2025 only seemed like a weaker year in music for those who weren’t digging in the crates or paying attention. The annual scramble to get properly acquainted with a year’s worth of music has produced this year’s article for the best projects of 2025 after weeks of incessant curation and analysis. We’ll cover favorite albums of 2025, as well as honorable mentions, EPs, and other miscellaneous categorizations such as best bootleg and best soundtrack. The list of Echo Ethos’ Top 100 Albums of 2025 starts below (playlist link here):

100. 45 Pounds by YHWH Nailgun
Genre: Experimental Rock/Post-Punk/Neo-Psychedelia

99. Forever Howlong by Black Country, New Road
Genre: Art Rock/Chamber Pop/Progressive Rock

98. Worldwide by Snõõper
Genre: Egg Punk/Garage Punk

97. The Spiritual Sound by Agriculture
Genre: Black Metal/Post-Metal/Noise Rock

96. Wrong Side of Heaven by End It
Genre: Hardcore/Punk

95. Light hit my face like a straight right by Mallrat
Genre: Indie Pop/Alternative Pop

94. I Heard It’s A Mess There Too by Aesop Rock
Genre: Abstract Hip Hop/Left-field Hip Hop

93. Downward (2) by Downward
Genre: Shoegaze/Alternative Rock

92. It’s a Beautiful Day, What a Beautiful Day by Skinhead
Genre: Hardcore Punk

91. 1991 by Drop Nineteens
Genre: Shoegaze/Indie Rock

90. Luster by Maria Somerville
Genre: Dream Pop/Ambient Pop

89. portals//polarities by Night Tapes
Genre: Dream Pop/Synthpop/Chillwave

88. Noble and Godlike in Ruin by Deerhoof
Genre: Noise Pop/Experimental Rock

87. Tranquilizer by Oneohtrix Point Never
Genre: Progressive Electronic/IDM/Ambient

86. Invaded By A Dark Spirit by Fell Omen
Genre: Dungeon Synth/Black Metal

85. Music For Writers by Steve Gunn
Genre: American Primitivism/Ambient Folk Rock

84. Red Sky Mourning by Soul Blind
Genre: Grunge/Shoegaze/Alternative Metal

83. Straight Line Was A Lie by The Beths
Genre: Indie Rock/Power Pop

82. CHROMA 000 by BICEP
Genre: IDM/Breakbeat/Deep House

81. Every Video Without Your Face, Every Sound Without Your Name by Lucy Liyou
Genre: Sound Collage/Spoken Word/Ambient

80. Same Day Cleaning by Sammy Virji
Genre: UK Garage/Bassline

79. Trash Mountain by Lily Seabird
Genre: Indie Rock/Slacker Rock/Alt-Country

78. A Welcome Kind of Weakness by Runnner
Genre: Indie Folk/Indie Rock/Post-Shoegaze

77. Under a Gilded Sun by Malevich
Genre: Grindcore/Sludge Metal/Blackened Crust

76. Ego Death At A Bachelorette Party by Hayley Williams
Genre: Art Pop/Alternative Pop/New Wave

75. LP 2025 by Bad Beat
Genre: Hardcore Punk

74. 4EVA by Yetsuby
Genre: Electronic/Ambient House

73. Rarely Do I Dream by Youth Lagoon
Genre: Dream Pop/Neo-Psychedelia/Indie Rock

72. Can’t Call !t by Karizma
Genre: Deep House

71. Dead Channel Sky by clipping.
Genre: Industrial Hip Hop/Experimental Hip Hop

70. Possession by Ty Segall
Genre: Garage Rock/Psychedelic Rock

69. no floor by More Eaze; claire rousay
Genre: Glitch Pop/Ambient

68. Nothing by DARKSIDE
Genre: Psychic Rock/Minimal Electronic/Downtempo

67. Portrait of My Heart by SPELLLING
Genre: Art Pop/Dark Wave/Synth-Pop

66. private music by Deftones
Genre: Alternative Metal/Shoegaze/Dream Pop

65. Pinball II by MIKE; Tony Seltzer
Genre: Abstract Hip Hop/East Coast Hip Hop

64. Music Can Hear Us by DJ Koze
Genre: Microhouse/Minimal Techno/Neo-Psychedelia

63. It’s Closeness, It’s Easy by Planning For Burial
Genre: Doomgaze/Slowcore/Post-Metal

62. Animaru by Mei Semones
Genre: Jazz Pop/Indie Pop/Bossa Nova

61. SickElixir by Blawan
Genre: Industrial Techno/Experimental Techno

60. I Love My Computer by Ninajirachi
Genre: Hyperpop/Glitch Pop/Club

59. Mercy by Armand Hammer; The Alchemist; billy woods; E L U C I D
Genre: Abstract Hip Hop/Jazz Rap

58. Scanners by Anthony Naples
Genre: Deep House/Dub Techno/Ambient

57. I’ll Be Waving As You Drive Away by Hayden Pedigo
Genre: American Primitivism/Ambient Country

56. Landscape from Memory by Rival Consoles
Genre: IDM/Minimal Techno/Ambient

55. Idaho by Ingrown
Genre: Powerviolence/Hardcore Punk

54. WITH A VENGEANCE by SHERELLE
Genre: Jungle/Footwork/Drum & Bass

53. Live Laugh Love by Earl Sweatshirt
Genre: Abstract Hip Hop/Experimental Hip Hop

52. LUX by ROSALÍA
Genre: Art Pop/Neoperreo/Experimental Flamenco

51. GOLLIWOG by billy woods
Genre: Abstract Hip Hop

50. Foundations by DJ Q
Genre: UK Garage/Bassline

DJ Q cements his reputation as a key figure in the electronic music scene with Foundations. While he is no newcomer, having produced high-energy tracks for over two decades, this latest album leans into his affinity for basslines and scholarly appreciation for the genre. DJ Q often wraps the essence of R&B in a smooth, bombastic, and electric EDM veneer. While that strategy is still present, Foundations distinguishes itself by focusing squarely on commanding basslines and ‘wubs’ designed to ignite the dance floor. The album’s sound proves DJ Q is keenly aware of contemporary trends, with its energy and basslines reminiscent of modern UKG and adjacent genres. His recent work would fit seamlessly alongside artists like Sammy Virji and Flava D at events such as Four Tet’s Under the K series, or at the relentlessly positive parties Fred Again.. has been curating across North America lately. Foundations is a sleek culmination of DJ Q’s previous work and styles. Its expertly crafted versatility is evident — it made a 3-mile, 1000-foot elevation run feel effortless. DJ Q is executing this sound with more intention and refinement than some artists whose entire bag is dubstep. Simply put, Foundations is an underrated album from an artist who truly understands his craft and his artistic direction.

49. BLACK STAR by Amaarae
Genre: Afropop/Alt-R&B/Pop Rap

Amaarae’s BLACK STAR stands as the authentic pinnacle of contemporary pop music trends. Unlike less capable artists who might wear the style as a mere facade, Amaarae delivers her aesthetic and flow with confident experience and unphased charisma. The album pulsates with an infectious, unwavering energy, guaranteeing a dancefloor packed shoulder to shoulder. Its hedonistic spirit and staunch dedication to having a good time against all odds lend a near-satirical edge to the lyrics. The simple loop of drug names in the “Starkilla” chorus, set to a glossy, polished beat, is delightfully comical. The album masterfully fuses afrobeat conventions, her signature R&B inclinations, and her Ghanaian heritage, resulting in a sound that radiates pure celebration and joy. By incorporating elements of pop and alternative music, she crafts a broad, eclectic album that actively engages the listener. Amaarae’s distinct vocal inflections — that unmistakable high-pitched ‘baby voice’ — and playful lyrics constitute one half of the work. The other is the pristine production, which flawlessly reinforces the crafted vibe and themes. This is, unequivocally, her best work to date. BLACK STAR artfully executes an analysis of ‘poptimism’ currents.

48. 41 Longfield Street Late ’80s by Kieran Hebden; William Tyler
Genre: Ambient/Folk/Post-Rock/Electronic

41 Longfield Street Late ’80s builds upon itself, second after second, track after track, and creates an air of peace and healing that is usually reserved for the most tender of Brian Eno records. Initially, the collaboration evoked a sense of boredom, believe it or not. However, by the end, I was left with a persistent lump in my throat. 41 Longfield Street Late ’80s makes it clear that healing is a process, not a destination, surfacing unresolved emotions I thought I had moved past. It humiliates me, and shows me that I still have so much to learn. One late night, I held a friend who was having a hard time while this album played in the background, and when I told her that everything would work out and we would figure things out, the music of Kieran Hebden and William Tyler inspired me to believe it myself. Kieran Hebden is prominently known by his electronic music alias Four Tet, and William Tyler is a former member of Pavement offshoot Silver Jews, who creates a version of cosmic country these days. The pair have worked together before to craft the dazzling single “Darkness, Darkness,” but this time have committed to a full length project together. The result is an evolution of contemporary Americana, married to the soft ambient ambitions of Four Tet, that is much more than the sum of its parts. While this might not be either of their best work, for any other artist this would be their magnum opus. The gentleness and care that emanates from each track serves to cradle the listener in a sense of wonder that transcends the rigid genre constraints of either artist’s usual work. This is a grower for sure, but 41 Longfield Street Late ’80s conjures serenity with each new listen and rewards patience.

“Two ways. Gradually, then suddenly.” — Ernest Hemingway

47. Friend by james K
Genre: Art Pop/Ethereal Wave/Experimental Electronic

- Raea Jeune (@cloudyfrostofficial)

Friend is one of those albums that keeps you engaged and connected throughout. With a play time of just over one hour, it’s the perfect soundtrack for a long commute or creating art. The first time I stumbled upon this album was through a recommendation from one of my TikTok mutuals. Immediately after listening to the opening track, “Days Go By,” I was captured by the artist’s chilling vocals and unique sounds. If you’re someone like me that enjoys music that ‘scratches your brain’, james K’s production does just that. Looking at the album cover alone, you would think the album would be some kind of breakbeat or jungle or drum & bass piece. However, the album is filled with nostalgic synths, ambient drum pads, and that late 90s downtempo feel. My favorite track “Blinkmoth (July Mix),” feels like a hug from my past, and the perfect track to paint to. This specific track made it to my top finds playlist, and I hope her music makes it onto one of your playlists soon too.

46. The Night Green Side of It by R.A.P. Ferreira; Kenny Segal
Genre: Jazz Rap/Abstract Hip Hop

R.A.P. Ferreira once again asserts his crucial role in underground hip-hop. His signature flow and aesthetic are fundamental to his blend of ‘backpack rap’ and ‘old head hip-hop.’ This combination, mixed with Kenny Segal’s jazz rap expertise, results in a nearly psychedelic exploration of the genre by a duo dedicated to proving its continued power and relevance. In an era dominated by radio-friendly pop and formulaic trap, collaborations like this demonstrate that only those who aren’t paying attention believe that hip-hop is dead. Segal, known for his work with billy woods, brings the same studious dedication to The Night Green Side of It. The project radiates charisma and polished skill. Without Ferreira’s distinctive delivery and talent, such a project could easily fall into cliché or end up “corny.” Every bar and beat feels genuine and raw. Ferreira’s delivery is reminiscent of slam poetry. His rapping style is as if he had all the words memorized and ready at the helm before the beat. Ironically this doesn’t do away with his stream-of-thought rapping style, which is rarely pulled off competently, but Ferreira executes it expertly. He is both self-referential and self-examining, but avoids self-victimization. He reflects on his own position. Where he fits as a cog in the machine and when he must draw the line to rage against it. He finds a complex compromise between these states. Ferreira touches on the bread-and-butter topics of underground rap, including societal relationships, while maintaining a sense of humility and humor. This maturity comes from a life hard-lived, as he admits he doesn’t have all the answers but continually seeks wisdom from those who came before him. His perspective is mature without being arrogant.

45. Double Infinity by Big Thief
Genre: Indie Folk/Art Rock/Country Rock

- Galen March (@angelcharm95)

Big Thief’s Double Infinity is their first album made without founding member and bassist Max Oleartchik, who parted ways with the band last year citing “interpersonal reasons.” For a group so tight-knit and well established, it would have been disappointing but understandable for such a major readjustment to impact the quality of the band’s music, at least for a time. Instead, Big Thief sounds as good as ever. Benefitting from the added sounds of several session musicians, including stirring vocals from new age singer Laraaji, Double Infinity soars. The music moves along with purpose, sometimes rollicking and free, sometimes heady and mystical, but always engrossing. Lead singer Adrianne Lenker’s lyrics and unmistakable vocal delivery have both continued to mature on this album and her undeniable presence draws you in as she sings about reuniting with an old lover, a fondly remembered road trip, or her 33rd birthday. Big Thief are known best — and are perhaps sometimes stereotyped — for their ability to deliver moments of quiet devastation, but their music has always been balanced by a sense of cosmic gratitude. On Double Infinity, this feeling takes center stage and blooms into full, ecstatic life.

44. I’m Nice Now by Upchuck
Genre: Garage Punk/Post-Punk

Upchuck’s I’m Nice Now is a standout punk record that simultaneously pays homage to the genre’s classic stylings while pushing its evolution forward. The Georgia-based band successfully channels eternal rage into catchy riffs and driving drums — a staple of the punk tradition. It’s a welcome surprise to discover that Ty Segall produced their newest album, but it isn’t shocking, as the broad influence of genres throughout I’m Nice Now stuck out to me. I’m Nice Now masterfully blends elements of post-hardcore, alternative rock, garage rock, and grunge. While the vocal inflections may recall major acts like Queens of the Stone Age or Nirvana, the total package presented by Upchuck is distinctly their own. It’s a tight, direct record that makes its case for existence without overstaying its welcome. Thematically, it centers on self-preservation and resistance against those in power. Such themes are both appropriate and electrifying for this album’s core thesis. Furthermore, the inclusion of Spanish language portions, paired with the raspy female lead vocals, is transgressive for a genre often associated with white male artists, setting Upchuck apart in a saturated punk revival scene. This exciting debut on a new label showcases the band’s youthfulness, rebelliousness, and impressive ability to incorporate pop-punk accessibility without descending into typically saccharine inclinations.

43. purity ring by Purity Ring
Genre: Futurepop/Synth-Pop/Witch House

Purity Ring’s self-titled fourth album, purity ring, serves as the enchanting soundtrack to an imaginary RPG. This creative vision is so seamlessly and elegantly woven across the 13 tracks that the concept is instantly apparent in retrospect, although I was initially unaware. The production embodies the quintessential Purity Ring sound: beautiful, glittery, and graceful, with vocals that soar perfectly with sparkling joy. Even the cover art hinted at an influence from games like Final Fantasy, and recognizing this connection unlocks a new layer of appreciation for the listener. It’s endearing to witness Purity Ring fully embrace their identity on this LP, as it represents the sound they have been perfecting since their debut. While the album is music for fairies to have a dance party to, and boasts authentic fantastical themes that exhaust the synonyms of “ethereal,” it refuses to be confined to one sonic lane. Strange strings, warm synths, and break beats are strewn throughout, yet the core of the album remains focused. Purity Ring has mastered their corner of electronic pop music without succumbing to the pressure of embracing straight-up hyperpop. Gazing into their world and understanding the depth of their surging emotional journey provides a lovingly comforting experience.

42. Verses GT by Verses GT; Nosaj Thing; Jacques Greene
Genre: Electronic/Future Garage/Ambient/Art Pop

The debut collaborative album from Jacques Greene and Nosaj Thing, operating as Verses GT, is also titled Verses GT. Combining Nosaj Thing’s signature contemplative downtempo electronic sound with Jacques Greene’s ambient, jazzy sensibilities (akin to contemporaries like Bonobo), the duo has crafted a lush and delicate electronic vision. This work is equally inspiring for dancing and mindfulness, creating a pervasive atmosphere of tranquility that remains engaging and crescendos into a soft, inviting conclusion perfect for repeat listening. Verses GT feels both mature and jazzy while still embracing whimsy and exploring more kinetic styles. The carefully chosen guest vocals enhance the album’s heavenly textures, reflecting the stillness within movement and the universal beauty found in life.

41. The Pilot by MAVI
Genre: Conscious Hip Hop/Abstract Hip Hop

Mavi has been a rising figure in abstract hip hop since his acclaimed 2019 debut, Let the Sun Talk, which was notably co-produced and endorsed by underground staples Earl Sweatshirt and MIKE. His latest project, The Pilot, builds on this success, featuring not only Earl Sweatshirt and MIKE but also Smino and Kenny Mason, forming an impressive lineup of collaborators. Despite these heavyweight guests, Mavi confidently maintains his own powerful presence, sounding as aggressive and determined as ever six years into his career. Though labeled a mixtape, The Pilot functions as a full album in the modern hip-hop landscape, with cleared samples and standard distribution. Its brief 24-minute runtime is an impactful and focused all killer, no filler affair. The album marks a welcome thematic shift, focusing on Mavi’s journey toward sobriety and recovery, a contrast to the difficult themes of substance abuse and grief explored in his previous work. Musically, The Pilot expands beyond typical jazz-rap, offering a more varied beat selection. This blend successfully bridges the boastful energy of mainstream hip-hop with Mavi’s unique, abstract lyrical depth. Gritty and confrontational, the album ultimately serves as an expression of self-determination rather than bitter righteousness. It is encouraging to witness Mavi’s personal and artistic growth, and The Pilot clearly signals an exciting new era for him.

40. MARS IS ELECTRIC by Maxo
Genre: Abstract Hip Hop/Jazz Rap

Maxo (the L.A. rapper, distinct from Houston’s Maxo Kream) made his breakthrough in 2019 with the emotionally potent and introspective LIL BIG MAN. Now, with his latest album, MARS IS ELECTRIC, Maxo shifts toward a more unrestrained and upbeat sound. He moves away from the heavy themes of his earlier work, delivering a diverse, lively record that nonetheless maintains his characteristic self-reflection and sharp social scrutiny. This change results in an album that feels spontaneous, free, and instinctive, incorporating R&B and downtempo electronic elements that integrate with his established underground hip-hop structure. The imaginative beats accompany rhymes that sound right off the top of the dome, yet they never lose focus or impact. This genre-fluidity creates a loosely psychedelic atmosphere rooted in classic funky California musical traditions, reminiscent of works like Kendrick Lamar’s untitled unmastered., particularly on tracks such as “Matt’s Studio.” Here, distant, distorted voices emerge through a dense, ambient, dub-centric production. The overall blown-out sound gives the record a sense of otherworldly tranquility and vague anxiety in equal measure, offering a rawer, warmer, and fuzzier take on Maxo’s style than previously heard. While his earlier music dealt with the weight of family and history, this album centers on the radical acceptance of those burdens. Maxo exudes contagious confidence throughout, as if to say he isn’t trying to prove anything anymore.

39. Balloon Balloon Balloon by Sharp Pins
Genre: Lo-Fi/Indie Pop/Twee Pop/Psychedelia/Art Rock

Sharp Pins’ Balloon Balloon Balloon is a standout work, arriving with a calm charisma that immediately addresses common flaws I find in the current revival of artful psychedelic rock. While talented contemporaries like The Mystery Lights and The Lemon Twigs have contributed to the sound, some of their output leans toward homage or simple reassembly. Sharp Pins, however, elevates beyond pastiche, achieving a distinct and unmatched synthesis of various psych-rock motifs and eras. What sets the album apart is its softness, a quality that contrasts with the more abrasive avant-garde nature often found in The Mystery Lights’ work. Furthermore, its direct warmth and simplicity offer an evolutionary alternative to the path forged by The Lemon Twigs. I would argue that Sharp Pins is more accessible than both, yet without compromising any of their musical ideas. The band wears its influences openly, but this transparency is purposeful. The influences are not copied, but rather combined into what feels like a modern-day classic. They execute with responsibility, aware that their influences are obviously recognizable. These modern times are often defined by chaos, and Balloon Balloon Balloon serves as a soothing antithesis. The music possesses a profoundly sentimental and nostalgic edge, making for easy listening. There is a deeply felt yearning and longing that is both moving and consoling. This is a clear work of love for the genre and the music that preceded them, suggesting that their creation was a natural, heartfelt necessity.

38. BLACK’!ANTIQUE; ONYX’! by Pink Siifu
Genre: Experimental Hip Hop/Neo-Soul/Punk Rap

Pink Siifu’s new double album, BLACK’!ANTIQUE; ONYX’!, is nothing if not a taxing and densely abrasive experience. Clocking in at over two hours, the project maintains an unwavering intensity and volatility that thumps relentlessly through the tracklist. The only immediate relief from the tension, present even in the first three tracks, is the urge to get up and dance as a physical contradiction to the desire for comfort and silence. This reaction to complexity and danger feels deliberate, an apropos analogy for human compulsion. Pink Siifu operates in a lane characterized by abstruse beats and cryptic lyrics, yet his intentional nature elevates him above many peers. I can see the vision: every word is meticulously chosen, and every beat is crafted with a specific message. This is some of the most artful, morose, and opaque music to surface in any genre in 2025. The difference with BLACK’!ANTIQUE; ONYX’!, however, lies in its skillful execution and honest expression. Pink Siifu is not chasing any trend or wave. He successfully integrates artists from similar creative avenues, inspiring some of the year’s most impressive verses from the likes of BbyMutha, Ho99o9, and a litany of names I’ve never even heard of before. Despite its challenges, listening never becomes a chore because the production matches its depth with impressive breadth. The album skillfully mixes in some more accessible, R&B-inspired cuts alongside its dark, ambient core. Pink Siifu proudly displays his rapping prowess through portions that could be thrown into a party mix, yet also includes segments that would unnerve mixed company. His versatility and commitment to artistic integrity, expressed through his uncompromising style, is as admirable as it is grueling.

