into more overtly pop and soul territory, often veering into outright devotional music. It borders on schmaltzy, but its undoubtedly the most euphoric music of their career. As Vernon flirts with retiring the moniker, this marks a fitting capstone for Bon Iver; a project once again delivering beauty out of uncertainty. (Read More)
23
Pulp More
Top Track: Spike Island
It may not have triggered quite the hysteria of another Britpop reunion, but Pulp’s return delivered more than just nostalgia. Once the poet laureate for the awkward youth of Britain; the sharp, observational wit of Jarvis Cocker remains intact. But everyone is a little older now; those supermarket-set romances of the past now moving to weekend farmers’ markets. More is playful and joyous, but also confronts love, desire, and aging with an added poignancy that only time can buy. The familiar, instantly catchy sounds of classic Pulp are enhanced by lush, baroque-pop textures. Older, a little wiser, and with plenty life left in the tank; a comeback that reminds you just how good Pulp were and still can be.
22
Lily Allen West End Girl
Top Track: Pussy Palace
While plenty of pop’s biggest stars tediously tease fans with cryptic gossip-column fodder, Lily Allen cuts straight through the bullshit with a blow-by-blow (no euphemism intended) account of her recent split. West End Girl is a masterclass in raw, confessional storytelling; the emotional discomfort balanced by Allen’s acerbic humour and keen self-awareness. A few minor production missteps aside, the deceptively breezy, theatrical pop arrangements are mostly successful, creating both anthemic and meme-worthy moments. A long overdue showcase of why Allen is one of Britain’s most compelling popstars.
21
sleepingdogs DOGSTOEVSKY
Top Track: piece of mind
Specialising in melodic boom-bap that feels instantly classic, sleepingdogs would probably have been indie-rap darlings in any other era. The third album from the duo of Jesse the Tree and Andrew is their most accessible yet. As the goofy pun of its title indicates, DOGSTOEVSKY eschews the grander themes of its namesake, instead dealing in low-stakes existentialism and dreamy stoner anthems. It may sound like they’re barely trying, but the charm of DOGSTOEVSKY lies in its effortless addictiveness.
20
Grief Club Good Mourning
Top Track: I Guess I’m Alive
Another standout in a productive year for Philly’s Andrew came in his link-up with one-man supergroup, Esh & The Isolations. The duo’s name reflecting the bond forged in the shared loss of their fathers. Good Mourning channels their most intimate experiences into a grand creative vision; gut-wrenching, cathartic, and ultimately life-affirming. This is alternative hip-hop steeped in baroque pop grandeur; soaring and epic in scope. I’m kind of repeating myself from above, but this should really be massive; some of the biggest, boldest melodies of the year.
19
Wave Generators Run Away With A Wild And A Rare One
Top Track: Beyond Beyond
The second album from the renegade rap duo is an explosive, psychedelic thrill ride that flies in the face of prevailing underground trends. The frenetic production is marked by collisions of heavy-rock riffage and garage-blues scuzz, while Nosaj (of cult ’90s outfit New Kingdom) unleashes untamed energy and Height Keech showcases a knack for hooky stadium anthemics. Thirty minutes packed with maximalist blasts of adrenaline-fuelled chaos.
18
MIKE Showbiz!
Top Track: Bear Trap
On Showbiz!, MIKE further cements himself as a leading voice in alternative hip-hop. Largely self-produced under his dj blackpower moniker; fragments of warped and woozy lo-fi psychedelia are interspersed with pitched-up, distorted soul hooks, and fleeting funk grooves. Across 24 tracks packed into 47 minutes, these brief vignettes form a collage behind MIKE’s lackadaisical, muffled drawl. His voice may not command attention, but from his opening lines (“Dreams of getting rich, I was poor then, Nowadays I don’t pray for shit but for more strength”) you learn to lock-in, or risk missing flashes of introspective wisdom amidst his stream-of-concisousness flows.
17
Geese Getting Killed
Top Track: Taxes
2025 has been the year of Geese; widely anointed as the next great American rock band. I’m not entirely sold on the hype; mainly because Cameron Winters’ faux-yokel vocal tics come across as inauthentic affectations, and are often just plain annoying. But Geese are the rare modern rock band that feel genuinely new and exciting. Their sound fuses jam-band intricacy with a volatile, almost feral edge, giving every track the sense it could combust at any moment. Winters’ lyrics lean into absurdism, while channeling the existential anxiety and simmering anger of right now. I may not be a full convert, but the thrills of Getting Killed are enough to briefly put away my skepticism.