37. LOTTO by They Are Gutting a Body of Water
Genre: Shoegaze/Glitch Pop/Slowcore/Post-Hardcore

LOTTO is a concise 27-minute album that delivers a complete and raw vision. The record expertly blends genres, looking backwards in an effort to become more forward-thinking. Its core lies in post-hardcore and shoegaze traditions, while analog tape fuzz and spoken-word passages give it the feel of a lost, mysterious audio diary. It’s most like an abandoned recording from the world of Twin Peaks. Experimental ambient electronica flourishes throughout add to the album’s modern affiliations. The essential rawness and live energy directly contribute to the themes of LOTTO. The mere fact that this was released in October even adds to the vibe that is curated here. LOTTO adds another great chapter to TAGABOW’s continuous rise.

36. DeBÍ TiRAR MáS FOToS by Bad Bunny
Genre: Latin Trap/Reggaeton/Post-Salsa(?)

What can be said about this album that already hasn’t been said? Debí Tirar Más Fotos is an album whose impact transcends music, inspiring countless analyses and reflecting major global cultural shifts. Its success signals a decline in the dominance of classic Americana and rock, coinciding with an explosion of salsa and reggaeton influences — sounds previously confined to the diaspora — into the mainstream. The opening track, “NuevaYoL,” holds a deeply personal resonance. While I can’t even identify the sample, it’s a melody from my childhood I heard countless times sleeping in a Queens basement corner on a makeshift bed constructed from two plastic chairs while relatives drank and partied into the night. That tinnitus ringing in my ears would escape into the American consciousness and bring to the forefront a piece of me that I had long forgotten due to a difficult upbringing. Beyond its popular acclaim, the album holds a special significance for the Latino community, a point that is both obvious and well-deserved. For me, however, its success feels like a personal victory that such a record could inspire reconnection with the salsa and New Yorker roots that have been dormant in my psyche.

35. the world is still here and so are we by Mclusky
Genre: Post-Hardcore/Noise Rock/Punk

Mclusky’s latest album, the world is still here and so are we, showcases an impressive coherence and focus, despite the band’s history as a revolving door. Their post-hardcore sound is deeply rooted in their native Welsh culture, yet it remains aware of the global context, providing a strong lyrical direction. The record powerfully rails against war hawks and champions the spirit of resistance, lending it a straightforward thematic and punk ethos. However, the unique guitar work and vocal delivery introduce a welcome strangeness that distinguishes Mclusky within the genre. The album deftly balances sharpness and ambiguity, pointing and flailing at various moments. This artful messiness suggests a band that doesn’t claim to have all the answers but remains committed to raging on and collaboratively finding their path after all these years. It is particularly inspiring given that this release marks their first full-length studio album in over two decades, following a period of offshoots and shakeups. The result is a sound that feels remarkably youthful and determined.

34. Alfredo 2 by Freddie Gibbs; The Alchemist
Genre: Hip Hop/Gangsta Rap/Mafioso Rap

- Temi Akinyoade (@temitturner)

When the album’s opening track and lead single “1995” released, I’d been slacking on music news and hadn’t listened to Freddie Gibbs in a while, so my reaction to news of its release was to slightly raise an eyebrow and say “hm” as I added the new song to my queue. I wasn’t prepared at all for what ended up being one of my favorite songs of the year. I won’t say Freddie Gibbs’ music has ever dramatically disappointed me, but I was pleasantly surprised by his and The Alchemist’s return in Alfredo 2. When I started listening to Gibbs in 2021, I enjoyed his voice, lyricism, and the harmony he found with each beat to be most enjoyable on The Alchemist’s production. The last couple of albums have been alright but overall forgettable in a discography that includes Piñata, Alfredo, and Bandana. On Alfredo 2, he’s singing refrains, he’s using the sample’s vocals as his own lyrics, and he sounds like he’s really BACK. Like a good sequel should, Alfredo 2 stands on its own and makes you want to return to the first installment.

33. Big city life by Smerz
Genre: Deconstructed Club/Synth-Pop

Smerz has blossomed into a critical darling, largely thanks to their latest album, Big city life. While they first caught my attention with their 2018 EP, Have fun, and their earlier albums, Alina and Believer, likely appeared on many end-of-year lists, Big city life marks a threshold moment. Smerz is finally commanding widespread attention from a broader audience. Fitting into the contemporary Scandinavian tradition of esoteric, glittery pop fusions — alongside artists like ML Buch and Erika de Casier — Smerz crafts an elegant soundtrack to the quiet dignity of life’s still moments. Their work is a unique take on downtempo, jazzy bedroom dreampop. This sound creates a fantastical setting that remains grounded in the modern idiosyncrasies of city living. The anonymity of city life and the wonder of recreation is reflected in the crystalline vocals. This thematic content, centered on relationships and internal analysis, is complemented by iridescent production sheen, collectively composing a package of tracks made to blow up into the mainstream.

32. Buyer Beware by The Men
Genre: Punk Rock/Garage Rock

This might be the only list you see that includes Buyer Beware, but the staying power and impression it left on me was too significant to walk away from. Some artists use avant-garde experimentation and aloof mystery to mask a lack of substantive ideas. The Men, however, make their case for relevance through a refreshingly direct approach. Deeply rooted in the spirit of DIY garage rock punk, the album skillfully integrates influences from classic rock and NYC indie rock contemporaries like The Strokes. The Men don’t seek to reinvent the wheel. Instead, they excel at delivering an unfussy, compelling brand of fuzz rock that is often overlooked in favor of flashier production or stylistic gimmicks. The result is an album of unnerving, chaotic energy that cuts through the indie rock landscape, reasserting rock music’s low-fidelity foundation. Its raw, blistering fury is invigorating, evoking the sound of acts like Built to Spill and Guided by Voices, with whom their recording engineer has also worked. This is a carefully crafted album that remains true to punk lyricism. The band directs its ire at both the political cruelty surrounding them and the personal compromises they feel have contributed to societal decay. Buyer Beware fights for survival, kicking and screaming, making for a truly spectacular and vital listen.

31. Die In Love by Greet Death
Genre: Shoegaze/Post-Rock/Blackgaze

Die in Love marks Greet Death’s most fully realized vision to date, cementing their status as a rising star. The album blends shimmery, invigorating sounds with a persistent morose lyrical core, exploring the gloom inherent in relationships, love, family, and change. This combination is set against a backdrop of swirling, distorted guitars, resulting in a blackgaze genre fusion that recalls touchstones like Deafheaven’s Sunbather. The band expertly ferments this mix of heavy angst and pretty melodies into something more mature than the emotionally charged subject matter might suggest. Ultimately, Greet Death uses their melodies to reflect the flowing balancing acts required by our most intimate connections. While the album’s title is upfront about its themes, the music surpasses simple heartbreak, building toward a thesis of self-determination and reconciliation. Unlike bands that achieve impact through a furious struggle, Greet Death finds its power in finality — encased in ash, eternalizing a loving embrace, much like the Lovers of Valdaro.

30. The Sword & The Soaring by Navy Blue
Genre: Abstract Hip Hop/Conscious Hip Hop

Navy Blue’s latest work, The Sword & The Soaring, upholds his reputation for boringly consistent, yet high-quality output. The music remains true to his signature style, marrying deep introspection with soft, jazz-centric beat production. His rapping is notable for its formal, poetic structure, skillfully weaving personal struggles with broader societal pain and revelation. What distinguishes this album is a new level of vulnerability. While Navy Blue has never been reserved, there is a striking frankness, particularly in his emotional analysis, that challenges traditional expectations of masculinity. This makes the album a brave and therapeutic journey. His references to specific dates from his past feel universally resonant, echoing moments of shared destruction in my own experience and making the world feel smaller in a comforting way. The production is minimally intrusive, dedicated to a quiet beauty often found in New York City’s jazz tradition. Ultimately, The Sword & The Soaring is a continuation of what Navy Blue does best. In the world of rap, that consistent excellence is a high standard few others achieve.

29. Last Leg of the Human Table by Cloakroom
Genre: Shoegaze/Space Rock/Stoner Rock

Though Cloakroom has been buzzing for years, it wasn’t until recently that I finally dedicated the proper attention to their work. I was relieved to lock in just in time for their latest album, Last Leg of the Human Table. This album is a cohesive, deliberate, and expertly executed amalgamation of several genres. It retains a raw, fuzzy feel that punctuates the down-to-earth rock, which Cloakroom swathes in spacey psychedelic shoegaze and stoner sludge. Hints of folk, Americana, classic rock, and post-hardcore are spread throughout the tracklist, making this one of the most eclectic and broadly composed projects I’ve enjoyed this year. The influences are worn unabashedly, as the band themselves describe the album’s sound as “Cloakroom meets Psychedelic Furs.” With imagery evoking space exploration and human evolution, it’s fitting that the electronic touches and recorded samples, including a sample of Saturn’s rings, enhance the album’s overall vibe. This synthesis lifts Last Leg of the Human Table into a realm of rock music that is unpretentious yet sacrifices none of its provocative impact.

28. Mixes Of A Lost World by The Cure
Genre: Gothic Electronic/Darkwave/Industrial/Alternative Dance

Goth culture icon The Cure, led by the enduring Robert Smith, is enjoying renewed attention. After their album, Songs of a Lost World, their first in 16 years, earned a spot on our 2024 End of Year list, the band has followed up with a new release: the remix album, Mixes of a Lost World. Remix albums are my favorite surging trend in music, with major artists like Charli XCX and Lady Gaga dedicating entire LPs to reimagined tracks. Even Smerz, who released a fantastic album this year, followed up with a new remix album featuring artists like Clairo and ML Bunch. However, The Cure sets a bold new standard. Mixes of a Lost World revamps the gothic rock of the original, transforming it into a genre-bending collection. The album features electronic music behemoths such as Daniel Avery, Four Tet, and Mura Masa, alongside deeper cut artists. They were granted full autonomy to reimagine and revitalize each track, connecting genres as disparate as post-punk new wave and electronic dance music. The result is stunning in its abandonment of convention, and illuminates the central emotional core of music as the uniting thread across all genres. Mixes of a Lost World takes an epic album by a globally recognized band and makes each track unrecognizable, embracing the harmony of difference. While two and a half hours of “gothic EDM” might sound daunting, the tracklist is so diverse and inspired that I find myself returning to this new album whenever I need something to listen to.

27. A Danger to Ourselves by Lucrecia Dalt
Genre: Avant-Garde/Experimental/Musique Concrète

Lucrecia Dalt’s latest work signals a profound transformation. Having mastered the mysterious avant-pop realm of high-concept narratives, Dalt now distills that Lynchian unease into an album that is personal, confessional, and intimate to the point of discomfort. The opening track, “cosa rara,” serves as a perfect vignette for the thesis of A Danger to Ourselves. Alongside collaborator David Sylvian, the track swirls with a detailed production style that propels a complex, yet minimalist, orchestration. The lyrics capture Dalt’s vision of self-described “erotic delirium,” framing the album as a reflection on the romantic psychosis inherent in a new relationship. This is punctuated by the literal sound of a car crash as a stark metaphor for the impact of falling in love. While psychedelic basslines and spatial movements reward deep listening — echoing the jazzy experimentation and Latin futurism of her earlier work — A Danger to Ourselves leans more heavily on atmospheric trip-hop. By using her own voice as the primary instrument to navigate this brutal inner world, Dalt creates a representation of desire that is both haunting and universally understood. With passages in both English and Spanish draped over skeletal production, this effort will resonate with fans of Fiona Apple’s visceral honesty or Björk’s unorthodox sonic architecture.

26. THE BPM by Sudan Archives
Genre: R&B/Experimental Pop/Violin

On THE BPM, Sudan Archives introduces a new persona: Gadget Girl. Here, she embraces her inner geek, wielding her violin and an arsenal of tech not just as instruments, but as extensions of herself. This is her most stylistically broad and club-forward work to date. Drawing deeply from the Detroit and Chicago scenes (Jersey Club, Juke, House) that reflect her parents’ Midwestern roots, the record pulses with frantically electric energy. The glitchy production mirrors the album’s title, creating an intensely kinetic foundation for Archives’ vocals. While her beautiful violin work remains, it is often treated as a texture that is chopped, screwed, and layered over the rapid-fire electronic beats rather than functioning solely as a lead instrument. The atmosphere is sensually charged and built for the dancefloor, yet the lyrics navigate complex themes of mental anguish, self-love, and digital existence. Uniquely, Archives positions her gadgets not as harbingers of dystopia, but as tools of creative liberation. Gadget Girl is a woman empowered by her machines, making the integration of a classical instrument into the frenetic world of club music an impressive feat.

25. A Tropical Entropy by Nick León
Genre: Downtempo Reggaeton/Club/Experimental

Nick León’s debut full-length, A Tropical Entropy, draws explicit inspiration from Joan Didion’s 1987 nonfiction classic Miami, capturing the city’s complex, dreamlike, and often disorienting essence. Much like Didion’s socio-political observations, León uses this South Florida backdrop to explore the area’s innate contradictions, blending its vibrant cultural rhythms with themes of altered states and a surreal magic-hour anxiety. The project’s lead single, “Bikini,” released in the summer of 2024 featuring Erika de Casier, perfectly set this tone. With its mystical attitude, it served as the ideal soundtrack for those halcyon days of warmth and discovery, masking a deeper melancholy beneath its gloss. As a long-time pillar of the Miami electronic scene and the TraTraTrax label, León brings a specific ‘Arquitectronica’ sensibility to the album — a mastery of structural sound design fused with organic pulse. He expertly melds humid underground club textures with Latin rhythms, resulting in a hazy, transformed reggaeton electronica. This sound elicits imagery of Miami not just as a party destination, but as a site of beautiful decay and sun-bleached apocalypse. A Tropical Entropy stands as a compelling contradiction. This is a personal beach episode where, upon turning your head, you might find the Statue of Liberty jutting through the sand.

24. Superheaven by Superheaven
Genre: Grunge/Alternative Rock/Shoegaze

After a decade of dormancy, Superheaven was unexpectedly reignited when TikTok popularized their track “Youngest Daughter.” Their comeback album, Superheaven, serves as a powerful, fuzz-drenched reassertion of their dominance in the grungegaze revival they helped pioneer, a scene now headed by groups like Fleshwater and Glare. Abandoning the scrappy punk of their debut, the self-produced record embraces a monolithic, wall-of-sound density, rivalling HUM or Deftones. Tracks like the sludgy “Numb to What Is Real” pair weary vocals with a thick guitar tone, capturing modern digital numbness. Meanwhile, “Cruel Times” offers a reprieve from the crush, utilizing spacious reverb and delay to create a dream-state atmosphere that feels like watching a car crash in slow motion. “Hothead,” a blistering, minute-and-a-half injection of adrenaline, proves they haven’t forgotten their hardcore roots. Superheaven is a triumphant return that refuses to cater to viral trends. It is a record of pure, heavy texture, culminating in a deeply satisfying listen that proves they are a vital force in modern rock, and not just a “TikTok band.”

23. GOLDFISH by Hit-Boy; The Alchemist
Genre: Hip Hop/Boom Bap

- Temi Akinyoade (@temitturner)

The Alchemist and Hit-Boy have graced us with yet another rapper/producer-rapper/producer joint album GOLDFISH, following years of collaboration after their 2023 single “Slipping into Darkness.” With both artists contributing equal parts of gritty and soulful beats to the project, they truly establish their position as rappers with these verses, giving us less of the braggadocious Alchemist and easy-going Hit-Boy we’re used to and a lot more bars about family, aspirations, and struggles. They also seem to have been influenced by each other’s production styles to the point where guessing who produces each song on this album is difficult despite the distinct musical personalities found in the project. Unlike that 2023 single, there’s not a clear line separating both artists in these songs. Instead, The Alchemist’s dusty foundation and Hit-Boy’s polish create a listening experience neither one of them could have created alone.

22. In the Earth Again by Chat Pile; Hayden Pedigo
Genre: Sludge Metal/Post-Hardcore/Doomcore Americana

Collaborative albums can function as a Rorschach test for an artist’s true intent. In the case of In the Earth Again, the joint venture between Oklahoma City neighbors Chat Pile and Hayden Pedigo, the result is a shocking, daring marriage of two radically opposed sonic worlds. Chat Pile trades in God’s Country sludge, a sound that conjures images of industrial decay and rural violence, anchored by the tormented screaming of front man Raygun Busch. By contrast, Hayden Pedigo is an acoustic guitar virtuoso whose tranquil style typically paints pastoral, cinematic landscapes suited for solitary drives across the High Plains. Where a clumsy overlay of screeching vocals atop delicate fingerpicking might have been expected, the duo achieves a terrifying convergence. Born from a mutual obsession with obscure cinema and horror, the project reveals that despite their divergent methods, their underlying moods of bleak, rural, and deeply existential awareness are identical. The resulting genre is a strain of Doomcore Americana. Throughout In the Earth Again, Pedigo’s intricate fretwork often carries the melodic lead, while Chat Pile constructs the surrounding dread with murky basslines, industrial drones, and field recordings of crows. The standout track, “Demon Time,” perfectly embodies this horror aesthetic, deploying crushing bass tones that lurk beneath the pretty acoustic melody like a monster under the bed. I witnessed Chat Pile’s violent catharsis firsthand when they opened for Fleshwater in Boston on Halloween — a fitting release party for this record. However, the physical toll of this music is all too real. I had planned to attend Hayden Pedigo’s solo show in Brooklyn just weeks later to celebrate his own stellar LP from this year, I’ll Be Waving As You Drive Away, but the tour was cancelled on doctor’s orders. Pedigo’s carpal tunnel syndrome comes with the territory when he has a picking style as complex as his. It was a somber, real-world reminder of the fragility that In the Earth Again so quietly, and devastatingly, portrays.

21. Cabin In The Sky by De La Soul
Genre: Hip Hop/Jazz Rap

This is the first major offering from De La Soul since the passing of David Jolicoeur (Trugoy the Dove) in February 2023. I had the privilege of seeing Dave perform one last time during the Gorillaz tour stop at TD Garden in Boston in October 2022. I am deeply grateful for that memory; standing there in the crowd, watching him deliver his verses with that signature ease, I had no idea we would lose him only months later. This sense of loss permeates the record, but so does a profound sense of place. I was born in Queens, New York, and though I often felt restricted by the city as a kid, its cultural gravity was inescapable. I vividly remember being fifteen, waiting for a bus near Alley Pond Park — likely somewhere I wasn’t supposed to be — listening to “Oodles of O’s” on my iPod. That specific cocktail of teenage rebellion and Native Tongues jazz-rap is a memory I cherish now more than ever. Even though De La Soul hails from Long Island, their DNA is entangled with that same New York energy I saw riding the 7 Train past the graffiti of 5 Pointz. That history makes the opening of Cabin in the Sky hit incredibly hard. The album functions as a ghost record. Surviving members Posdnuos and Maseo have constructed a cathedral around Trugoy’s unreleased vocals. The intro features a roll call of legends, yet the silence where Dave should be is deafening. However, the mood isn’t purely somber. The title is a nod to the 1943 musical about a gambler getting a second chance at life and frames this work as a spiritual ascension. Musically, the album is a stunning return to form. It brings Prince Paul back into the fold for the first time since 1993, closing a decades-long circle, as well as respected artists DJ Premier, Pete Rock, and Supa Dave West. Additionally, they embrace skits as interludes between songs again, a trend that remains in hip-hop and was first popularized by De La Soul. I first discovered the group via “Me, Myself and I” on NBA Street Vol. 3, and it is charming to see that despite the years, they remain unshakably themselves. They avoided the trap that ensnared so many peers: the need to posture. They were known for handling themselves in a fight, but they chose to preach peace and love on the record. That authenticity rings true on “Yours,” where features from Common and Slick Rick help recontextualize the group’s legacy. Hearing these titans trade bars feels like a dedication to hip-hop as a culture, a history, and a force. I was disappointed that their 2016 album and the Anonymous Nobody… didn’t receive the attention it deserved, but Cabin in the Sky demands to be heard. It is a long, gorgeous, and sentimental listen that pulls together the storied history of these legends. It proves that while countless artists have bitten their style over the years, no one has ever successfully replicated them. De La Soul remains, even in absence, a genre unto themselves.

20. 2000: In Search Of The Endless Sky by Fleshwater
Genre: Post-Hardcore/Shoegaze/Alternative Metal

There might not have been a better recipe for a Halloween celebration than the 2025 Fleshwater tour stop with Balmora and Chat Pile. Fleshwater might be the only band that could have possibly followed those violently engaging acts and come out on top. It helps that this was their Boston stop, and thus acted as a hometown show. Everyone was in costume, and Fleshwater matched that energy when they stepped out in full South Park cosplay. Boston has a special affinity for hardcore, and so it comes as no surprise I felt like a poser when everyone around me knew every word to every single song. Fleshwater began as a playground for members of the revered metalcore band Vein.fm (Anthony DiDio, Jeremy Martin) and vocalist Marisa Shirar to explore shoegaze and alt-rock sounds. This direction also incorporates influences from grunge, nu-metal, and post-hardcore. Fleshwater’s 2022 debut We’re Not Here to Be Loved became a genre staple, and their grungegaze aesthetic fit nicely as an opening act for Deftones’ latest tour, helping to explode the band in popularity. Their sophomore effort is even more inspired and focused than their debut. 2000 brings on board a new drummer, Josian Soto-Ramos from Georgian metal band Agonize, with a heavier and edgier style that juxtaposes Shirar’s gracefully refined vocals. As the title suggests, 2000 commits to Y2K maximalism not just through sound, but the optimism of that era’s technology. The artwork and visuals utilize “Frutiger Aero” styles (glossy skyscapes, bubbles, futuristic fonts), while also embracing the styles of grunge and gaze that were most popular during that era. 2000 was produced by Kurt Ballou, the guitarist for seminal metalcore outfit Converge. While he’s famous for gravelly hardcore production, here he achieves a shimmering high-fidelity sound that illuminates and invigorates. “Jetpack,” the lead single, features prominent clean vocals from Anthony DiDio (a shift from his usual screams), creating a dueling vocal dynamic with Marisa Shirar. The screams are used more sparingly, making them more impactful when they do appear. 2000 represents a search for clarity and vastness. If their debut We’re Not Here to Be Loved was defined by crushing claustrophobia, 2000 is about breaking the ceiling and looking up.

19. A Spyglass to One’s Face by YUNGMORPHEUS; Dirty Art Club
Genre: Abstract Hip Hop/Trip Hop/Jazz Rap

A Spyglass to One’s Face is a reunion by rapper YUNGMORPHEUS and producer Dirty Art Club following their 2020 EP Mise En Place. YUNGMORPHEUS was raised in Florida, studied sociology at Boston College, and is currently based in Los Angeles. He encompasses an ethos when it comes to rapping that I admire: “This is the music of the people. Throw a little gem in there, but don’t make it the fucking ‘You need to listen to me’ show…” When I engage with a rap album, I find those that require a lyric sheet read along to be exhausting. YUNGMORPHEUS takes a bird’s eye view to his projects, crafting a condensed world designed holistically to embody the state of mind and state of the world that YUNGMORPHEUS combats with resistance and reflection in equal doses. With A Spyglass to One’s Face, Charlotte producer Dirty Art Club takes advantage of YUNGMORPHEUS’ fearless attitude towards beats to zag away from the lo-fi drumless loops that are saturating the underground hip-hop scene these days. The production is the most cinematic and polished work YUNGMORPHEUS has flowed on to date, moving away from minimalism, utilizing dense layers, folksy textures, and art-rock influences that compose a “psychic mosaic.” YUNGMORPHEUS rises to the occasion, zigging away from the aggressive, confrontational style found on his spectacular 2024 album Waking Up & Choosing Violence, to instead narrow in on a demeanor most reminiscent of the jazz-rap work by rapper Blu that brings a sophisticated and interdisciplinary sheen to this latest project. The dark, ambient nature of YUNGMORPHEUS’ usual work is still here, but matured and concentrated through narrative-driven, psychedelic ambition. The best track on the album is “10,700 Days” (feat. Cavalier, Lukah, & Zeroh). This impressive posse cut featuring some of the most respected names in the abstract hip-hop sphere anchors the middle of the album and serves as a lyrical sparring match that showcases the incredible creativity and artistry that the underground still has to offer.

18. In Daytona Yellow by LEON VYNEHALL
Genre: Deep House/IDM

- Galen March (@angelcharm95)

Leon Vynehall has always had wide-ranging interests as a producer, with output that has fallen under the various umbrellas of house, UK bass, trip hop, and electronica. On In Daytona Yellow, the latest full-length from the UK DJ, this versatility — and the emotional sensitivity that has undergirded his best work — is on full display. The album is at its best on the tracks featuring guest vocalists, where Vynehall showcases his talents for supporting and fleshing out each particular artist’s sound. “Mirror’s Edge” provides a slinking, clubby background for POiSON ANNA’s half-sung, half-rapped lyrics, while on “Scab,” R&B singer TYSON’s vocals slide beautifully over string hits and cool thumps of syncopated bass. In Daytona Yellow reaches its climax, however, on “Cruel Love,” where Beau Nox’s earnest singing pulls us along as Vynehall builds the song up towards a moment of true dancefloor catharsis.

17. Belly of the Beast by Combust
Genre: NYHC/Hardcore

New York Hardcore has often been defined by the bouncy grooves of the late-80s/early-90s scene that embraced the influence of hip-hop as it also rose in prominence. Combust becomes the modern torchbearers on their latest effort Belly of the Beast. Combust has quickly made a name for themselves since dropping their masterful debut LP Another Life, earning hyperbolic positive reactions from audiences and critics alike. Belly of the Beast presents evidence their explosion was not a fluke, as this sophomore effort on Triple B Records, the most important label in modern hardcore, distills the influence of bands like Killing Time, Outburst, and Cro-Mags into a fresh take on the classic sound. Where other popular hardcore adjacent records like those offerings from Fleshwater and Chat Pile lean into crossover experimentation, Belly of the Beast is 100% pure NYHC. The metalcore influence popularly found in hardcore is absent here, instead galloping towards the mid-tempo groovy riffs tailored to two-stepping. Every track is clean, punchy hardcore conceived with devoted attention to the history that built Combust. The posse cut vibe of the record adds to this appreciative angle, as this is an incredibly feature-heavy album designed to feel like a community event. It’s no surprise then that Belly of the Beast features songs like my favorite track “Everybody’s Enemy,” as the central lyrical theme throughout the album is protection of the culture. The lyrics eviscerate clout chasers, tourists, and culture vultures in a clear effort to forge a weapon made of authenticity to gatekeep hardcore from those who won’t respect the culture. “N.Y.H.C.” is an anthem for the genre, featuring the legendary Danny Diablo of Crown of Thornz/Skarhead. It ties the current generation directly to the 90s street scene, and drives home Combust’s place as keepers of the flame.

16. All About McGuffin by mei ehara
Genre: City Pop/Indie Pop/Sophisti-Pop/Art Pop

mei ehara is the definition of a musician’s musician. mei ehara is a graphic designer, photographer, and Tokyo-based singer-songwriter. ehara had not been an unknown in the Japanese indie scene, but recently rocketed in popularity through cosigns from US indie star Faye Webster. Webster has cited ehara as a formative influence, and even brought ehara with her on tour in 2024. From there, ehara’s whispery, effervescent vocals steeped in Japanese pop traditions captured the hearts of Western Gen Z audiences. That wonderful blend of city-pop, chamber pop, and tropical folk is present here again on her latest album All About McGuffin. The affectionate intimacy that ehara achieves on the album is impressive considering this effort is recorded with a full backing band. The dignified restraint her band displays allows ehara to become the centerpiece of all her songs, spinning a web of domestic comfort dressed in fantastical wonder with her smooth vocals that feels familiar and distinct at once. This richer live-band instrumentation is given room to breathe with flutes, congas, and soft brass woven into standard rock instrumentation that evolves her original bedroom pop production style into a more realized and funkier sound for All About McGuffin. The title itself is a reference to “MacGuffin,” a term popularized by Alfred Hitchcock that is a plot device — an object, goal, or event — that motivates characters and drives the story forward but is ultimately unimportant to the audience. Whereas such a concept existed as a mysterious briefcase in the movie Pulp Fiction, here instead the MacGuffin is simply daily purpose. How we spend our days is how we spend our lives, and this sentiment is explored in humane detail across the tracklist which often focuses on seemingly insignificant routines that keep life moving forward. The velvety lullabies that mei ehara weaves here are both sunny and melancholic, and pairs well with my favorite album cover art of 2025. Designed by Brooklyn-based tattoo artist Patrick Edell, the cover translates the colorful psychedelia of ehara’s grooves into a piece of art that mirrors the exciting, intimidating, and surreal traversal that life demands.

15. Tremor by Daniel Avery
Genre: Techno/Ambient/IDM

Daniel Avery had to undergo a massive shift in his creative process in order to arrive at his marvelous new album Tremor. Avery has historically acted as a producer who works best in isolation, preferring to craft alone in a studio without the inputs or inclinations of other creative voices. Tremor is Avery stepping into the role of conductor this time, leading a stable of guest features to help him construct a “living and breathing collective” record. Avery is well known in the realm of electronic music, and has hinted at the darkly shoegaze inspired soundscapes that are present on the new album before through his remixes of Slowdive and The Cure in recent years. With Tremor these aspirations are fully realized, as what started as a chance run-in with Wolf Alice’s Ellie Roswell produced the excellent track “Haze” and Avery stretched the mindset of that collaboration into a full album of post-grungegaze electronica that borrows from a palette as broad as Gorilla Biscuits, Oasis, Smashing Pumpkins, and The Kills. Teaming up with Nine Inch Nails mixer Alan Moulder also helped solidify the sound with drums more akin to a live rock show than a drum machine. Avery has a full circle moment here that elevates his early artistic ambitions as a bass player in rock bands. The shadowy but inviting aesthetic of Tremor is drenched in goth influence and creates grainy textures through the interplay of Avery’s electronic mastery and the eclectic artistry of his collaborators. The back to back ferocious breakdowns on “Haze” and “A Silent Shadow” rival anything I’ve heard in hardcore this year, and are sandwiched between more elegantly shimmering art-pop cuts featuring hyperpop/EDM artists Cecile Believe and Yunè Pinku. Even the track names are inspired by the sentence fragments that are often found in tracklistings for more angsty, guitar driven genres. The easiest way for an album to take a slice out of my limited bandwidth is to find a new way to synthesize a medley of genres into something that is a transformation of musical possibilities beyond just tossing a hundred ideas into a blender. Tremor’s world of euphoric glisten and oil-slicked inventions demonstrate that Daniel Avery is at home making music that could soundtrack a David Fincher film just as well as any dancefloor weapon.

14. NEVER ENOUGH by Turnstile
Genre: Melodic Hardcore/Post-Hardcore/Alternative Rock

- Galen March (@angelcharm95)

Turnstile keep doing their own thing. If 2021’s Glow On represented a turn into a friendlier, more polished version of hardcore music, NEVER ENOUGH finds the band experimenting with sounds fully outside of the genre. With the help of collaborators like Faye Webster, A.G. Cook, Shabaka Hutchings, and Hayley Williams, NEVER ENOUGH intersperses hard riffs and shouted vocals with dance breakdowns, new age flute improvisation, and vibey washes of synth. The effect of all these unusual left turns might drag down a lesser album. In Turnstile’s hands, they create moments to catch your breath in the midst of the extremely fun ride they’re taking you on. I challenge anyone to listen to the way that album opener “NEVER ENOUGH” melts away in its last minute and half to clear a space for the hammer drop of “SOLE” and not feel your chest tighten a little with excitement.

13. Lotus by Little Simz
Genre: UK Hip Hop/Neo-Soul

Little Simz’s latest project Lotus exists in the shadow of an artistic breakup catalyzed by the usual suspects of financial disputes and miscommunication. Her most well known and appreciated work includes the albums Grey Area, Sometimes I Might Be Introvert, and NO THANK YOU, which were all produced with the elusive producer Inflo of SAULT fame. Earlier this year, a lawsuit filed by Little Simz initiated the final fallout between the two artists, and so Lotus is her first album in years created without his input. The album frames relationships of all types, including artistic connections, romantic partners, and sibling dynamics in the context of mature grace and healing. Through the process of finding her sound again with new collaborators, Little Simz has started a new chapter in her personal life and artistic growth. Lotus flowers bloom in muddy water, and symbolize resilience and rebirth. Through this metaphor, Little Simz is able to center her own healing process as the anchor that grounds Lotus, while also imparting wisdom she gleaned through her tribulations. One of my favorite tracks, “Flood” (feat. Obongjayar & Moonchild Sanelly), is a chaotic, high-energy track that warns young artists about the industry (“Keep me away from the Devil’s palm”). It uses frenzied percussion to mirror the feeling of drowning in pressure. That somber funk that permeates the track pairs well with the chimes and artsy electronic flair to produce a song that rises above her former producer’s absence. This track, as well as “Hollow” and “Young” almost feel welcome at home on a Disney soundtrack for one of their darker movies like The Princess Frog. I mean that as a compliment to highlight the whimsically murky atmosphere Little Simz cultivates as she finds a new path forward without sacrificing the blooming jazz-fusion direction that established her initial ascent.

12. Lifetime by Erika de Casier
Genre: Alternative R&B/Art Pop/Electronic

Erika de Casier has been a favorite of mine for years, ever since the bubblegum-pop club banger that is “Do My Thing” landed on my radar back in 2019. Her sound has always had an infectious dance-pop angle that folds in sunny textures and sparkling beats. That tendency is exorcised on her latest project Lifetime, which has a decidedly more introverted, nocturnal, and solitary current running through it. Lifetime is a departure for de Casier in more than one sense, with this being a return to her original imprint Independent Jeep Music after her last two efforts were released under the legendary indie label 4AD, signaling a greater desire for more creative control and independence. Unlike her previous album Still, which featured high-profile collaborators (Blood Orange, Shygirl), Lifetime is 100% self-produced, contains no features, and had no marketing attached to it. Instead, she opted to drop the album entirely as a surprise this past summer. The only indication of an imminent album release was the mysterious sale of unlabeled cassettes on her Bandcamp page back in April that of course sold out that same day. With complete control and an unfussy promotional cycle, de Casier chooses to lock into a new sound that leaves behind UK garage influence and roots itself in more straightforward R&B, ambient bedroom-pop, and trip-hop traditions. It lacks the harsh edges of contemporary club music, focusing instead on long builds and slow-fading outros that mimic the feeling of drifting to sleep. This move is all the more surprising given the brilliantly luminescent music she created on the lead single from Nick León’s A Tropical Entropy, “Bikini.” This aligned with her venture into typical pop star machinery as Erika de Casier had involved herself in producing and writing for K-Pop group New Jeans’ biggest song “Super Shy,” a track I was obsessed with for weeks before discovering de Casier’s heavy input. Lifetime is just as sensational as any of her other albums, but this time in a much more intimate, sensual, and understated manner that presents her vocal talent front and center. The album is beautifully wistful, with her airy voice coming across in whispers of confessional emotion over a landline telephone. The yearning is universal, and the hope is palpable for a romantic connection. It’s almost embarrassing to relate so immediately with my favorite track “Delusional,” which wraps vulnerable musings on a new romantic interest in trippy turntablism to depict the sanguine delusions that love invites. Whatever path de Casier chooses to engage next, whether it’s further down the road of trip-hop or back into the realm of pop hits, fans of electronic music would be remiss to take their attention away.

11. Like A Ribbon by John Glacier
Genre: UK Hip Hop/Experimental/Cloud Rap

John Glacier is an artist whose music is difficult to pinpoint. There are few artists of any discipline that are able to convey as much of their internal world as Glacier does while also remaining nonchalant the entire way through. John Glacier is a frigid enigma who has an outsider persona within the UK rap and underground electronic scenes. Her deadpan delivery sounds more like diary entries than rap verses, served in hushed intonations in such a closed off manner that she appears to be talking to herself. This contrasts creatively with the big production across her debut album Like a Ribbon, as a variety of prolific artists rework their signature styles to match her energy. Glacier never needs to raise her voice to compete with the complex but minimal production because it all bends to her will. Artists like Flume, Sampha, and Earthearther explore new territory in order to adapt to the small, intimate sandbox Glacier constructs around her vision. On the track “Nevasure” for example, Flume twists his usual bombastic rhythms into an anxiety-riddled track that aligns with the glitchy and pressurized production that Glacier is orchestrating. Likewise, while Sampha brings warm soul and Eartheater lends distorted grunge, they both contort their intentions to contend with the obscurely disturbed thesis of Like a Ribbon. This anxiety is central to Glacier’s album, as the lyrics deal with three specific troubles: the frailty of body, the exhaustion of relationships, and the dissociation of being perceived. Glacier speaks of the limits of movement for her body on “Nevasure,” in reference to her connective tissue disorder. Her body remains spotlit on tracks like “Money Shows,” where she treats her image as an entity separate from herself as she comes to terms with the suffering that comes with her successful modeling career working for brands like Burberry. Maybe this is why she is comfortable orbiting people from a distance, as she describes on “Satellites,” where she longs for a connection that is more than physical but stays cautious of the gravity of commitment. In many ways the monotonous mumbling that Glacier utilizes shields her in both physical reality and her internal world: a protective armor against the exhaustion of both her mind and her flesh.

10. Top Hits, Ballads, etc… by AMORE
Genre: Art Pop/Synth-Pop/Lo-Fi

There is a popular surge of avant-pop happening in Spain at the moment, and AMORE is at the forefront. Her debut album, Top Hits, Ballads, etc…, uses its ironic title as a meta-commentary on narrative-driven concept albums, reflecting AMORE’s own blending of multiple musical styles. The LP eloquently fuses synth-pop, reggaeton, bedroom pop, and traditional Spanish elements into a unified showcase of her diverse talent. The album is constantly dynamic, moving from the ethereal dream pop of the opener “Amore I” — produced by the supremely gifted Canadian electronic artist Loukeman, which acts as the atmospheric portal into the album’s dream logic — to the lively reggaeton rhythms of “Querió,” and then to nostalgic Euro-dance, with minimalist EDM shining in tracks like “don’t mess with mr in-between.” A key feature is the opulent collision between traditional Spanish elements, such as castanets and flamenco scales, and the futuristic, internet-native electronic production, which remains subdued only to highlight AMORE’s glowing vocals. Despite this collage of sound approach, the tracklist maintains cohesion, all guided by the earnest sentimentality and masterful singing of AMORE. Tracks like “I Gotta Feeling” offer a temporary relief from the heavier emotions, only to immerse the listener in the overstimulated anxiety and internal monologue of youth in a club setting. My favorite track is “Peléame!!!,” a piece of experimental pop that achieves minimalist magic by layering electronic surrealist textures over her divine vocals. The lyrics of “Peléame!!!,” which translates to “Fight Me!!!,” explore the fine line between passion and aggression. It posits that friction can breed affection, yet categorizing that friction as a passionate embrace or a bitter fight becomes blurred when conflict defines a relationship and inviting another fight is the primary means of connection.

9. Ginkgo by Panchiko
Genre: Shoegaze/Neo-Psychedelia/Indietronica

Of all the shows I’ve missed this year, Panchiko’s recent stop in Boston is the one that stings the most. I was laid up on my living room floor, texting my friend and begging her to enjoy the night for both of us, as I was incapacitated with a severe back injury from overexertion at Four Tet’s Under the K music festival the week before. By now, the lore is well trodden. Panchiko became an internet enigma when their 2000 demo, D\>E\>A\>T\>H\>M\>E\>T\>A\>L, was found in a charity shop in 2016. This discovery launched a global search that located the middle-aged band members, who were unaware of their newfound fame. Their 2023 comeback album, Failed at Math(s), garnered mixed feedback, with some suggesting it was hastily produced to exploit the sudden hype. With Ginkgo, Panchiko aims to establish their longevity as serious artists. The album embraces a higher-fidelity sound, moving past their shoegaze roots. Ginkgo incorporates diverse genre influences, including the atmospheric dream pop of Let’s Eat Grandma, the indie sleaze spirit of The Strokes and Passion Pit, and elements of trip-hop and hip-hop. This latter influence is highlighted by an excellent feature from rapper billy woods on the track “Shandy in the Graveyard,” where his abstract, dystopian verse is a jarring, vivid counterpoint to Owain Davies’ angelic vocals. The reinvention on Ginkgo doesn’t discard their earlier interests but refines them into a more purposeful, psychedelic art-rock aesthetic. Tracks often begin as simple acoustic ballads before expanding with contemporary IDM production and industrial noise, effectively bridging the gap between their 2000 origins and the present. The album title itself is significant, referencing the Ginkgo biloba tree — a “living fossil” that has survived for millions of years — as a metaphor for the band’s own improbable resurgence and survival.

8. EUSEXUA (DIY DELUXE EDITION) by FKA Twigs
Genre: Art Pop/Techno/Avant-Pop

Beauty is everywhere for those with eyes to see! Where one (me) might clock the ridiculous, delayed revamping of tracklists and non-deluxe companion projects as a mess, another more loyal fan might describe this musical ecosystem as a mutation of the typical album cycle. FKA Twigs’ 2025 project, EUSEXUA, has evolved into a living document. The original version of EUSEXUA debuted in January of 2025, and is categorized as a lustrous take on club music inspired by Twigs’ time in the European techno scene and Y2K pop. In the club, we’re all family, and that ethos of loving connection in the underground is the definition of “EUSEXUA,” a term Twigs coined herself. This original EUSEXUA album focused on visceral, polished sensual glitchcore, including the solo version of “Striptease” as well as “Childlike Things” which featured a controversial contribution by North West rapping in Japanese. A glitch in the matrix occurred in November 2025, leading to a significant revision of the main album and the release of a companion piece, EUSEXUA Afterglow. Twigs removed several original tracks, including the North West collaboration and the solo “Striptease,” substituting them with new songs such as “Perfectly,” “The Dare,” and “Got to Feel.” The solo “Striptease” was replaced by a darker, grimmier, and more industrial remix featuring Eartheater, contrasting with the lonesome, slow-burning seduction of the original. What started as a deluxe edition, EUSEXUA Afterglow, ultimately became a distinct sister album. It offered a harder edge, capturing the sweaty, hedonistic comedown after a night out rolling in dark basements, directly contrasting with the main album’s attempt at sophisticated intellectualism. The title track (present on both versions of the main album) remains the anchoring point. It is a spacious techno ballad that defines the core philosophy of the project: finding peace in the midst of chaos.