16
Jim Legxacy black british music
Top Track: stick
Jim Legxacy’s black british music is a bit American (chipmunk soul, 2010’s alt-R&B) and even kinda white (cheesy pop-punk, fingerpicked folk ballads that come uncomfortably close to Ed Sheeran). But that’s the point as Legxacy stitches together a culture clash of styles into a distinctive whole; carving out his own lane in UK rap that’s as accessible as it is experimental. Across reflections on identity, loss, and love, Legxacy’s authenticity is what stands out most; balancing bravado with raw, unfiltered honesty. This isn’t genre tourism, this is Legxacy building a home amongst the fragments.
15
The Moonlandingz No Rocket Required
Top Track: The Sign of A Man
The Moonlandingz’ No Rocket Required blasts you into a chaotic cabaret of rock and rave debauchery. Fat White Family’s Lias Saoudi leads the riot, alongside synth wizards, The Eccentronic Research Council, and a rotating guest cast. From frenzied synth-pop bangers and dystopian electro sleaze, to Iggy Pop-assisted longe jazz melancholia, and sprawling Krautrock epics. Equal parts absurd, witty, and manic; the album spins banalities into darkly surreal spectacles. It’s a bewildering, unpredictable trip that dares you to lean in and embrace the anarchy.
14
Alan Sparhawk with Trampled by Turtles
Top Track: Screaming Song
On his second solo(ish) outing since the passing of wife and Low bandmate Mimi Parker, Alan Sparhawk teams up with Duluth’s Trampled by Turtles for a set of stark, bluegrass-leaning Americana. Away from his typical electro experimentation and hushed slowcore crooning, the stripped-back sound spotlights Sparhawk’s voice; commanding yet fragile. There’s devastating moments as he processes his grief, none more so than the standout, Screaming Song, with wailing violins unlocking something utterly primal. But for all the desolate hurt behind these songs, they’re also tinged with a communal beauty. Mentored by Low early in their career, Trampled by Turtles returned the favour, taking Sparhawk under their wing on tour following Parker’s death. This album captures the spirit of that gesture; the sound of friends wrapping their arms around Sparhawk when he needs it the most.
13
Clipse Let God Sort Em Out
Top Track: Chains & Whips
Clipse’s long-awaited reunion finds rap’s greatest sibling duo largely back in classic form. Kendrick’s early cameo perhaps comes closest to truly channeling the raw menace of peak Clipse, but Pusha T and Malice quickly snap back into sync; pairing their typical icy bravado with time tempered reflections. The crisp, minimalist production mostly hits the mark, even if it occasionally slips closer to Disney Pharrell than Neptunes Pharrell. A triumphant return that doesn’t quite match their peak, but still proves that few can do it better.
12
Wet Leg moisturizer
Top Track: mangetout
Wet Leg’s second album sees the Isle of Wight duo officially expanding into a five-piece, broadening their sound without sacrificing any of their infectious charm. They firmly make their case as indie’s best singles band of the 2020s, delivering another run of sharp, hook-laden post-punk gems. They also showcase a growing eclecticism, from grungy alt-rock bruiser, pillow talk, to the cosmic ambience of 11:21. Their trademark irreverence remains intact, but there’s a welcome emotional depth as Rhian Teasdale explores the thrill and anxiety of new love. Although her near-constant need to do silly voices is a slight drawback; tolerable and even enjoyable in small doses but grating across the album. Nonetheless, this is an undeniable leap forward that decisively silences any lingering one-trick-pony doubts.
11
Insecure Men A Man For All Seasons
Top Track: Cleaning Bricks
Insecure Men’s second album arrived in the wake of a mental breakdown, a brutal breakup, and Saul Adamczewski’s addiction battles. Combine all that with his penchant for provocation and it sounds like a recipe for chaos. The result is a charmingly hodge-podge collection, jumping from the glorious cheese-pop of Cleaning Bricks to off-kilter, semi-psychedelic absurdism. But, the real surprise is just how open-hearted and really quite beautiful it is. Adamczewski leans into straight-faced vulnerability, delivering heartbroken paens set to loungey pop and quietly stunning country-folk ballads. A Man For All Seasons feels like an artist edging a little closer to survival than self-destruction; it’s still messy, but also disarmingly sincere and unexpectedly tender.
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