7. Lonely People With Power by Deafheaven
Genre: Blackgaze/Post-Metal/Shoegaze/Post-Hardcore

Deafheaven’s latest album, Lonely People With Power, marks a welcome return to form that blends the savage ferocity of vocalist George Clarke’s black metal screams with their most melodically mature instrumentation to date. The album resurrects the chaotic energy and throat-ripping vocals that characterized their adored 2013 blackgaze album, Sunbather, which they recently celebrated with a ten-year anniversary tour. However, this new material is filtered through the clarified, high-fidelity production honed on their polarizing previous effort, the clean-vocal shoegaze pivot Infinite Granite. While Infinite Granite was not a failure, its stark departure left the band’s future sound uncertain during the four-year wait for this new release. Lonely People With Power resolves that uncertainty by creating a grand, cinematic metal sound, successfully incorporating the best parts of their long career. The resulting dynamic contrast juxtaposes the glint of shoegaze guitars against swirling howls and the swells of clipping distortion. The album is conceptually structured into three acts, punctuated by the tracks “Incidental I, II, and III.” Act I opens with pure violent aggression on “Doberman” and “Magnolia.” Act II moves into more expansive, complex, and progressive territory with “Amethyst.” Act III provides a cathartic resolution, featuring imposing synths on “Winona,” sleek humming guitars on “The Marvelous Orange Tree,” and a spoken-word performance by Interpol’s Paul Banks on “Incidental III.” Lyrically, the album explores themes of trauma, masculinity, and transactional relationships, with the title itself referencing the cavernous emptiness of modern authority and spiritual figures. Deafheaven’s Lonely People With Power expertly constructs something singularly awesome and cohesive out of the heterogeneous elements of their previous output.

6. Luminescent Creatures by Ichiko Aoba
Genre: Chamber Folk/Ambient Folk/Dream Pop

- Galen March (@angelcharm95)

Ichiko Aoba’s Luminescent Creatures — this year’s masterful entry in the Japanese folk artist’s catalogue — is an ode to ocean life. Inspired by free diving excursions in the coral seas of Japan’s southern Ryukyu Islands where she witnessed jellyfish, whales, and the titular bioluminescent plankton, the album immerses the listener in this world that Aoba appears to have spent large portions of the last few years visiting, researching, and contemplating. “I found this theory that [the plankton] began to glow as a form of communication when they were alone and isolated,” she explains in an interview. “Whether we’re laughing or crying, the genesis of our emotions as humans is the same as those ancient creatures deep under the sea.” Aoba’s sincere empathy for the natural world is the creative fuel powering Luminescent Creatures and the source of her album’s warm, compassionate, and endlessly inviting sound.

5. choke enough by Oklou
Genre: Art Pop/Synth-Pop/Alternative R&B

Oklou’s full-length debut, choke enough, arrives after a half-decade wait, evolving the art-pop experimentation of her 2020 EP Galore. I first encountered her work on the comedown of a psychedelic trip, where Galore provided a profound soundtrack. This new album takes Oklou’s sound into a post-hyperpop realm, maintaining a terminally online yet humanly vulnerable aura. The record features contributions from a roster of glossy boundary-pushing artists, including Bladee, underscores, Danny L Harle, FKA Twigs, and A.G. Cook. Oklou masterfully molds these influences into a magnificent piece of ambient pop, blending French House and medieval melodies into something that sounds like it was recorded in the heavy fog of an abandoned town filled with ghostly secrets. The production is dynamic, sometimes dropping into minimalism — such as a lone crow’s cry that recalls bird-centric samples by electronic artists like Flume and Four Tet. Oklou’s celestial vocals dance with the production, bringing to mind comparisons to Caroline Polacheck, an artist with whom Oklou toured in 2021. Back then, I witnessed her being heckled on stage, while I was the only one shouting her name in reverence (though I was unfamiliar enough still to mispronounce it, which she kindly corrected). Today, she sells out massive venues like NYC’s Knockdown Center. The album’s title, choke enough, carries a weighty question, as Oklou explains: “…what situations are we ready to put ourselves into in order to provoke sensations and drama, in order to feel alive?” The music itself requires a similar level of commitment. Processing Oklou’s retro-futuristic, muffled pop involves enduring suffocation and a willingness to become eternally lost in her enchanted digital forest.

4. Pirouette by Model/Actriz
Genre: Dance-Punk/Noise Rock/Industrial

You’re not going to believe me, but I also saw Model/Actriz get heckled back in the day at their show at Brighton Music Hall in 2023. It goes to show that I’m not just complaining when I comment on the epidemic of bad taste that’s been going on ever since the explosion in popularity of live music events post-pandemic. Model/Actriz was touring their album Dogsbody back then, my favorite debut album of 2023. On Pirouette, Model/Actriz haven’t softened their blow, but they have significantly sharpened their aim. While their debut felt like a bludgeon, this record operates like a scalpel. The experimental industrial art-rock is still there, but the chaos has been compressed into something far more dangerous. Cole Haden remains a live-wire antagonist, grounding his croons and wails in a hardcore-punk tradition that usually ends with bodies colliding in the dark. But where he once played the predator, here he plays the seducer. The primal instinct that defined their earlier work is now draped in romanticism that mirrors the inherent violence of unrestricted dance. Like any pirouette, the album is a technical, dizzying rotation that generates immense force while staying fixed on a single spot. This sense of calculated restraint defines the record. The discordance is targeted now instead of sprawling. Tracks like “Diva” and “Doves” wear their New Order influences on their sleeve, trading the loose noise-rock of the past for a cold, mechanical pulse. This is the band’s dance-punk evolution reaching its final form. The friction of jittery electronic touches, screeching guitar riffs, and industrial precision drives home the brutal reality of love’s power to tear us apart.

3. Let God Sort Em Out by Clipse
Genre: Hip Hop/Coke Rap

Pharrell’s production was a sound I knew before I knew the name, with N.E.R.D.’s debut ripped from YouTube to an iPod touch. I knew the bars before I knew the group, catching Pusha T’s verses through the Kanye West connection long before I understood the Thornton brothers as a unit. Coming up in New York City, hip-hop culture was so inescapable that the finer details often got lost in the noise, especially as the blog rap backpacker era that produced J. Cole coincided with my high school years. Hearing Let God Sort Em Out, 16 years after their last project, feels less like a reunion and more like picking back up on a stalled conversation. But while it feels familiar to me, the men having the conversation have changed. Since 2009’s Til the Casket Drops, [No] Malice renounced the lifestyle to release faith-based music. Meanwhile, Pusha T doubled down, building a solo empire and a cult of personality on the back of his coke rap persona. After such a hiatus, the brothers haven’t returned to retread the heathen criminality of their seminal album Hell Hath No Fury. Instead, they offer a seasoned, reflective meditation on the debris that lifestyle left behind. This retrospective is sharpened by the return of Pharrell Williams, who produced the record at the Louis Vuitton Headquarters in Paris. That setting is audible as the album blends high fashion with gritty subject matter, creating a luxury aesthetic that feels cold, extravagant, and distant. The album’s core tension lies in the compromise between Pusha T’s unrepentant hedonism and No Malice’s redemptive wisdom. They reconcile a past that was equal parts reckless and rewarding, placing it in the context of a present where the genre has shifted as much as they have. Pusha plays the villain who mastered the game; Malice plays the survivor who escaped it. Icy production and haunting cryptic bars make it sound like hell froze over to deliver us not just another chapter in Clipse’s legacy, but an epilogue on the demons they’ve been battling with since their inception. One such demon stalking the tracklist is grief. The album doesn’t open with an obnoxious flex, but instead with a gut-punch — a tribute called “The Birds Don’t Sing” to their late parents over mournful piano chords. It immediately establishes a more vulnerable Clipse, yet there is no loss of bite. Despite an all-star roster of features that includes Tyler, the Creator, Nas, Kendrick Lamar, John Legend, and Stove God Cooks, the duo is never outmatched. Only a rapper with nothing left to prove could get away with an opening line like, “Yellow diamonds look like pee-pee!” (It is surprising there wasn’t a follow-up about not eating the yellow snow). Let God Sort Em Out lives up to its title. The duo lays bare their hearts and minds in a project that mirrors the sacrament of confession, but delivered with the righteous anger of those who know that their critics never struggled the way they did. Only God can judge.

2. 10 by SAULT
Genre: Neo-Soul/Funk/R&B/Gospel

In Biblical numerology, the number 10 signifies perfection, divine order, completeness, and wholeness, representing a full cycle or totality. Fittingly, SAULT achieves a moment of Zen on 10, an album that sees the enigmatic collective return to their R&B and gospel roots to create their most nimble and accessible record to date. While the core is structured on R&B, the genre fluidity that has defined their career is still vibrantly present, guiding a stream of ideas through neo-soul, funk, acid jazz, and disco. It feels like a synthesis of every era they have traversed, blended into a single, cohesive statement. It is surprising to hear such a joyfully unburdened album, given the storm surrounding its creation. The group is led by Inflo (Dean Josiah Cover), the producer behind hits by Adele and Cleo Sol, but notably not Little Simz anymore. As detailed in my review of Lotus, 2025 marked the public disintegration of their partnership, a rift fueled by a reported $2.2 million debt from Inflo’s attempt in 2023 to fund the only live show SAULT has ever performed. Simz has stated she scrapped four albums of material in the fallout, and Inflo himself has been tangled in legal battles that briefly saw 10 vanish from streaming services shortly after its release. Yet, despite the turmoil, 10 sounds effortless. It hits like a stray ray of sunlight peeking through a window to remind me of gentle serenity in a disordered universe. The music builds its foundation in spiritual enlightenment, but rather than offering a pedantic reflection on Christian theology, it uses metaphor to turn specific faith into universal truth. The resilience of the lyrics melds with afro-funk rhythms and orchestral soul, serving as an instructional guide on prioritizing inner healing in order to heal the world around you. Inflo’s signature production remains unmistakable, with fuzzy basslines and minimalist garage flourishes influenced by krautrock adding complexity to the R&B reconstruction. But it is the pillars of reggae and dub that support the album’s emotional peaks, specifically on my favorite track, “H.T.T.R.” With its chorus asking, “Can you hear the rain falling?”, the song transforms the biblical flood of trauma into a moment of transcendence, urging the listener to rise above the misfortunes of fate and the malice of man. 10 acts as a collection of modern psalms. Although Inflo’s most prolific muse is absent, the resurrection of SAULT’s sound is mirrored by the album’s release date on Good Friday. As the collective chants on “W.A.L.”, they take special care to remind us to “remember who you are,” proving that even with a fractured lineup, they are “never gonna stop.”

1. True Electric (mixed) by Röyksopp
Genre: Electropop/Synth-Pop/House

Writing about my favorite projects of 2025 has revealed a consistent thread: a deep appreciation for artists who can crystallize the breadth of their career into a new vision that honors their history while completely reconstructing it. True Electric is the apex of that artistry. Every time I play it, I find myself shaking my head in disbelief at the sheer audacity of the sound design. Röyksopp has condensed a legendary career into a high-voltage conductor for the dancefloor, piercing memories of a past decorated with glistening nostalgia. But True Electric is not a traditional album. Aside from the radiant centerpiece “The ‘R’”, the project consists entirely of radically reworked versions of previously released songs from their back catalog, spanning from 2005’s The Understanding to 2022’s Profound Mysteries series. This feels like part of a larger post-album movement prevalent in 2025. We’ve seen AMORE release a greatest hits compilation as a debut, FKA Twigs treat her project as a living document, and SAULT has been known to release limited-time albums that vanish like ghosts and defy numeration (10 was actually their twelfth album). Röyksopp’s approach mirrors this fluidity. Just a year ago, they dropped Nebulous Nights, an ambient reinterpretation of their recent work. True Electric is the inverse. It shapes the dreamy ephemera of their source material into a sweat-inducing escapade through European dance tradition. Crucially, it avoids the pitfalls of the current American scene. It sidesteps the childish, amateurish dubstep drops or lifeless tech-house that dominates festival circuits headlined by the likes of Subtronics and John Summit in favor of a luminescent, kinetic pulse. The album is structured like a two-hour DJ set, moving seamlessly between eras. It makes a track from 2009 (“The Girl and the Robot”) sound like it was recorded in the same session as 2022’s “Breathe.” The result is a total reconceptualization that revitalizes melancholic downtempo hits into high-octane anthems. For a fan like me, who has been obsessed with them since their chilled-out debut Melody A.M., this album is a revelation. It proves that while they can certainly chill, they are masters of the peak time slot. True Electric feels like being in the crowd, with the polish of studio production offset by the raw, emotional depth of vocalists like the incomparable Robyn. This is an album that merges live performance energy with the art of the electronic remix. Echoing a trend seen in recent projects like The Cure’s Mixes of a Lost World, where artists commission extensive remix collections, Röyksopp handles this task entirely themselves. The Norwegian electronic-pop duo successfully distills the explosively charged atmosphere of their live shows, transforming their diverse discography into a galactic dance party. I don’t have a long bucket list, but seeing this performed live is now at the very top of it.

· · ─────── ·𖥸· ─────── · ·

Honorable Mentions are listed below. There is always too much good music being released and too little time. Thus, I kept it “short,” to only an additional 50(ish) albums in my mentions, sorted alphabetically:

100% by Raw Brigade
Genre: Hardcore Punk

(The) Forever Dream by Fly Anakin
Genre: Hip Hop/Abstract Hip Hop

A Life’s Refrain by Speedway
Genre: Melodic Hardcore

A Written Testimony: Leaflets by J A Y E L E C T R O N I C A
Genre: Conscious Hip Hop

Alexandra’s Band by Animal Ghosts
Genre: Shoegaze/Dream Pop/Drone

Almost Static by Keep
Genre: Shoegaze/Alternative Rock

Aurora by Lathe of Heaven
Genre: Post-Punk/New Wave/Gothic Rock

Better Living Through Static Vision by Staticlone
Genre: Hardcore Punk/D-Beat

Black Hole Superette by Aesop Rock
Genre: Abstract Hip Hop

Bleeds by Wednesday
Genre: Indie Rock/Shoegaze/Countrygaze

Blue Moon Safari by Vegyn; Air
Genre: Electronic/Downtempo/Ambient Pop

Bugland by No Joy
Genre: Shoegaze/Dream Pop/Alternative Rock

Burn After Listening by SCARAB
Genre: Hardcore/Powerviolence

Chemistry by Chris Lake
Genre: Tech House

CONFLICT DLC by HEALTH
Genre: Industrial Rock/Noise Rock/Electronic

Dance Called Memory by Nation of Language
Genre: Synth-Pop/New Wave/Indie Pop

Death Hilarious by Pigs Pigs Pigs Pigs Pigs Pigs Pigs
Genre: Stoner Metal/Doom Metal/Psychedelic Rock

DON’T TAP THE GLASS by Tyler, The Creator
Genre: Hip Hop/Neo-Soul

Dreams of Being Dust by The World Is A Beautiful Place & I Am No Longer Afraid To Die
Genre: Emo/Post-Rock/Indie Rock

Earthkeeper by Pinkshift
Genre: Pop Punk/Post-Hardcore/Grunge

Electric Hour by Sword II
Genre: Experimental Rock/Shoegaze

Etum by Jeigo
Genre: UK Garage/Deep House

Fairyland Codex by Tropical Fuck Storm
Genre: Art Punk/Psychedelic Rock/Noise Rock

Fleshwork by Pupil Slicer
Genre: Mathcore/Metalcore/Grindcore

Getting Killed by Geese
Genre: Art Rock/Post-Punk

God Does Like Ugly by JID
Genre: Hip Hop/Southern Hip Hop

Goldstar by Imperial Triumphant
Genre: Avant-Garde Metal/Blackened Death Metal/Jazz

GULP by Facta
Genre: UK Bass/Deep House/Leftfield

Here & Now by Flava D
Genre: UK Garage/Bassline

It’s a Beautiful Place by Water From Your Eyes
Genre: Art Pop/Experimental Pop

It’s Later Than You Think by Ploy
Genre: Techno/UK Bass

Land’s End Eternal by Cole Pulice
Genre: Ambient/Modern Classical/Saxophone

Lateral by Brian Eno; Beatie Wolfe
Genre: Ambient/Environmental

Liminal by Brian Eno; Beatie Wolfe
Genre: Ambient/Environmental

Luminal by Brian Eno; Beatie Wolfe
Genre: Ambient/Environmental

More Is More by George Riley
Genre: R&B/Electronic/Neo-Soul

My Supernova by Wata Igarashi
Genre: Techno/Hypnotic Techno

natural by terraplana
Genre: Shoegaze/Slowcore

Nisemono 偽者 by Nisemono 偽者
Genre: Hardcore Punk/D-Beat

No Control, No Glory by AKAI SOLO
Genre: Abstract Hip Hop/Experimental Hip Hop

Nobody Gets Down Like… by SEUDO YOUTH
Genre: Hardcore Punk

On a Painted Ocean by Walt McClements
Genre: Ambient/Drone/Accordion

Paradise Now & Forever by Obongjayar
Genre: Afrobeat/Soul/R&B

Parasite by Cell Rot
Genre: Grindcore/Powerviolence

Raspberry Moon by Hotline TNT
Genre: Shoegaze/Indie Rock/Power Pop

REPULSOR by Shlohmo
Genre: Electronic/Trap/Glitch

Revengeseekerz by Jane Remover
Genre: Shoegaze/Glitch Pop/Digicore

SABLE, fABLE by Bon Iver
Genre: Indie Folk/Art Pop/Folktronica

Showbiz! by MIKE
Genre: Abstract Hip Hop

Something to Consume by Die Spitz
Genre: Punk Rock/Grunge/Garage Punk

Station On The Hill by Computer
Genre: Post-Punk/Noise Rock/Industrial

Stovepipe by Money
Genre: Dream Pop/Indie Rock

THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED by The Armed
Genre: Post-Hardcore/Noise Rock/Experimental

The Love by Destiny Bond
Genre: Hardcore Punk/Melodic Hardcore

Thee Black Boltz by Tunde Adebimpe
Genre: Art Rock/Indie Rock

There Was a Wind, But No Chime by Dot Dev
Genre: Abstract Hip Hop

Unclouded by Melody’s Echo Chamber
Genre: Psychedelic Pop/Dream Pop

Under Tangled Silence by DjRUM
Genre: Ambient/Techno/Breakbeat

The following section dedicates some time and effort to reflect on a few projects this year that aren’t typical albums, or to focus on some albums that have earned themselves a superlative description.

Best Bootleg Album of the Year goes to the Baby Invasion OST by Burial. Baby Invasion is an avant-garde film about a first-person shooter game that leaks onto the dark web, utilizing augmented reality and brain-rot humor to execute the vision of Harmony Korine and his EDGLRD studio. Following their infrared terror Aggro Dr1ft, Korine tapped Burial for the score. This proved to be an inspired choice given the producer’s reclusive and mystical nature. In fact, the collaboration was entirely remote; Korine claims they never spoke, communicating exclusively through the PlayStation 5 messaging system! That medium is the message. The score Burial delivered is a sharp pivot from the rainy, morose dubstep of Untrue. Instead, it leans into a chaotic, punishing techno that functions less like a narrative and more like a game engine. It loops, intensifies, and resets, mimicking the mission structure of the film and never allowing the listener to settle. Fittingly for a film about leaked data, there is no official commercial release. The soundtrack exists only as a cursed object on the internet. The copy I acquired was effectively hand-delivered by the original bootlegger, who described his process as follows: “[I] used eac3 file[s] uploaded by u/m0rp and did the whole process of isolate music from movie sfx/noises on audacity and splitted into 20 tracks… all this stoned as hell.” That sentence captures the spirit of the project better than any press release could. This is music meant to be excavated from the digital noise, not streamed. For legal reasons, I cannot link to the Baby Invasion OST, but it’s out there.

Most Glazed Album of the Year goes to Getting Killed by Geese. Runner up has to go to The Passionate Ones by Nourished by Time.

Best Leaked Album of the Year goes to Maclib by Mac Miller and Madlib. For over a decade, Maclib was the “Holy Grail” of hip-hop’s lost media — a myth that grew heavier with every year that passed since Mac Miller’s untimely death. While 2025 gave us the polished, official release of his Balloonerism mixtape, this collaboration with Madlib remained intangible, tangled in business disputes with Madlib’s former partner Egon and rumors that the master files had been destroyed in a California wildfire. Then, without warning, it appeared in a Reddit thread. To hear Maclib now is to open a time capsule from 2015, capturing the moment Miller transitioned from frat rapper to serious artist. It is gritty, loop-heavy, and unmixed, preserving the raw, dusty sound of two stoners jamming in a basement. Maclib also contains the possible origin of Madlib’s current bird call producer tag on the track “Track 02 — Skit”. I had never heard him use this producer tag before No Fear of Time by Black Star in 2022 until now. The longest track barely cracks two minutes, but those fragments contain flashes of brilliance that rival anything on Faces. Miller embraces that era’s signature delivery — nasal, abstract, and technically dense — weaving through Madlib’s minimalist jazz loops with ease. It is hallucinogenic boom-bap sieved through a psychedelic sketchbook of ideas that feels more alive in its unfinished state than most completed albums. It captures the underground spirit Miller was chasing before he ran out of time. I cannot recommend this chilled-out artifact of hip-hop enough.

Best Reissue of the Year goes to Stereotype by Squarepusher. Originally self-released in 1994 under the pseudonym “Stereotype”, fewer than 1,000 copies were pressed. For 30 years, it was a collector’s item that traded for exorbitant sums. This 2025 edition marks its first-ever official wide release. This is the unfiltered and unrestrained work of a rave-obsessed teenager recording music on borrowed equipment. Stereotype is relentless 90s acid, soaked in the hypnotic industrial sounds that inspired his earliest work. It is distinct in Squarepusher’s discography for eschewing his usual penchant for jazz influence. On Stereotype, he prioritizes the warehouse scene that birthed his love for electronic music.

Best Compilation Album of the Year goes to Soul Psychédélique (The Sounds of Psychedelic Soul & Funk 1967–2024).

Best Original Soundtrack of the Year goes to the trio of albums that together comprise Lazarus (Adult Swim Original Series Soundtrack). There is simply no standing up to the triple threat of heavy-hitters on this soundtrack. Legendary jazz saxophonist Kamasi Washington, trip-hop titan Bonobo, and the world’s best living synthesizer based musician Floating Points team up to provide the soundtrack to an anime series by the acclaimed creator of Cowboy Bebop. The result here is work that rivals any of their best official LPs, and matches the hyperbolic prestige of the show itself.

Best Live Album of the Year goes to MTV Unplugged by The Cranberries. The Cranberries’ iconic 1995 MTV Unplugged performance finally received its first official standalone release on November 7, 2025, following its initial appearance as a limited bonus with the 30th-anniversary reissue of No Need to Argue. Remastered by Stephen Street, who is best known for his production work with The Smiths, The Cranberries and Blur, the live set captures the band’s intimate, burning acoustic renditions of hits like “Zombie” and “Linger,” plus the previously unreleased “Yesterday’s Gone,” celebrating the legacy of the late Dolores O’Riordan.

Finally, here is an alphabetically sorted list of Favorite EPs of 2025. There’s a lot here, and I had hoped to make this its own article. I’m short on time however, and on my way to FYA Fest in Orlando at the moment so this will have to do. I’ve highlighted my top picks here:

4 Point Play by YL
After EP by After
ALL MY ANGELS by Speed
ATW024 by Lemtom
Brand Spanking New by Smashing Time
Broken Sword, Rotten Shield by Full Of Hell
check this out EP by Yetsuby
Club Shy Room 2 by Shygirl; Club Shy
deadwired by Bodyweb
Demo 2025 by Lark’s Head
Drag by Squint
En Love / Rabbit by En Love
EP 2025 by Bad Beat
Fig by Jeigo
Heat by Powerplant
HEELS HAVE EYES series by Westside Gunn
Hostile Design by Black Eyes
Human Zoo by Stress Positions
Hypnotics by BOP
II by No Chain
INFINITY CLUB II by BAMBII
Iris EP by Olof Dreijer
JS06 by Jump Source
KELLY by Kelly Lee Owens
Liminality / Dream State Return by Elder
LIVING GRACIOUS by Crush Your Soul
Love Songs EP by Big Boy
Negotiations by Kilo Kish
Night by Nils Frahm
No Escape by SPACED
No Model / Pilau by NO MODEL; Pilau
No Separation by MSPAINT
object 1 by Flooding
Planet Popstar by Wishy
Primordial Slot Machine by Getdown Services
Prologue by Balmora
Pup Pack: 1st and 2nd Shift by Kenny Mason
Quiet Pleasures by Glixen
Seen Enough by SPY
Settle the Score by DYNAMITE
SHIRTS VS. SKINS by Haywire
Silver Strand Tapes by Brigid Mae Power
Skepta .. Fred by Skepta; Fred again..
So Far South by Oscar Farrell
Sounds of Reflection by Cloudy Frost
Suspension of Belief by gyrofield
The Answer Breaks by RamonPang
They Left Me With The Sword/Gun by Paris Texas
Tomorrow Is A Mystery To Me by Secret World
Total Soul Ignition by Method Of Doubt
Traces EP by Identity Shock
Tracks from the Vault by Eprom
Violence Is a Curse by PARIAH
Weapon X Demo 2 by XweaponX
Y by Y

Hopefully, you were able to discover some new music from this year’s list or recognize a few of your favorite albums. Either way, please make sure to reach out to share your thoughts, start some beef, or praise your favorite LP. You can also keep up with the current year’s new releases by following my playlist here. Lastly, a special heartfelt thank you to Jamie Koh for designing EchoEthos’ new logo. If you’re digging the new logo, you can reach out to Jamie at jkoh.illustration@gmail.com for all your illustration needs.

Follow @EchoEthos on Instagram and YouTube to stay up-to-date and support your local scene.

(The) Forever Dream by Fly Anakin

Genre: Hip-Hop/Jazz Rap

10 by SAULT

Genre: Soul/Funk/R&B/Experimental

45 Pounds by YHWH Nailgun

Genre: Industrial/Noise Rock/Experimental Post-Metal

4EVA by Yetsuby

Genre: Electronic/IDM/Ambient Techno

Animaru by Mei Semones

Genre: Indie Pop/Jazz Fusion/Bossa Nova

At Peace by Propagandhi

Genre: Punk Rock/Hardcore

Basic Maneuvers by Verraco

Genre: IDM/Latin Techno

Belly of the Beast by Combust

Genre: Hardcore/NYHC

BLACK’!ANTIQUE by Pink Siifu

Genre: Experimental Hip-Hop/Neo-Soul/Avant-Garde

Buyer Beware by The Men

Genre: Post-Punk/Garage Rock

choke enough by Oklou

Genre: Electronic Pop/Art Pop/Ambient

Club Shy Room 2 by Shygirl, Club Shy

Genre: Electronic/Club/Art Pop

Death Hilarious by Pigs Pigs Pigs Pigs Pigs Pigs Pigs

Genre: Stoner Metal/Psychedelic Rock/Doom Metal

EUSEXUA by FKA twigs

Genre: Art Pop/Electronic/Avant-Garde R&B

Ginkgo by Panchiko

Genre: Indie Rock/Shoegaze/Lo-fi Pop

GOLLIWOG by billy woods

Genre: Abstract Hip-Hop/Experimental Rap

Guilt Is Good by Secret World

Genre: Post-Punk/Post-Hardcore/Alternative Rock

HEELS HAVE EYES by Westside Gunn

Genre: Hip-Hop/Avant-Garde Rap

Idaho by Ingrown

Genre: Powerviolence/Hardcore/Grindcore

Iris Silver Mist by Jenny Hval

Genre: Art Pop/Experimental/Folktronica

La Belleza by Lido Pimienta

Genre: Art Pop/Latin Electronic/Cumbia/Experimental

Land’s End Eternal by Cole Pulice

Genre: Ambient Jazz/Experimental Saxophone/Electronic

Last Leg of the Human Table by Cloakroom

Genre: Shoegaze/Space Rock/Midwest Emo/Garage Rock

Lifetime by Erika de Casier

Genre: R&B/Electronic Pop/Soul

Like A Ribbon by John Glacier

Genre: Abstract Hip-Hop/Experimental Electronic

LIVING GRACIOUS by Crush Your Soul

Genre: Hardcore/Metalcore/Beatdown

Lonely People With Power by Deafheaven

Genre: Blackgaze/Post-Metal/Shoegaze/Experimental Metal

Love Songs EP by Big Boy

Genre: Power Pop/Garage Rock/Hardcore

Luminescent Creatures by Ichiko Aoba

Genre: New Age/Ambient Folk/Classical Acoustic

No Separation by MSPAINT

Genre: Synth-Punk/Post-Hardcore/Electronic Rock

Noble and Godlike in Ruin by Deerhoof

Genre: Experimental Rock/Noise Pop/Art Punk

On a Painted Ocean by Walt McClements

Genre: Ambient/New Age/Experimental Electronic/Accordion

Pinball II by MIKE, Tony Seltzer

Genre: Abstract Hip-Hop/Lo-fi Rap

Pirouette by Model/Actriz

Genre: Noise Rock/Industrial Dance/Post-Punk

Planet Popstar by Wishy

Genre: Shoegaze/Dream Pop/Indie Rock

Rarely Do I Dream by Youth Lagoon

Genre: Dream Pop/Psychedelic Pop/Electronic

SABLE, fABLE by Bon Iver

Genre: Pop Soul/Art Pop/Folktronica

Scanners by Anthony Naples

Genre: House/Techno/Ambient Electronic

Seen Enough by SPY

Genre: Hardcore Punk/Powerviolence

SHIRTS VS. SKINS by Haywire

Genre: Hardcore/Noise Rock/Alternative Rock

Superheaven by Superheaven

Genre: Alternative Rock/Grunge/Shoegaze

the world is still here and so are we by Mclusky

Genre: Noise Rock/Post-Hardcore/Alternative Rock

They Left Me With The Sword/Gun by Paris Texas

Genre: Experimental Hip-Hop/Alternative Rap/Punk Rap

Top Hits Ballads etc… by AMORE

Genre: Indie Pop/Synth-Pop/New Wave

Trash Mountain by Lily Seabird

Genre: Indie Folk/Singer-Songwriter/Lo-fi Pop

True Electric (mixed) by Röyksopp

Genre: Electronic/Synth-Pop/Progressive House

Weapon X Demo 2 by XweaponX

Genre: Metallic Hardcore

WITH A VENGEANCE by SHERELLE

Genre: Electronic/Jungle/Footwork/UK Bass

Without References / Cindy Van Acker by goat (JP)

Genre: Experimental Rock/Noise Rock

Y by Y

Genre: Post-Punk/Minimal Wave/Experimental Jazz

That’s a wrap on my favorite projects of the year so far! I truly hope you found some new artists to check out, or maybe just had fun seeing a few of your own favorites on the list. I can’t get to everything, but I’m grateful there’s so much more good music out there than one person can take.

I’d be thrilled to hear what you think. Whether you want to point out an album that deserves more attention, challenge an inclusion, or simply share your enthusiasm for a particular record, my inbox is always open. To stay current with new tunes as the year unfolds, follow my curated and consistently updated Spotify playlist of all the best new releases of the year here.

Follow @EchoEthos on Instagram and YouTube to stay up-to-date and support your local scene.

Anyway, check it out:

100. LAUGHINGFISH by Black Dresses
Genre: Industrial/Noise Pop

99. Steps Ascending by Stand Still
Genre: Melodic Hardcore

98. Moraliser by Negative Gears
Genre: Hardcore Punk

97. I don’t care what comes next by sunshy
Genre: Shoegaze/Dream Pop

96. What Do We Do Now by J Mascis
Genre: Alternative Rock/Indie Rock

95. Under Sound by Prize Horse
Genre: Post-Punk/Noise Rock

94. Soft Power by Ezra Feinberg
Genre: New Age/Chamber Pop

93. All Quiet by Terror Cell
Genre: Powerviolence

92. Forces of Nature’s Transformation by Lifeless Dark
Genre: Stenchcore (self described)

91. Highly Irresponsible by Better Lovers
Genre: Metallic Hardcore

90. SCIENCE FICTION by Hikaru Utada
Genre: J-Pop/Electropop

89. The New Sound by Geordie Greep
Genre: Art Rock/Experimental Rock

88. Sam Wilkes, Craig Weinrib, and Dylan Day by Sam Wilkes; Craig Weinrib; and Dylan Day
Genre: Modern Jazz

87. Mother by Logic1000
Genre: House/Techno

86. Foxing by Foxing
Genre: Art Rock/Post-Hardcore

85. Dark Times by Vince Staples
Genre: Hip Hop/West Coast Hip Hop

84. Everything Matters, Everything’s Fire by Lunar Vacation
Genre: Dream Pop/Indie Rock/Shoegaze

83. Rationale by Glitterer
Genre: Emo/Indie Rock

82. Angel In The Sand by Leaving Time
Genre: Dream Pop/Shoegaze/Post-Grunge

81. There Goes The Dream by Modern Color
Genre: Post-Hardcore/Indie Rock

80. Yom-Ma-Lok by Whispers
Genre: Evilcore (self described)

79. Timeless Roots by Horace Andy; Jah Wobble
Genre: Reggae

78. And Then There Was… by Chubby and the Gang
Genre: Punk Rock

77. Vertigo by Wand
Genre: Psychedelic Rock/Garage Rock

76. KING OF THE MISCHIEVOUS SOUTH by Denzel Curry
Genre: Hip Hop/Southern Hip Hop

75. Jour 1596 by Hildegard; Helena Deland; Ouri
Genre: Art Pop/Experimental Pop/Indie Rock

74. Afrikan Alien by Pa Salieu
Genre: Hip Hop/UK Drill

73. What Lies Ahead Of Me by all under heaven
Genre: Post-Punk/Gothic Rock

72. Up On Gravity Hill by Metz
Genre: Noise Rock/Post-Hardcore

71. Still by Erika de Casier
Genre: Electronic/Alternative R&B

70. Black & Whites by Big Hit; Hit-Boy; The Alchemist
Genre: Hip Hop/Boom Bap

69. This Infinite by Vitesse X
Genre: Hyperpop/Electronic

68. freak:zones (i) by Text Chunk
Genre: Techno/Experimental Electronic

67. Dead End by Night Fever
Genre: Hard Rock/Hardcore

66. Triple Seven by Wishy
Genre: Shoegaze/Indie Rock

65. A LA SALA by Khruangbin
Genre: Psychedelic Soul

64. Rack by The Jesus Lizard
Genre: Noise Rock/Post-Hardcore

63. Flight b741 by King Gizzard & The Lizard Wizard
Genre: Boogie Rock/Psychedelic Rock/Progressive Rock/Glam Rock

62. Everyone Wants Something Beautiful by Love Letter
Genre: Post-Hardcore

61. Hex Dealer by Lip Critic
Genre: Noise Rock/Dance-Punk/Post-Industrial

60. Alligator Bites Never Heal by Doechii
Genre: Hip Hop/Boom Bap/Southern Hip Hop

59. She Reaches Out To She Reaches Out To She by Chelsea Wolfe
Genre: Gothic Rock/Darkwave/Post-Industrial

58. You Could Do It Tonight by Couch Slut
Genre: Noise Rock/Sludge Metal

57. No Name by Jack White
Genre: Rock/Blues Rock

56. Akoma by Jlin
Genre: Footwork/Experimental Electronic

55. Vida by Ana Tijoux
Genre: Latin Hip Hop/Alternative Hip Hop

54. Smoke & Fiction by X
Genre: Punk Rock/Hardcore Punk

53. Absolute Elsewhere by Blood Incantation
Genre: Progressive Death Metal

52. Triple Digits [112] by RiTchie
Genre: Experimental Hip Hop/Trap

51. TIMELESS by KAYTRANADA
Genre: Electronic/Hip Hop/Funk

50. Everybody Eats! by Stress Eater; CZARFACE; Kool Keith

Genre: Abstract Hip Hop/East Coast Hip Hop

A supergroup of sorts, Everybody Eats! unites the abrasive production and comic book-inspired rhymes of CZARFACE (the trio of Inspectah Deck, Esoteric, and 7L) with the otherworldly presence of Kool Keith. The album resonates deeply with my personal musical journey. As a young listener, Kool Keith’s bizarre Dr. Octagon persona, with its conversational, introspective New York-style rhyming, captured my imagination. The presence of Bostonian hip-hop duo 7L & Esoteric reflects my own mutation from a Queens native to a Boston expat. However, the surprising absence of Wu-Tang Clan’s Inspectah Deck complicates the definition of this collaboration. Nonetheless, seeing some of my favorites come together on one record like this would have me defending it even if the results were a mess. Thankfully, Everybody Eats! delivers. It’s an inspired, cosmic trip — a delirious blend of boom-bap beats twisted into nightmarish shapes, laced with dense lyricism and surreal imagery. Kool Keith’s contributions are a highlight, a welcome return after the lukewarm reception of his recent Dr. Octagon sequel. Here, his stream-of-consciousness verses add a layer of psychedelic brilliance. While its unsettling atmosphere and complex rhyme schemes may not appeal to all listeners, those seeking something outside the mainstream will find much to chew on with Everybody Eats!

49. FREEDOM SWEET FREEDOM by Regional Justice Center

Genre: Hardcore Punk/Powerviolence

Regional Justice Center’s FREEDOM SWEET FREEDOM is a concentrated blast of raw, visceral hardcore. It’s the type of album that makes me check if I’m even playing music (complimentary). Someone is screaming in agony. Did I misclick somewhere? No, that’s just how the album starts. The band, known for their relentless energy and socially conscious lyrics, delivers another set of short, sharp shocks that hit with the force of a battering ram. The project comes from two brothers. Ian Shelton of Militarie Gun started the project in 2016, shortly after the incarceration of his younger sibling Max. Since then, Ian Shelton’s own project has exploded in popularity, Taylor Young of Twitching Tongues joined the fold, and Max Shelton was released from Regional Justice Center jail in Kent, Washington. The album’s themes of systemic oppression and personal struggle are delivered with unflinching intensity. While not reinventing the wheel, RJC perfects their formula here, offering a cathartic release for anyone feeling the weight of the world. The production is stripped down and immediate, making for a result that’s both punishing and invigorating. The album looks forward, hoping for progress while reflecting on the past and posing the question: “What’s the statute of limitations on a mistake?” The entire LP is a powerful metaphor for healing from incarceration and the accompanying guilt, all delivered in thirteen scary minutes.

48. Tigers Blood by Waxahatchee

Genre: Indie Folk/Alternative Country

Katie Crutchfield, the force behind Waxahatchee, returns with Tigers Blood, an album that sees her further exploring the intersection of indie folk and alternative country. There’s a deeper sense of confidence and clarity in her songwriting here, with the tracks feeling both specific and expansive. How am I suddenly homesick for Kansas? I don’t think I’ve ever stepped foot in the state outside of a gas station bathroom once or twice. Regardless, Waxahatchee spins such an intricate and gorgeous web of life, longing, and relief in America’s Heartland that I can’t help but reminisce. Tigers Blood possesses a beauty and lightness distinct from the more acutely distressing tone of her previous work. This shift suits her well, demonstrating an authentic reinvention of her style. Her captivating vocals retain their delicate strength, conveying the burden of personal experience with humility. The instrumentation is lush and layered, creating a rich tapestry that complements Crutchfield’s stirring lyrics. There’s a sense of growth and evolution present in Tigers Blood that leads me to believe this might be her best work yet.

47. This Is All We Ever Get by SPACED

Genre: Hardcore Punk/Melodic Hardcore

SPACED’s This Is All We Ever Get is a brief but potent burst of melodic hardcore, blending aggression with catchy hooks. It’s rare for a fifteen-minute release to have such staying power, but SPACED achieves just that, adhering to the punk and hardcore tradition of delivering the goods and getting out. The band channels the spirit of classic melodic hardcore acts while injecting their own distinct personality into the mix. The songs are fast and furious, driven by powerful riffs and pounding rhythms, but they also possess a pop-focused undercurrent that makes them instantly memorable. This balance between intensity and accessibility makes This Is All We Ever Get a standout in the present hardcore landscape of new bands.

46. It’s Inside You by CANDY

Genre: Metalcore/Noise Rock

CANDY’s It’s Inside You is a relentless, noise-infused hardcore assault. It’s a guttural, overwhelmingly loud experience, yet the riffs are technical and expertly executed. The strings are a digital soundboard’s idea of what a wailing guitar should sound like. That’s the beauty of the madness! The band’s signature blend of screeching guitars, distorted vocals, and chaotic energy is delivered here in spades. The album is a viscerally antagonistic experience that pulls the listener into its vortex of aggression through cross-genre experimentation. What other metalcore outfit could get away with a trip-hop stylized outro or breakbeat interpolation? There’s a reason I tried to shoehorn a track off this album into my latest Porchfest mix. The intensity may be overwhelming at times, but It’s Inside You is a dizzying and bombastic experience with much to appreciate. It’s a powerful record from a band pushing the boundaries of hardcore.

45. Leon by Leon Bridges

Genre: Soul/R&B

Leon Bridges’ self-titled album, Leon, feels like a true arrival, a confident and mature statement from an artist whose already impressive discography had suggested he’d reached his peak. While his earlier material leaned heavily on classic soul influences, Leon sees him embracing a more contemporary R&B sound, incorporating elements of folk and indie rock. Bridges’ smooth vocals remain central, but the more adventurous and nuanced production creates a richer, more immersive vision. This evolution feels natural and organic, showcasing his continued growth and solidifying his position as a leading figure in modern soul.

44. Now I See the Light by toe

Genre: Post-Rock/Math Rock

toe’s Now I See the Light is a masterclass in math rock. The Japanese band’s elaborate compositions — characterized by intricate rhythms, delicate melodies, and dynamic shifts — feel as fresh and effortless as their influential early work. The album moves through textured soundscapes, evoking a range of emotions primarily through instrumental means, though it features more vocal passages than previous releases. Each instrument plays a crucial role, communicating together to create a cohesive and captivating listen. Now I See the Light flexes toe’s musical prowess and reestablishes their virtuoso status when creating evocative, nostalgic, and heartfelt music.

43. Acadia by Yasmin Williams

Genre: Contemporary Folk/Fingerstyle Guitar

Yasmin Williams’ Acadia is a breathtaking display of her unique fingerstyle technique, incorporating tapping, lap tapping, and other unconventional methods to create a rich, complex, and mesmerizing sound. Inspired by the natural beauty of Acadia National Park, the album’s vivid melodies and spacious arrangements reflect this inspiration. Williams’ compositions are both technically impressive and emotionally profound, capturing the feeling of watching a sunset.

42. 9 by Kenny Mason

Genre: Hip Hop/Trap

Kenny Mason’s 9 is a gripping exploration of his unique blend of trap, alternative rock, and introspective lyricism. The Atlanta rapper continues to forge his own path with this project, showcasing his versatility and experimental approach. The somber, vaporous production provides a fitting backdrop for Mason’s personal and confessional lyrics. Despite its thematic heft, the album maintains a brisk pace. Without trying, 9 ended up being one of my most played records of the year. While addressing familiar themes of struggle and resilience, Mason’s distinctive delivery and sincerity distinguish him from his rivals. 9 solidifies his position as one of the most exciting voices in contemporary hip-hop. There’s a reason he’s blowing up right now.

41. Glasgow Eyes by The Jesus and Mary Chain

Genre: Noise Pop/Alternative Rock

The Jesus and Mary Chain’s Glasgow Eyes is an album that finds them revisiting their signature blend of sweet melodies and feedback-drenched guitars. If I were more pretentious, I might try to label the aesthetic of the album as something like post-shoegaze or no-wave. While not a radical departure from their established sound, this latest effort since returning from a 19-year hiatus showcases the band’s enduring ability to craft catchy yet abrasive, guitar-centric pop songs. The Reid brothers’ distinctive vocals are still captivating and haunting, adding a layer of melancholic beauty to the barrage of noise. Glasgow Eyes is a welcome return for fans of the band and a reminder of their enduring influence and legacy.

40. Pinball by MIKE; Tony Seltzer

Genre: Abstract Hip Hop/Experimental Hip Hop/East Coast Hip Hop

MIKE and producer Tony Seltzer team up for Pinball, a project that delves into the depths of abstract and experimental hip-hop. This is definitely music to take Tylenol to. However, you can’t argue with heat and funny one-liners (100 Gecs mentioned!). MIKE floats fluidly on Seltzer’s gritty and unconventional production. It provides an appropriate vehicle for the rushing current of cryptic lyrics. The album has a hazy, dreamlike quality, similar to the vibe of the rest of the new guard of New York hip-hop, like Your Old Droog and Wiki. Pinball can be a challenging listen at times. There’s a lot of bleeps and bloops (maybe there’s more in common here with Gecs than previously suspected), and it’s paired with a viscous rhyming style that encourages the listener to open Rap Genius in a separate tab. It’s those very complexities, though, that emphasize Pinball’s strengths.

39. In Waves by Jamie xx

Genre: House/Dance/Ambient

I am enjoying my last few remaining weeks as a free man. Because once Jamie xx finally shows his face in my town touring this album, I am going to prison for the rest of my life after what I do on the dancefloor. Jamie xx’s In Waves is a beautifully magnetic electronic album combining pop, ambient, and progressive house elements into something that only he could create. He is, in my humble opinion, the single greatest living DJ right now. His latest album is only one piece of evidence of that. In Waves is characterized by its sophisticated rhythms, lush textures, and emotive melodies that run the gambit from euphoria to melancholy to exhilarating liberation. The production is meticulous and detailed, with every beat composed with obsessive care. Rumor has it Jamie xx has over a dozen distinct features for the song “Daffodil” that he didn’t use. Jamie xx is a versatile and talented musician who takes inspiration from all he comes across, from The Avalanches to Four Tet to Charli XCX. Comparison is the thief of joy, so I won’t bother to measure this against the masterpiece that is In Colour. What I will say, though, is that the nearly decade-long wait for its follow-up was worthwhile. Especially when the first new The xx track in 7 years is included in the tracklist. If I made a list of my favorite individual tracks of 2024, surely “Waited All Night” would be in my top ten.

38. Life Sucks by Powers Pleasant

Genre: Hip Hop/East Coast Hip Hop

Powers Pleasant’s Life Sucks is a grimy and nuanced exploration of the ups and downs of life. Across an impressive roster of features, producer Powers Pleasant is able to wring from everyone honest self-reflection delivered with a laid-back flow, fostering a sense of intimacy and vulnerability that stays cool and collected. The production is diverse and eclectic, incorporating elements of trap, boom bap, and R&B. Life Sucks is a relatable and sentimental album thematically entrenched in the challenges and triumphs of life. Pleasant’s ability to balance personal storytelling with catchy hooks and teeth-rattling beats makes for a compelling listen.

37. Chameleon by trauma ray

Genre: Post-Punk/Industrial/Shoegaze

trauma ray’s Chameleon is a moody and atmospheric blend of post-punk, industrial, and shoegaze. It’s a thick wall of sound that lurches forward in the dark, clawing at you to pull you in. The album incorporates chugging passages, distorted guitars, and enchanting vocals to cultivate an eerie and ethereal soundscape. The lyrics explore themes of identity, alienation, and impermanence, further piling on the angst. Chameleon is a captivating and unsettling experience that brings a heavier and more ominous flavor to the ever-growing field of shoegaze.

36. Artillery From Heaven by Contention

Genre: Hardcore Punk/Metallic Hardcore

Contention’s Artillery From Heaven is a tireless and frenzied dose of metallic hardcore. The band’s aggressive guitar work, devastating drumming, and impassioned vocals forge a palpable sense of urgency and danger. The lyrics, frequently cynical and confrontational, scrutinize social injustice, political corruption, and personal turmoil. Artillery From Heaven establishes Contention as a formidable force in hardcore and generally extreme music, a point underscored by guest appearances from respected prominent acts like Inclination and Broken Vow. Effective hardcore hinges on a clear message, and Contention achieves this through pointed lyrical content, a crushing instrumental attack, and unconventional touches such as pre-recorded vocal samples.

35. iiyo iiyo iiyo by Sam Wilkes; Dylan Day; Chris Fishman; Thom Gill; Craig Weinrib

Genre: Jazz/Experimental Jazz/Improvisation

iiyo iiyo iiyo, by Sam Wilkes, Dylan Day, Chris Fishman, Thom Gill, and Craig Weinrib, presents a suite of improvisational jazz pieces that highlight the musicians’ exceptional interplay and shared musical understanding. The compositions unfold with a sense of both freedom and purpose as each player contributes their individual voice to the evolving and shape-shifting pieces. The result is a vibrant and multifaceted collaboration imbued with the energy and immediacy of a live performance. This album is essential listening for enthusiasts of contemporary jazz and improvised music.

34. Rain on the Road by Mary Lattimore; Walt McClements

Genre: Ambient/Experimental/Chamber Folk

Sometimes I forget there’s so much beauty in the world until I listen to an album like Rain on the Road. The way it swells, turns, sways, and chimes mirrors the most intimate moments I’ve felt in my heart. I’ve tried to put friends onto Lattimore for years. When an artist is skilled in an instrument as niche as the harp, or in the case of McClements, the accordion, there is sometimes difficulty in reaching a wider audience rather than being regulated to the status of a novelty. What Lattimore has been able to accomplish here with Weyes Blood touring band member McClements is so gorgeous and meditative, and so entangled in the experience of life on the road traveling through the US together, that I believe Rain on the Road is destined to become a modern Americana touchstone. The field recordings add an extra touch of tenderness and whimsy, enhancing the intimacy of the tracks. During my first listen to “Nest of Earrings,” while I was sketching a bird, the track’s field recordings of the artists discovering a nest, complete with birdsong, brought a moment of profound peace to my mind. Lattimore’s looped and processed harp often takes on an otherworldly quality, further enriched by McClements’ instrumental versatility — incorporating sleigh bells, piano, and more — resulting in tracks that each explore the theme of belonging in unique ways. Like watching the landscape blur past a car window on a rainy day, Rain on the Road captures those serene, liminal moments when deep reflections surface.

33. Plays John Coltrane and Langston Hughes by Raphael Roginski

Genre: Jazz/Avant-Garde Jazz

Raphael Roginski’s Plays John Coltrane and Langston Hughes is an absorbing and bold undertaking, weaving together the spiritual jazz of John Coltrane and the celebrated poetry of Langston Hughes. Roginski’s guitar serves as a conduit between these two titans, reimagining Coltrane’s compositions through polyphonic explorations grounded in bluesy, vernacular Polish folk traditions. Simultaneously, Roginski finds inspiration in Hughes’ resonant Harlem Renaissance verse, which analyzes themes of the American experience and the symbolism of flowing water. Rather than simply setting Hughes’ poems to music, the album establishes a dialogue between these two artistic mediums, with Roginski’s distinct and intricate guitar style acting as a response to, and expansion upon, Hughes’ words. The result is a poignant and stimulating creation that honors two seminal figures in American culture.

32. CHROMAKOPIA by Tyler, The Creator

Genre: Alternative Hip Hop/Experimental/Alternative R&B

I don’t care if you were at the Boston pop-up show, it should have been me… Anyway, Tyler, The Creator’s CHROMAKOPIA is an ambitious album that explores a wide range of musical styles, including psychedelic pop and jazz. Tyler has been through many phases and eras at this point, and CHROMAKOPIA continues his commitment to self-reinvention through striking aesthetic and thematic choices in both visuals and production. After IGOR’s immersion in pop and alternative R&B, Call Me If You Get Lost’s return to focused rapping was unexpected. CHROMAKOPIA acts as a midpoint between these two records, synthesizing the stylistic and thematic threads of his previous work. In this sense, it stands as his most complete and representative statement to date. It’s a masterful and kaleidoscopic project that remains mindful and demonstrates remarkable growth from his early days. As someone who followed Odd Future’s nascent output on Tumblr in the early 2010s, it’s mind-boggling to witness Tyler’s current artistic and commercial heights. Nowadays, he crafts music that critiques the limitations and potential harm of prevalent ideals of masculinity, all while gliding over sparkling instrumentals that draw from sources as varied as Marvin Gaye and horrorcore. Tyler’s lyrics tumble along in a stream of consciousness through his internal world, dealing with themes of identity, mental health, and social commentary. He captures a playful and honest sliver of navigating reality as a young man in this day and age.

31. Tribulation Worksongs by Modern Life Is War

Genre: Hardcore Punk

Compiled from a series of EPs released between 2018 and 2021, this collection forms Modern Life Is War’s first full-length offering in nearly a decade. The tracks exhibit a stylistic range, with a particularly impactful spoken-word piece carrying as much weight as the intense hardcore tracks that surround it. This concise tracklist reveals an impressive diversity, incorporating elements of hardcore punk, post-hardcore, and noise rock. “Survival” evokes a grunge sensibility, while the closing track reimagines the opener with contemporary mixing techniques, like atmospheric reverb. The result is a brisk and potent hardcore record that lives up to its title. The central themes of worker uprising, challenging established power structures, and unity provide a timely context for these tracks that is apropos of our troubling modern times.

30. TRUE MAGIC by salute

Genre: Electronic/Alternative R&B

I almost got EMS’d (a second time) this year at Under the K, an electronic music festival in Brooklyn curated by EDM behemoth Four Tet. Head in hands, I sat on a concrete slab with a $17 cup of pea soup in front of me, swaying back and forth, fighting to stay lucid, while my friend quietly tried to assess how seriously to take my condition. All would have been lost if not for salute’s magically healing set that brought me right back from the brink. All to say, salute is able to cultivate an invigorating and exuberant sound that transcends limiting factors. The polished guest vocals are enriched by opulent, vibrant melodies and soulful instrumentation, creating a welcoming and charming atmosphere. The lyrics maintain thematic coherence through their candor and emotional depth, expressing both a sense of release and optimism. TRUE MAGIC affirms salute’s skill as both a composer and producer, and it is likely to connect with those who appreciate sincere and soulful dance music.

29. Waking Up & Choosing Violence by YUNGMORPHEUS; Alexander Spit

Genre: Abstract Hip Hop

Waking Up & Choosing Violence, the collaborative effort from YUNGMORPHEUS and producer Alexander Spit, isn’t an endorsement of confrontation but instead a declaration of assertive self-possession. YUNGMORPHEUS, known for his ruminative rhymes and exploration of life’s anxieties, sounds newly invigorated here. The album charts a personal transition, a shedding of past uncertainties as he approaches his thirties. This shift is mirrored in Spit’s dynamic production, which frequently juxtaposes contrasting sonic elements. For instance, “A Moment’s Reprieve” moves from a despondent saxophone melody accompanying reflections on abandoning past habits to a concluding sample brimming with pure joy. This push and pull between introspection and vibrancy is a defining characteristic of the record. While YUNGMORPHEUS still offers glimpses into his more carefree moments, as on “CCTV (Targets),” the album as a whole feels more focused. Spit’s inventive arrangements, weaving together elements of spiritual jazz, 90s R&B, and 70s soul, provide a rich backdrop for YUNGMORPHEUS’ candid reflections on personal growth and societal observations.

28. #RICHAXXHAITIAN by Mach-Hommy

Genre: Experimental Hip Hop/East Coast Hip Hop

Mach-Hommy’s #RICHAXXHAITIAN delves back into the depths of his Haitian-American identity and lived experiences. His lyrics, often ingrained with a sense of menace yet consistently reflective, dismiss critiques from those who haven’t shared his hardships. The feature list is impressive, with guest spots from Sam Gendel, 03 Greedo, Your Old Droog, and Black Thought. The production, while generally sparse and airy, fostering a mood of solitude and contemplation, makes room for unexpected detours, such as a Kaytranada-produced track primed for the dancefloor. Despite the production’s prevailing morbid tone, Mach-Hommy delivers his verses with unwavering determination and confidence, conveying his street wisdom through a sieve of diverse sounds. The concluding track’s gospel-infused outro is particularly striking, suggesting a self-assuredness that transcends the need for an audience.

27. LAFANDAR by Heems; Lapgan

Genre: Hip Hop/East Coast Hip Hop

LAFANDAR is a collaboration between Heems, a Punjabi-American rapper from Queens, and Lapgan, an Indian producer. The album fuses hip-hop, Bollywood, and Punjabi folk music, crafting an exceptionally distinctive sound unlike much else in contemporary hip-hop. Amidst a crowded landscape of conscious rappers with grim production, Heems distinguishes himself with this shrewd creative shift. It’s a remarkable achievement to create an album that remains humorous and lighthearted, especially given the inclusion of a Saul Williams feature. Williams’ brief but pivotal spoken-word contribution, addressing themes of perception, heartbreak, and resilience, serves as a powerful introduction to Heems’ sharpest social commentary, dissecting the pervasiveness of racism and the impact of technology. Heems’ lyrics address themes of identity, culture, and social justice, while Lapgan’s rich production draws on a broad spectrum of influences from both the hip-hop tradition and South Asian culture and its global diaspora.

26. “NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD” by Godspeed You! Black Emperor

Genre: Post-Rock/Experimental Rock

Godspeed You! Black Emperor’s “NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD” is a sprawling and experimental album addressing themes of loss, grief, and political turmoil. The band’s signature post-rock style remains expansive, immersive, haunting, and glistening, yet there’s a distinct contrast between the sorrow evoked by the title and the music itself. The album’s title is a reference to the reported number of Palestinian deaths by Israeli strikes between October 7, 2023 and February 13, 2024 during the Gaza genocide. Anticipating a descent into their most oppressive and somber work yet, I instead discovered a surprising sense of lightness and lucidity in their compositions. It’s genuinely heartening to encounter art that confronts the realities of the massacre while offering a sense of hope rather than despair. Godspeed You! Black Emperor sound more unrestrained and direct than they have since their return from hiatus. The drones and crescendos that form the album’s climactic moments are purposeful, providing an unexpected space for reflection and beauty amidst conflict.

25. Songs Of A Lost World by The Cure

Genre: Gothic Rock/Alternative Rock

The Cure’s Songs Of A Lost World, arriving after a sixteen-year wait, faced the immense pressure of expectation. That the band not only meets but transcends these expectations is evidence of their enduring artistry. The album navigates the familiar Cure territory of love, loss, and despair, but does so with a renewed sense of purpose. Cascading synths and steady percussion create a shimmering reflection on mortality, giving the album a profound weight. The band’s signature blend of post-punk, gothic rock, and dream pop is spectral and alluring. Robert Smith’s inimitable vocals, filled with raw emotion and tenderness, further enhance the album’s depth. Songs Of A Lost World is not simply a nostalgic retread. It’s a vital addition to The Cure’s catalog.

24. REVELATOR by E L U C I D

Genre: Hip Hop/Jazz Rap/Experimental Hip Hop/East Coast Hip Hop

E L U C I D’s REVELATOR is a stark and unsettling work, a departure from his previous collaborations that plunges into a harsher, electronically driven soundscape. The 15 tracks blend unconventional sounds with E L U C I D’s threatening delivery, creating a profoundly dark and captivating experience. While billy woods makes a couple of appearances alongside Creature and Skech185, REVELATOR primarily offers an intimate immersion into E L U C I D’s psyche. The album confronts the anxieties of the contemporary world, revealing its inherent contradictions and absurdities. E L U C I D acts as a commentator, delivering pointed observations that jolt the listener. These observations, sometimes delivered as brief yet potent statements, address themes ranging from societal injustices to personal struggles. The album’s production amplifies these themes, making for a stimulating and profuse experience. Frayed samples and warped echoes are molded into grotesque shapes. This is not mere pessimism, but a sobering assessment of our time, suggesting a reckoning with the consequences of our actions.

23. PRUDE by Drug Church

Genre: Hardcore Punk/Post-Hardcore

Drug Church crafts songs brimming with cathartic energy. Having witnessed countless hardcore shows and their rowdy pits, I can attest that few bands ignite a crowd like they do. The audience doesn’t need prompting to move up; they instinctively surge forward, eager to climb onto the stage. This frenzied, volatile live presence is palpable on their latest LP, PRUDE, which also captures their more tender and vulnerable side. These moments often manifest in the form of catchy hooks, injecting a pop sensibility into their post-punk framework and grunge-influenced guitar work, resulting in a release that delivers thrill and catharsis. The lyrics are pensive and frequently plaintive, addressing themes of anxiety, depression, and social disconnection. Drug Church’s deft balance of unfiltered intensity and refined songcraft makes PRUDE a standout. It’s an album poised to connect with hardcore enthusiasts and anyone seeking a powerful emotional release.

22. Resort by Skee Mask

Genre: Techno/Ambient/IDM

Resort, the latest offering from Berlin-based producer Skee Mask, showcases his mastery of blending intricate sound design with evocative atmospheres. Skee Mask has consistently demonstrated a knack for crafting engaging headphone experiences that retain the physicality needed for a club setting. While his earlier work leaned towards a Germanic dub techno take on intelligent dance music, Resort takes a different tack. Drawing inspiration from the mellow mood of his self-released archival collections, Resort emphasizes texture and subtlety over overt dancefloor energy. The opening tracks, “Hedwig Transformation Group” and “Nostaglitch,” establish this direction with beatless ambient explorations, utilizing the framework of ambient techno to build expressive tones and warm harmonies. Even when rhythms emerge, as on “Reminiscimix” and “Daytime Gamer,” they are carefully woven into the mix, prioritizing soft-focus keys and wistful synth melodies. Moments of sharper rhythmic intensity, such as the breakbeats on “Schneider’s Paradox,” are tempered by melodic touches. This meticulous approach brings out the nuances of his production, recalling the immersion of Compro while integrating aspects of Pool’s energetic style.

21. GNX by Kendrick Lamar

Genre: Hip Hop/West Coast Hip Hop

The relaxed, easygoing nature of Tyler, the Creator’s Call Me If You Get Lost led some to view it as a victory lap — the work of an artist with nothing left to prove. This immediately came to mind upon finishing GNX. With this album, Kendrick Lamar seems to be taking a similar approach, dismissing external pressures and expectations. GNX feels less like a bid for awards recognition and more like a soundtrack for cruising with friends on a sunny West Coast afternoon. While good kid, m.A.A.d city shared a comparable mood, its weighty themes created a more intense and heady experience. GNX serves as a reminder that Lamar isn’t striving to be your savior. He’s creating music on his own terms — music that is excellent but not always intended to be a paradigm-shifting masterpiece. He crafts music that honors his influences, not out of defensiveness or duty but out of genuine affection for his origins. GNX further cements his position as one of the most significant and inventive artists of his generation, just in time for the Super Bowl halftime show and a stadium tour with SZA.

20. Why Lawd? by NxWorries; Anderson .Paak; Knxwledge

Genre: Neo Soul/Hip Hop

After an eight-year hiatus, NxWorries — the pairing of Anderson .Paak and producer Knxwledge — returned in 2024 with Why Lawd? The album refines their signature combination of soulful vocals and jazz-infused beats, creating a polished and immersive world. Knxwledge’s detailed production showcases his command of sample-based techniques, while .Paak’s vocals glide effortlessly across the album’s varied sounds. Guest appearances from Thundercat, H.E.R., and Earl Sweatshirt enrich the project’s depth and texture. Why Lawd? is a resounding comeback for NxWorries. The project’s very existence feels like a victory, given the rumors of a rift between .Paak and Knxwledge following their initial collaborative LP. Thankfully, those were just rumors, and NxWorries’ return is as gratifying as I’d hoped.

19. Dreamstate by Kelly Lee Owens

Genre: Electronic/Techno/Ambient

I’ve always considered Kelly Lee Owens a leading figure in intelligent dance music, crafting tracks that are as conducive to contemplation as they are to movement. However, 2022’s LP.8 shifted my expectations. While I’m unsure of the prevailing consensus, I found the project’s murky, dissonant textures a significant departure in both quality and artistic direction. Whatever the motivation behind LP.8, Owens has embraced a hard turn into a vibrant, luminous, and euphoric approach with her latest work. Dreamstate distinguishes itself within her discography as her most accessible and inviting album to date. Themes of healing resonate within the buoyant, pulsating rhythms, while her own vocals are presented with a striking grace. Dreamstate is a hypnotic electronic record that seamlessly integrates elements of techno, ambient music, and experimental electronics. Its dancefloor-oriented rhythms, otherworldly ambiance, and Owens’ self-performed, emotionally resonant vocals create much to appreciate.

18. Love (the) Ominous World by Blu; Exile; Blu & Exile

Genre: Hip Hop/Alternative Hip Hop/West Coast Hip Hop

Love (the) Ominous World marks the highly anticipated reunion of West Coast rapper Blu and producer Exile, their fourth official collaboration following the acclaimed Below the Heavens, Give Me My Flowers While I Can Still Smell Them, and Miles. The duo returns with a record that both honors their established sound and explores new creative avenues. Exile’s production, as always, forms a rich foundation, blending soulful samples and jazz-infused rhythms. Blu’s lyrics maintain the introspective and thoughtful quality that has defined his career, addressing themes of personal growth, societal grievances, and the complexities of human relationships. The album’s thematic range is evident in tracks like “Undisputed,” which celebrates the drive to achieve greatness, and “Suge Knight,” which offers a vivid recollection of a pivotal moment within the music industry when Blu almost signed to the notorious label Death Row Records. Love (the) Ominous World stands as a testament to Blu & Exile’s enduring chemistry, a project that is both familiar and fresh, solidifying their status as key figures in underground hip-hop.

17. We Buy Diabetic Test Strips by Armand Hammer; E L U C I D; billy woods

Genre: Abstract Hip Hop/Experimental Hip Hop/East Coast Hip Hop

* I’ve been made aware this album dropped in 2023, not 2024. Try their unreleased 2024 album “BLK LBL”

Armand Hammer’s We Buy Diabetic Test Strips underscores their commitment to expanding the possibilities of hip-hop. The duo, E L U C I D and billy woods, presents a complex and audaciously constructed album. The project’s origin lies in a session with jazz musician Shabaka, formerly of Sons of Kemet. The improvisational and syncopated elements he introduced integrate seamlessly with the modern and forceful production from underground titans like El-P and JPEGMafia. Shifting between eerie minimalism and jarring dissonance, the album creates an atmosphere that is both discomforting and provocative. Tracks like “Y’all Can’t Stand Right Here” and “Supermooned” showcase their signature blend of abstract lyricism, pointed social commentary, and lively narratives. While building upon the groundwork laid by Haram, this album sharpens its focus on personal reflection and critiques of systemic issues.

16. Wall Of Eyes by The Smile

Genre: Art Rock/Post-Punk

It’s easy to forget Thom Yorke’s capacity for levity, or for expressing an emotion that doesn’t collapse into himself with the weight of a dying Sun. While tracks like “Under Our Pillows” and “Teleharmonic” aren’t exactly jubilant, their warmer textures offer a striking contrast to the preceding, albeit masterful, LP. On Wall of Eyes, The Smile — the trio of Radiohead’s Thom Yorke and Jonny Greenwood, along with former Sons of Kemet drummer Tom Skinner — delivers another exceptional example of experimental art rock. This second album further explores angular rhythms, mesmerizing grooves, and Yorke’s signature ghostly vocals. Thematically, Wall of Eyes grapples with alienation and surveillance, as hinted at by its title. By combining intricate rhythmic patterns with divergent melodic structures, the tracks showcase the group’s talent for pushing their artistic boundaries while preserving a strong emotional core. Wall of Eyes possesses both urgency and fluidity, confirming The Smile as more than a mere side project — it’s an essential channel for Yorke and Greenwood’s boundless creativity.

15. Night Palace by Mount Eerie

Genre: Indie Folk/Experimental Folk

Mount Eerie has a reputation for achingly woeful and demanding music. With Night Palace, some of the harsher aspects of his sound are tempered, resulting in a multifaceted project that evokes a wider spectrum of emotions than simple sadness. This emotional range is reflected in the album’s stylistic diversity. “Swallowed Alive” delivers a noise-punk onslaught reminiscent of Machine Girl, while “I Spoke With A Fish” fulfills its literal promise, presenting a touching dialogue that contemplates the natural world’s beauty and interconnectedness — sandwiched in between a brief interlude of trap hi-hats and a sample from The Big Lebowski. Mount Eerie persists in his poetic examination of life, loss, and memory on Night Palace, crafting a sublime meditation on impermanence. The record’s spare arrangements — focused on delicate acoustic guitar, understated field recordings, and his tremulous vocals — establish an atmosphere that is both ethereal and deeply human. The lyrics intertwine threads of grief and quiet hope, while ambient textures lend the album a dreamlike quality. Drawing upon the emotional exposure of A Crow Looked at Me and the introspection of Lost Wisdom Pt. 2, Night Palace feels like a culmination of Mount Eerie’s ongoing contemplation of life’s ephemeral nature.

14. The Collective by Kim Gordon

Genre: Noise Rock/Experimental Rock

Guerilla Toss, a dance-punk/art-pop band from Boston that I adore, had recently posted on Instagram their album of the year. The award went to The Collective by Kim Gordon. It’s a solid pick, and the sentiment expressed in the post connected with me. “Sonic Youth is the Grateful Dead of punk. We have a fondness for anything SY or SY adjacent.” Indeed, I gravitate toward anything Sonic Youth and have always been an evangelical for their unique brand of art rock and experimentation. The comparison to The Grateful Dead serves to emphasize the ubiquitous and influential nature of Sonic Youth. Gordon encapsulates the intrepid nature of the band’s prime, while at the same time charting totally new territory in unexpected genres. It’s a revelation to hear such impressive trap and experimental hip-hop beats combined with Gordon spilling out enigmatic and aggressive lyrical content. On The Collective, the alternative icon remains as defiant and uncompromising as ever. She continues to challenge conventions, this time integrating noise rock, avant-garde techniques, and spoken word into a unified work. The album feels urgent and visceral, with tracks like “Psychedelic Orgasm” and “I’m A Man” examining themes of inequality and identity. Gordon’s ability to marry dissonance with lyrical incisiveness is on full display. In an era of polished, algorithmic production, The Collective emerges as a bold rejection of conformity.

13. Imaginal Disk by Magdalena Bay

Genre: Synth-Pop/Electropop

We are currently living in a Golden Age of pop music, and I apologize if this comes as news to you. In my short yet hazy time on this Earth, I struggle to remember a time when the people who were topping the charts also had an incredible album to support those singles. To me, this is the essence of pop music that lies in its greatest strength: accessibility. There are some who would argue that accessibility in music can breed a lack of lyrical depth, formulaic song structures, and inauthenticity. If you go deeper than what’s on the surface, you find records that break every pre-conceived notion of the genre, like Magdalena Bay’s Imaginal Disk. Sonically, Mica Tenenbaum & Matthew Lewin have crafted a futuristic mix of alternative disco, psych-rock, and dance-pop that’s so ethereal it feels like you’re being abducted by the grooviest aliens in the galaxy while simultaneously transcending the astral plane. Lyrically, Mica’s lush vocals weave tales of self-discovery, the complexities of love and relationships, what it means to be human in this digital world, and the exploration of one’s own dreams and imagination. If you allow it to, this album will envelope you and maybe even leave you feeling a tad bit DiskInserted. — by Jake Ladue (@lakejadue)

12. Night Reign by Arooj Aftab

Genre: Ambient/Jazz/Neo-Classical

I believe art’s power lies in its capacity to resonate emotionally. While my understanding of Arooj Aftab’s Urdu lyrics is limited, the profound currents of love, beauty, and inner conflict that permeate Night Reign are unmistakable. Moor Mother delivers a remarkable rap verse, contemplating various facets of healing emotion. Elsewhere, jazz artist James Francies provides transcendent piano melodies that intertwine gracefully with Aftab’s arresting crooning. On tracks where Aftab performs solo, her voice takes precedence, becoming the album’s most compelling and expressive instrument. She navigates intricate compositions, fostering a sense of intimacy and self-awareness. The album possesses a dignified elegance as it examines themes of grief, adoration, and yearning, translating these complex concepts into a simple matter of the heart.

11. Spiral In A Straight Line by Touché Amoré

Genre: Post-Hardcore/Melodic Hardcore

I wonder if there’s undue pressure on a band like Touché Amoré when releasing new music to match the quality of their immaculate discography up until that point. Somehow, the band manages to carve out new angles on the same sentimental themes of gratitude for the loved ones you keep dear, and perseverance in the face of crushing adversity. To that end, Los Angeles post-hardcore stalwarts Touché Amoré deliver Spiral In A Straight Line, an album that finds them refining the emotional intensity they’ve become known for. Jeremy Bolm’s impassioned vocals hit home with unflinching sincerity, balancing reflective confessionals with broader observations on change and renewal. Musically, the group traverses the sharp edges of melodic hardcore, weaving jagged riffs and cathartic buildups into inspirational reflections on the winding paths that life takes us on. There’s a deliberate sense of forward momentum throughout, as if each song is determined to push through misery and find meaning on the other side. Compared to earlier releases, Spiral In A Straight Line shows Touché Amoré experimenting with subtler textures — occasional atmospheric flourishes, guest features, and softer moments create room for the lyrics to breathe. That is, when Bolm isn’t blasting his trademark raspy vocals. Touché Amoré are focused and calculated here, confident in the new LP’s inclusion in their catalog of hardcore gems.

10. Cascade by Floating Points

Genre: Electronic/Progressive House

Coming three years after his last studio album, Promises, Floating Point’s graceful and meditative collaboration with Pharaoh Sanders and the London Symphony Orchestra, Cascade has struck out in a decidedly new direction. A sought-after DJ for many years, Sam Shepherd is no stranger to dance music, but never before has he released an album so clearly optimized for the needs of a live dancefloor. With the exception of a few quieter moments later in the track listing, the songs on Cascade are built around smart and irresistible beats, towering builds of tension, and thrilling moments of release. Some of them make for absolute weapons in the club — the jackhammer bassline of “Birth4000” or the rushing, spiraling trails of notes in “Fast Forward” will get even the most aloof and disinterested dancer paying attention again. In true Floating Points fashion, however, he’s at his best in a song that’s given ample time to breathe. “Ocotillo,” which begins with a melody plucked out by Austrian-Ethiopian harpist Miriam Adefris, develops patiently over several minutes into a gorgeous, fluttering wash of synths, the kind of rich, electronic soundscape we’ve come to expect from Shepherd. For anyone looking to delve into his work for the first time, Cascade provides a very accessible and very rewarding entry point. — by Galen March (angelcharm95)

9. YOU’LL HAVE TO LOSE SOMETHING by SPIRIT OF THE BEEHIVE

Genre: Shoegaze/Noise Rock/Experimental Rock/Art Rock

The best opening track of the entire year can be found on SPIRIT OF THE BEEHIVE’s latest album. The soft, reverberated, assuaging vocals that start “THE DISRUPTION (feat. MSPAINT)” lead the listener into a false sense of security right before MSPAINT make their presence known with an intensely jarring breakdown. The transition is so violent and abrasive that I can’t help but shake my head in admiration. SPIRIT OF THE BEEHIVE have long excelled at producing dreamlike and disorienting sounds, and YOU’LL HAVE TO LOSE SOMETHING finds them doubling down on their experimental impulses. The band skillfully fuses elements of shoegaze, psych-rock, and electronic pop, yielding tracks that are as menacing as they are mesmerizing. There’s a purposeful sense of confusion in the way melodies warp and collide, leaving the listener off-balance. Vocals slide in and out of focus, occasionally distorted, always intriguing. Once or twice I could have sworn someone was speaking to me, or the battery-low warning on my headphones interrupted. Despite the cloudy veneer, the record never feels aimless. SPIRIT OF THE BEEHIVE shine in creating an environment that’s immersive rather than alienating. Oblique vignettes that evoke both restless night terrors and fleeting moments of clarity make up the bulk of lyrical content. The result is a record that rewards close listening — each new pass revealing subtle details you might have missed the first time around.

8. Someday by Fucked Up

Genre: Hardcore Punk/Experimental Rock

Who would have thought that my favorite guest feature of the year would appear on a hardcore album? Hardcore staple Pat Flynn of Have Heart fame lends his voice and typical heart-on-his-sleeve stylings to “Feed Me Your Feathers ft. Pat Flynn” to great effect. He sounds distant, although the elation and energy of the track could not be more present. Fucked Up has forged a career by defying convention, synthesizing hardcore punk’s rawness with brooding narratives and unexpected melodic shifts. Their latest album, Someday, reinforces this approach, venturing farther into expansive, near-orchestral arrangements. Guitars oscillate between shoegaze’s dreamy quality and distorted fuzz, while the drums propel the music with unyielding drive. Frontman Damian Abraham’s commanding vocals remain central, yet the band’s rich harmonies and unorthodox song structures draw equal attention. Lyrically, Someday deals with personal development and the complexities of contemporary life, teetering between open vulnerability and unwavering defiance.

7. Liberation 2 by Talib Kweli; Madlib

Genre: Hip Hop/Boom Bap/Jazz Rap

* Although this arrived on major streaming & physical in 2024, the album originally released in 2023 as a Luminary Podcast Exclusive (pls stop doing this)

Hip-hop veterans Talib Kweli and Madlib have reunited for Liberation 2, a long-awaited follow-up showcasing their enduring creative synergy. This project revisits their 2007 release, Liberation, an initially under-the-radar offering that later amassed a devoted following. Liberation 2 presents a seamless continuation of that celebrated partnership. Madlib’s production retains its eclectic and soulful essence, interweaving jazzy live instrumentation, booming percussion, turntablism, and touches of psychedelia to construct a rich musical backdrop. Kweli’s razor-sharp lyricism and thoughtful commentary are showcased throughout, adding depth and immediacy to the duo’s laid-back grooves. This reunion is particularly noteworthy following the monumental artistic success of Black Star 2, another highly anticipated Kweli and Madlib sequel. Here, Madlib continues delivering some of his best work, embracing core hip-hop tenets and a dedication to crafting luxurious beats worthy of luminaries like Q-Tip (of A Tribe Called Quest) and the late Mac Miller. Kweli’s lyrics address social and cultural revolution while maintaining a sense of hope. This astute, enlightened approach to hip-hop reinforces both Kweli and Madlib’s individual and collaborative standing, defined by authenticity, respect for the genre’s traditions, and musical ingenuity.

6. ONLY ONE MODE by Speed

Genre: Metallic Hardcore

Australian band Speed has one of the most unmissable and unforgettable live shows I’ve ever seen. It’s a spectacular sight to see a room full of the toughest meatheads in Boston tense up at the sound of a flute. It’s because everyone knows what follows. The tight, relentless bursts of volatile energy from Speed is transferred effortlessly into the raging pit in front of them. I could only ever pull off a cartwheel in Doc Martens as well as I did when the track “NO LOVE BUT FOR OUR OWN” plays. This is quintessential fight music with a primal purpose. The lyrics of Speed promote brotherhood, love, respect, and self-determination as core tenets of hardcore philosophy, combined with a willingness to go down swinging defending yourself. It’s an ethos (hah!) with explicit origins. Seeing Speed open at a sold-out Have Heart reunion show in Boston earlier this year, the band made time between all the screaming and moshing to express a deep and touching gratitude for Have Heart. Speed spoke about hanging Have Heart posters on their walls growing up, and how Have Heart’s sermons on community and choice brought them purpose and clarity in life and music. The effects are evident in ONLY ONE MODE, which serves as a love letter to classic hardcore while also hinting at future directions for the genre. Lyrically, Speed tackle scenes of everyday frustration and personal resolve — fueling each track with a coarse emotional core. Their tight-knit songwriting ensures ONLY ONE MODE delivers a lasting punch without wearing out its welcome. If their aim was to capture the chaos and camaraderie of an all-ages hardcore show, they’ve succeeded.

5. Guided Tour by High Vis

Genre: Post-Punk/Hardcore Punk

High Vis step into a brighter spotlight with Guided Tour, an album that merges post-punk grit with a melodic accessibility. The UK band has steadily refined a style that combines driving bass lines, expansive guitars, and introspective lyrics. While their earlier work emphasized righteous aggression, Guided Tour features crisper production and varied pacing, allowing for more ornate guitar melodies. I admire a band’s ability to weave together diverse genres to serve a cohesive artistic vision. While Guided Tour is undoubtedly suited for performances alongside other acts of the hardcore vanguard, the album also explores cross-genre connections. “Drop Me Out” draws from Britpop influences like Blur, creating a spirited track that retains a grounded feel while possessing broader appeal. “Mind’s a Lie” might outright be my favorite song of the year. It opens with field recordings of trains and a subtle crescendo of eerie, elegant vocals, building tension more commonly found in electronic music. This song has become a staple in my rotation, perfectly capturing the album’s themes of social disillusionment and personal uncertainty while nurturing a hopeful spark.

4. Deep Sage by Gouge Away

Genre: Hardcore Punk/Noise Rock

There is so much happening on the new album Deep Sage by Gouge Away. “Stuck in a Dream” has some of the best-delivered vocals of the year. The lyrics crash out of lead singer Christina Michelle in an anguished wail. It’s odd how such a simple and crude chorus can be so sticky, but in the few still moments I have throughout the day when my mind wanders, I might find myself quietly imitating her scream. “STUCKKKKK. STUCKKKKKKKKK!” This intensity stands in contrast with the melodic passages and serene singing Michelle is able to switch in on a dime. It complements the litany of proficient hooks strewn across the record, like on “Idealized” or “Spaced Out.” True to their roots, these new songs carry a sense of gravity bolstered by rapid tempos and fierce, unflinching vocals. There’s an undeniable catharsis in how the band tackles themes of identity and resilience — smoldering anger pulses through each note, yet glimpses of vulnerability take shape as well. Gouge Away strike a perfect balance between their punk foundation and the amorphous elements of noise rock, weaving dissonance into breakneck riffs without sacrificing impact. Deep Sage feels like a snapshot of a band in full stride.

3. Lives Outgrown by Beth Gibbons

Genre: Art Pop/Experimental Pop

There are haunting vocals, and then there is whatever Beth Gibbons is doing on Lives Outgrown. I used the single “Reaching Out” recently on my 2024 Halloween mix, but any track off her new record would have been appropriate. Lives Outgrown is the musical equivalent of a seance. Gibbons reaches through the veil using only her glittering and gorgeous voice to cut through the mist of ominous production. Her voice, honed with trip-hop innovators Portishead, is a cultural phenomenon. Now, on her debut solo album, Gibbons articulates her own unique perspective on trip-hop, art rock, and progressive folk. While the album retains the melancholic undertones familiar to her listeners, Gibbons also explores deeply personal, folk-influenced territory. Unadorned acoustic guitar often provides the basis for her emotive vocals, and though blurry electronic touches appear on some tracks, the prevailing mood is one of quiet contemplation. The lyrics investigate personal transformation and emotional burdens, analyzing how life experiences mold us over time. Throughout the recording, her voice resonates with vulnerability, offering direct access to her inner world. It’s a gentle but powerful listen that proves Gibbons remains a captivating storyteller, whether she’s engulfed in layers of synthesizers or baring her soul against nothing more than a single guitar.

2. Perceive Its Beauty, Acknowledge Its Grace by Shabaka

Genre: Jazz/Spiritual Jazz/New Age

On Perceive Its Beauty, Acknowledge Its Grace, Shabaka channels the improvisational fireworks he honed with The Comet Is Coming and Sons of Kemet into a richly reflective body of work. The album’s opening moments are deceptively quiet: a solitary sax coils around light percussion, as if inviting the listener to step closer. Then, with each subsequent track, Shabaka expands the vision— tightly woven grooves unfold under his restless sax lines, revealing influences from Afro-Caribbean rhythms to free jazz. There’s a delicate interplay between tension and release throughout. In one piece, a deep, rumbling bass locks into a hypnotic pattern, while swirling woodwinds push and pull against it. Rather than relying on sheer volume or frantic pacing, the record’s power lies in subtle shifts of tempo and harmony. This dynamism underscores the album’s overarching theme of mindfulness: how we perceive and how we choose to respond. Each performance carries an undercurrent of brave sincerity, matched by the phenomenal guest features by the likes of Moses Sumney, E L U C I D, Floating Points, and Saul Williams. With Perceive Its Beauty, Acknowledge Its Grace, Shabaka stakes his claim as a leading voice in modern jazz’s evolving conversation.

1. Three + by Four Tet

Genre: Electronic/Techno/Ambient

Any discussion of contemporary electronic music inevitably involves Kieran Hebden, the creative force behind Four Tet. Hebden has crafted music I’ve deeply connected with since long before I recognized his name or alias. For decades, Four Tet has operated within the periphery of IDM, content to exert influence within his select circles. In recent years, however, Hebden has exploded in commercial notoriety. His seminal collaborations with EDM figures like Fred Again.. and Skrillex have broadened his reach, and his hand-curated festival, Under the K in Brooklyn, was a pivotal event for emerging IDM in the US. While his live shows have evolved into large-scale displays of dirty bass and experimental dance music, his studio work as Four Tet has remained focused on a refined appreciation for life’s understated beauty. His latest LP achieves a smart equilibrium. Early tracks feature gentle synths that meld with crisp hi-hats, revealing Hebden’s sophisticated approach to minimalism. As the album unfolds, deeper bass tones progress, suggesting UK garage influences. A playful unpredictability permeates Three +. One track might feature chopped vocal samples layered over a restrained kick drum, then suddenly transform into a vortex of percussion and ambient textures. Despite these abrupt transitions, the album remains cohesive, unified by Hebden’s keen sensitivity to nuance and sound design. Even at its most danceable, Three + deviates from conventional club structures, allowing expansive drones and field recordings to command attention. While samples of rain, thunder, elegant harp, and patiently paced drums might not immediately suggest dancefloor anthems, the sheer physicality Hebden is able to reap from these elements is unprecedented.

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Honorable Mentions are listed below. There is always too much good music being released and too little time. Thus, I kept it “short,” to only an additional 50 albums in my mentions, sorted alphabetically:

3+5 by Melt-Banana
Alas by Lily Seabird
All You Embrace by One Step Closer
Arcane Demolition by Burning Lord
Black Sheep by Cakes da Killa
BLUE LIPS by ScHoolboy Q
Born in the Wild by Tems
Brat and it’s completely different but also still brat by Charli xcx
Bright Future by Adrianne Lenker
Contempt by Bad Breeding
Coup de Grâce by SeeYouSpaceCowboy…
Cutouts by The Smile
Dark Legacy III by Indian Giver
Dead Slow by Heavy Moss
DEVOTION by Sorcerer
Every Bridge Burning by Nails
Faith In Vain by Rough Justice
Funeral for Justice by Mdou Moctar
Guetto Star by DJ Lycox
Half Divorced by Pissed Jeans
Hell Bent by Firewalker
Hicimos Crecer un Bosque by Fin del Mundo
Honey by Caribou
Imitation of War by Itasca
Mahashmashana by Father John Misty
Ministerial Cafeteria by Thirdface
my anti-aircraft friend by julie
Nebulous Nights by Röyksopp
Normal Sounds by Lia Kohl
Only God Was Above Us by Vampire Weekend
ORQUÃ DEAS PARTE 2 (Deluxe) by Kali Uchis
plastic death by glass beach
POWER by illuminati hotties
Realistic IX by Belong
Scotland’s Hardcore by Despize
Silence Is Loud by Nia Archives
Sun Glories by Chuck Johnson
The Age of the Machine Entities by Observers
The Doober by Sam Gendel; Sam Wilkes
The Thief Next to Jesus by Ka
Three Bells by Ty Segall
Trellis by Lifted
Two Shell by Two Shell
Umbilical by Thou
We Could Stay by M Wagner
We Still Know by Collateral
What an enormous room by TORRES
with you in spirit by Balance And Composure
You Won’t Go Before You’re Supposed To by Knocked Loose
Žaltys by Raphael Roginski

My favorite Bootleg Album of the Year is Walls Have Ears by Sonic Youth. Even though King Gizzard & The Lizard Wizard released more than two dozen bootlegs this year, none could top this long-awaited Sonic Youth recording. After decades of circulating among fans, Walls Have Eyes finally received an official release, and it’s every bit as fiery and intense as the band’s legacy implies. It’s so outstanding, in fact, that it easily would have landed in my top ten overall if it weren’t already in its own separate category. As far as King Gizzard goes, my personal favorite bootleg from their 2024 tour is the sprawling double album Live in New York City ’24.

My favorite Live Album of the Year — apart from the bootlegs — goes to Live in Amarillo, Texas by Hayden Pedigo. He ranks among the most talented guitarists working today, and this release captures the thoughtful, nostalgic, and intricate qualities of his playing. Nils Frahm’s Paris deserves an honorable mention as well. Having caught his live show in Boston, I can confirm the Paris performance perfectly mirrors his masterful piano technique and childish audience interplay, all mixed in real time to create a one-of-a-kind experience.

My favorite Compilation Album of the Year is TRANSA by Red Hot Org. This release from the well-known activist music collective features a bold lineup of trans and non-binary trailblazers, plus a brand-new track from Sade — her first in six years — dedicated to her trans son. It also contains an ambitious 26-minute piece by André 3000. At nearly four hours in length, not every cut is flawless, but the sheer diversity and high level of artistry make it unmissable. Another standout compilation is The Shape of Punk to Come Obliterated, celebrating Refused’s iconic album with a 25th-anniversary deluxe edition. Alongside the original songs, each track is covered by a different artist — Touché Amoré, Zulu, Fucked Up, GEL, and Ho99o9 among them — showcasing some of the best in modern punk and hardcore.

My favorite Leaked Album of the Year is BRAT by Charli XCX ;)

My favorite Reissued Album of the Year is the 20th-anniversary edition of MF DOOM’s MM..FOOD. This playful classic highlights DOOM’s enduring influence and the massive void his absence still leaves in hip-hop. Disc two treats listeners to inspired remixes, including a Madlib rework of “One Beer.” Meanwhile, disc three contains clips from a previously unheard interview, shedding new light on a visionary artist gone far too soon.

Here is a short list of my favorite albums I haven’t listened to yet. This is not a trivial categorization, as I’m sure these projects are all good enough in their own right to reorder my top 100 list. Unfortunately, I had already started writing by the time these hit my radar. This is especially true in the case of SAULT and Whirr’s new albums, which were both released on Christmas day:

Acts of Faith by SAULT
Box for Buddy, Box for Star by This Is Lorelei
Cellophane Memories by Chrystabell; David Lynch
Pride of A Man by ANKHLEJOHN
Raw Blue by Whirr
shadowbox by MAVI
SOS Deluxe: LANA by SZA
Still Praying by Westside Gunn; DJ Drama
the First Fist to Make Contact When We Dap by R.A.P. Ferreira; Tamura
Wild God by Nick Cave & The Bad Seeds

Finally, here is a long list of my favorite EPs of 2024. This was supposed to be its own article, but with it now being mid-January, I’m running out of both relevancy and bandwidth. As such, below are my 50 favorite EPs of 2024 sorted alphabetically:

3Eternities Beneath You by Manuka Honey
Afraid of What’s to Come by Armor
Are You There God? It’s Me, @ by @
b_b by Yetsuby
Bestial Condemnation by Walking Wounded
BIBLICAL by Bib
Boundless by Manni Dee
BouQ by Blawan
Breathe… Godspeed by Verraco
Brendita Tools V.3 by Brenda
Chicken Garaage by Objekt
chrome is lullaby by Her New Knife
Club Shy by Shygirl
CORPUS EP by Show Me the Body
Demo by Fatal Realm
Drop 7 by Little Simz
Egyptian Democracy by Intercourse
Follow Your Captain by fantasy of a broken heart
For The Amusement Of You by JEZTER
Heaven by Softcult
Hell Realm by Stiff Meds
Her Thoughts by Terrace Martin
Hot Air Balloon EP by Pile
I Forget Everything by LEYA
JS04 by Jump Source
Like A Ribbon by John Glacier
Living is Easy by Agriculture
Loosies by Amber Mark
Mahal by Glass Beams
Mantra by Diploid
Meaning’s Edge by DjRUM
Persona by GEL
Possession by Shabaka
Profane Usurpation by KRUELTY
SABLE by Bon Iver
Sculptor EP by Villager
Self In All by Wreckage
Snake EP by Nikki Nair
Soul Kiss by Frost Children; HARU NEMURI
Spirit Box by Flying Lotus
Spirit Level by It Thing
SPIT by MX LONELY
Tender the Spark by Cecile Believe
The Grand Rapids EP by Rip Van Winkle
the mind is a miracle by duendita
The Unbearable Form by CELL
this old house by mary in the junkyard
W.A.A.D by NO MODEL
WANT WAR by Gag
Year of the Pest by Pest Control

Hopefully, you were able to discover some new music from this year’s list or recognize a few of your favorite albums. Either way, please make sure to reach out to share your thoughts, start some beef, or praise your favorite LP. You can also keep up with the current year’s new releases by following my Spotify playlist here.

Follow @EchoEthos on Instagram and YouTube to stay up-to-date and support your local scene.

1. Data Doom by Frankie and the Witch Fingers

This album is a maelstrom of psychedelic rock and garage fervor. Frankie and the Witch Fingers have escalated their sound to an electrifying new level with “Data Doom.” Standout track “Miles Davis” is a whirlwind of frenetic guitars and hypnotic vocals, encapsulating the band’s ability to balance chaos with harmony. The recent additions of a spunky, young drummer and a pickle-themed bassist have moved the sound of the band in a heavier and fuzzier direction that suits them well.

I had the grand pleasure of meeting them all this past year. Their affable nature, combined with a devastating live performance, only pushed me to like them more. This album has got it all, from societal commentary and technologically dystopian themes, to psychedelic reverb and chugging passages. I return to this paragraph again and again, hoping to be able to wring out a new angle to explain why this album tops my list. In reality, the music speaks for itself.

2. Death is Nothing to Us by Fiddlehead

Confronting mortality with cathartic fury, Fiddlehead’s “Death is Nothing to Us” isn’t merely another post-hardcore record. It’s a meditation on existence, delivered with the band’s characteristic visceral gravity and emotional intelligence. The album’s heart beats strongest in tracks like “Going to Die,” where their trademark rawness collides with morose lyrics exploring the ephemeral nature of life. Three perfect studio albums in, Fiddlehead’s rise feels meteoric. In Massachusetts, they’re hometown heroes, their gigs coveted spectacles that sell out. Yet, amidst the acclaim, it’s gratifying to witness their continued dedication to the community and scene that nurtured them. This unwavering integrity, paired with a disciplined work ethic, is what makes them so endearing. They haven’t forgotten their roots, even as they continue to push the boundaries of their sound. “Death is Nothing to Us” is a darker, more philosophical Fiddlehead, but the emotional core remains fiercely intact. The band hasn’t lost their bite, their music still harnessing the power to purge despair and anxiety. In confronting mortality with such direct honesty, Fiddlehead reminds listeners that life may be fleeting, but the emotions it evokes can resonate forever.

3. Dogsbody by Model/Actriz

“Dogsbody” draws attention for its bold experimentation in industrial and noise rock. Model/Actriz crafts an album that’s as confrontational as it is compelling. The track “Crossing Guard” is a prime example, with its abrasiveness, campy tone, and relentless tension. This is one of those albums that stopped me while walking the first time I heard it. It conjures up comparisons to Talking Heads and Black Midi, but develops ideas that feel fully authentic and unique. Every song has the sinking feeling of dire urgency, wretchedness, and reluctant resilience. “Dogsbody” remains my favorite debut of the year.

4. Lahai by Sampha

In “Lahai,” Sampha weaves a narrative of self-discovery and emotional exploration. The album blends soulfulness with electronic subtleties, evident in the track “Spirit 2.0,” showcasing his growth as an artist and his unique approach to storytelling through music. That particular track features another artist on our top albums list, Yaeji. It is refreshing to see Sampha include more collaborations in his own solo material, and it is the welcomed detour into richer sounds that I was hoping a new album from him would engage with after such a long hiatus. His falsetto and graceful flow are back with more character than ever. I dare you to stay still while listening to “Only.”

5. Maps by billy woods, Kenny Segal

This collaboration between billy woods and Kenny Segal has resulted in “Maps,” an album that’s both a lyrical odyssey and a production marvel. The track “Bad Dreams Are Only Dreams” is a standard template, fusing dense, thought-provoking lyrics with Segal’s intricate beats. Every track has effortless synergy, with the tumbling flow of woods creating an unlikely sanctuary amidst the fluttering and jazzy sound collages that Segal seems to be daring woods to make sense of.

6. Good Lies by Overmono

“Good Lies” by Overmono is an electronic marvel sprinting through ambient landscapes and pulsating rhythms. Each track is a testament to their skill in creating sounds that are as immersive as they are innovative. The title track is a sparkling refresher, while “Cold Blooded” blends dancehall sensibilities with contemporary EDM tropes to incredible effect. Every track is an impressive accomplishment, and a satisfying listen. I’ve recommended it to everyone I know even tangentially interested in EDM, and I would not be surprised to see the name Overmono explode in popularity in a similar Fred Again.. fashion. Everyday I live in anguish with the knowledge that I missed their show to see Death Grips.

7. everything is alive by Slowdive

Slowdive’s “everything is alive” is a shoegaze dream, a pillar to their legacy in creating lush, atmospheric soundscapes. Their track “alife” is probably the best distillation of their current sound. Soaring, beautiful, flowery vocals pair with swelling guitars to crescendo into a mystical experience fit for dancing in a crowded room or crying alone. Slowdive has a chokehold on shoegaze for good reason. They’ve been in the game for so long, it might be the only name in the genre the typical layperson knows. They don’t take this for granted though, and instead of simply continuing the sound they’ve built so much success on over the years, they show they still care to evolve. Sometimes I can’t believe they’re still this good.

8. A New Tomorrow by Zulu

Zulu’s “A New Tomorrow” is a potent mix of punk energy and social commentary. The album is a powerful confrontation of the status quo, with tracks like “Where I’m From” combining aggressive instrumentals, growling vocal performances, and lyrics that challenge conformity and inspire action. One of the most physically exhausting shows I been to in 2023 was the double headliner of Soul Glo and Zulu. I barely left with my life, and I wanna go back for more. I had the pleasure of seeing them once before in March 2023, opening for Show Me the Body. This was before the departure of their drummer for undisclosed reasons months later. It is unfortunately common to see success come with turmoil for young artists, and I’m praying that Zulu are able to continue on despite the change up. It’s hard to find another band like them.

9. Post-American by MSPAINT

“Post-American” by MSPAINT is a journey through the complexities of contemporary life, balancing inward reflection and external analysis of the society we’re all forced to share. The album deftly balances post-punk energy with experimental rock, especially in tracks like “Titan of Hope,” which showcase the band’s incredible ability to combine synths, guitars, and poetic delivery into something spiritual. YOU’RE CONNECTED TO: EVERY THING. I’m proud to have severely dislocated my shoulder catching a body flying off stage when I saw them open for Militarie Gun.

10. Life Under The Gun by Militarie Gun

With “Life Under The Gun,” Militarie Gun delivers a hardcore punk experience that’s somehow both raw and refined. “Do it Faster” is a favorite for me personally, as I was trudging through an intense breakup when the single dropped. Personal lyrics that float beyond the scope of their inception create an experience that feels intimate, yet universal. Tracks like “Very High” and “My Friends are Having a Hard Time” stick with the themes of loneliness, isolation, and a desire to reach out and help those closest to you that are struggling. Maybe that all sounds pessimistic, but there’s a feeling of hopefulness that runs through the record that inspires security, regardless of all the uncertainties of life. Life is hard, but my friends and I are harder.

11. Madres by Sofia Kourtesis

Sofia Kourtesis’ “Madres” is an electronic odyssey that fuses traditional Peruvian elements with modern house rhythms. The track “Si Te Portas Bonito” exemplifies her style, creating a culturally rich and contemporary experience. It encourages dancing with gentle coaxing, and a smooth and sultry approach that transports listeners to a better place. It had been one of my most anticipated albums of 2023, ever since the string of singles she released in early 2020. She’s always possessed an enchanting sound, and I’ve been hard pressed to ever come upon anything similar.

12. Stage of Love by Mary Jane Dunphe

Mary Jane Dunphe’s “Stage of Love” is a heartfelt foray into indie rock, folk, new wave, and post-punk. The album shines in its simplicity and emotional depth, particularly in songs like “Phantom Heart,” which feature intimate storytelling and poignant vocal delivery. She hangs on every syllable. Her passion in palpable, and her authenticity is disarming. I have been obsessed with Dunphe ever since I had the good fortune to discover her as an opener for Turnstile in November of 2022. She left everything on that stage, and reminded me of the simple release and healing power of dance. Not any dancing in particular, but dancing on its own, for its own sake. Her movements were demonic, and her intensity was inescapable. He knees were covered with blood by the end of her set. No one had any idea of who she was at the time, but I was impressed with how much she had won the crowd over. I waited with deep anticipation for her solo debut, and I was not disappointed. It’s a heart wrenching and beautiful listen, centered on the experiences that fall out of love held and released, and the lasting effects that we carry with us. Where as another artist might focus on the pain, Dunphe paints a picture that emphasizes the stakes of love as having meaning on their own. Love hurts because it matters. The entire albums is dependent on her vocal performance, and she proves to be up for the task. You won’t hear a voice like this often.

13. Imagine This Is A High Dimensional Space Of All Possibilities by James Holden

James Holden’s album is entrenched in the experimental realm, playing with the expectations of ambient music and creating soundscapes that are intricate but easy to navigate. It’s a feat only a virtuoso like Holden can accomplish. Tracks like “Common Land” reflect Holden’s knack for crafting immersive, otherworldly textures that drone into one another without collision, but more like a handshake. Is that… a song bird? Is that… a wood flute? Is that… an alto saxophone? Is that… a synth? There are so many decisions packed into a single bar, picking it apart would leave you with an ambiguous and disconnected pile. Together, they’re more than the sum of their parts. The music here is reminiscent of early Royksopp, and elicits such warmth and joyful curiosity. Considering everything, I’m certain that this is the album on our list that I’d be most likely to recommend to a reader looking for music to trip to. Just look at that album cover!

14. For That Beautiful Feeling by The Chemical Brothers

The Chemical Brothers return to form with “For That Beautiful Feeling,” an album that melds their signature big beat sound with modern electronic flair. They sound new and refreshed, but unmistakably themselves. Following their last effort from half a decade ago might have been daunting, but their return has been a blessing and a triumph. The dark moodiness and ominous tone of their previous effort is gone, replaced instead with an earnestness and natural beauty that illuminates every single beat. The track “Skipping Like a Stone” featuring Beck is a stand-out, showcasing their ability to evolve while staying true to their roots. It’s a song that builds off an ethereal chorus of wordless wails, and is fleshed out with surprisingly sentimental lyrics focused on the resilience of the bonds that we choose to put our hearts into. It is music designed to make you cry on the dance floor, but it will be one of the most cathartic and relieving cries you’ll ever have at the club.

15. Desire, I Want To Turn Into You by Caroline Polachek

Caroline Polachek’s “Desire, I Want To Turn Into You” collides art pop with avant-garde elements. Tracks like “Sunset” exhibit her unique vocal style and innovative songwriting. I have been begging people to listen to her ever since she dropped her solo debut single “Door” back in late 2019. You might already be familiar with Polachek from her work as one half of the band Chairlift, who encompassed a sector of indie rock laden with ghostly vocals and agonizing emotion. After the band’s dissolution, her work progressed in a more experimental direction, and adopted more pop-forward elements from her contemporaries in PC Music and Charli XCX. Today, she’s reached incredible heights in popularity, and has not compromised on the artfully left-field aesthetic her signature sound is known for.

16. With A Hammer by Yaeji

In “With A Hammer,” Yaeji blends house music with emotionally vulnerable lyrics, creating an album that stands out in the electronic music scene. Her unique position is showcased through tracks that merge club-ready beats with a deeper narrative reflecting on the impact of a difficult past, anger as an albatross, and release as self-evident liberation.

17. LIVING PROOF by DRAIN

This album is an adrenaline-fueled hardcore punk album, embodying the spirit of the genre with a modern twist. DRAIN’s raw and impactful lyrics make it an essential release in the scene. There are hints of hip hop and pop-punk influence, and any shortcoming this album could possibly have is compensated with unadulterated energy.

18. When No Birds Sang by Full Of Hell, Nothing

This unique collaboration between Full Of Hell and Nothing in “When No Birds Sang” is a compelling fusion of grindcore and shoegaze. The album creates a creepy, gorgeous purgatory that showcases a cohesive and deeply moving musical experience. The joint effort here mixes wall-of-sound direction with solemn contemplation well, and the result is a collaboration that demonstrates the advantages of combining forces.

19. Super Snõõper by Snõõper

“Super Snõõper” is noted for its crunchy rawness in production, and egg-punk tendencies with a retro flair. This album sets itself apart with its catchy melodies that fuse nostalgic and fresh elements, showcasing Snõõper’s ability to create engaging and memorable music. I’m so grateful to Abbey for convincing me to see them with her in November of 2022 at a tiny venue in Cambridge, because they seem to be landing on many End of Year lists lately. Rumor has it, the guitarist sold all his possessions and moved to Australia recently, so I hope the band can recover and continue to make their mark.

20. Walk the Wheel by Truth Cult

Truth Cult’s “Walk the Wheel” is a dynamic entry into the post-hardcore scene, synthesizing aggressive and melodic elements. This album reflects the band’s talent for creating music that is thought-provoking and resonant with listeners through its energetic vocals and depth. The theme of clarity of senses and mind during tumultuous life events runs through the record and ties together an all around fulfilling listen.

21. BRAND NEW SOUL by Angel Du$t

Angel Du$t’s “BRAND NEW SOUL” re-establishes their sound with an innovative fusion of punk and pop sensibilities. The album’s fresh approach displays a significant refinement in the band’s musical growth without reinventing the wheel. They know they’re good at what they do, and they have nothing to prove.

22. Live at Alexandra Palace London, 24th May 2023 by Four Tet

This live album by Four Tet captures the transformative power of live electronic music. Celebrating the energy and spontaneity of Four Tet’s performance, it offers listeners an immersive experience that transcends traditional studio recordings, highlighting Four Tet’s improvisational prowess.

23. Why Does the Earth Give Us People to Love? by Kara Jackson

Kara Jackson’s album “Why Does the Earth Give Us People to Love?” delves into the depths of R&B, folk, and soul with profound intimacy and relatability. This album connects with listeners through its heartfelt narratives, delivered with Jackson’s soulful voice and a refusal to resign herself to anything less than what she deserves. As a former poet laureate, her creative and sophisticated lyrical structures are an immediate standout.

24. Mid Air by Romy

In her debut solo album “Mid Air,” Romy steps away from her work with The XX to explore a more personally rewarding sound. Every track is a love song to the popularity of saccharine, densely produced, pop-oriented dance music of the early 2000s. Despite that characterization, the music here never sounds dated or tired. Songs like “The Sea” provide evidence to the fact that Romy has a clear idea of where she wants to take electronic music, her identity as a being separate from The XX, and the wonderous distinction of queer love.

25. & the Charm by Avalon Emerson

Avalon Emerson’s “& the Charm” introduces listeners to a side of Avalon Emerson that is relatively unknown to even her most devout fans. Emerson made her name in the techno scene of Berlin, and became more widely known in the US after the widespread critical acclaim of her DJ Kicks album. This album however makes an entirely different and delicate turn into bedroom pop, lo-fi experimentation, indie rock, and ambient electronic music. After touring with the likes of Four Tet and Jamie XX, it is an impressive and baffling feat to make her mark in an entirely new genre. Her voice takes center stage on a sugary, glittery entry into a discography that looks broader and more worldly with each release.

26. Integrated Tech Solutions by Aesop Rock

Aesop Rock’s “Integrated Tech Solutions” curates a dense and thought-provoking journey through hip-hop that utilizes his connections and history in the underground scene to deliver an album that rivals even his best work. Rock’s intricate narratives and careful production exhibit his lyrical prowess and solidify his place in the genre alongside rising favorites like billy woods. Several times I checked what to playing to be sure it was still the album, because I was pleasantly surprised by the flow of banger after banger after banger.

27. SAVED! by Reverend Kristin Michael Hayter

Reverend Kristin Michael Hayter’s “SAVED!” defies genre conventions, melding elements of folk, industrial, and experimental music. This album makes its statement with powerful and unconventional musical narratives, made clear through Hayter’s ability to create gripping music that exemplifies the disastrous results of trauma and grief. This work is only rivaled by her pervious alias, Lingua Ignota, and in that same vein is elevated for any listener who has ever had to struggle against religious fundamentalism.

28. Faith Is A Rock by MIKE, Wiki, The Alchemist

This collaborative effort between MIKE, Wiki, and The Alchemist, “Faith Is A Rock,” brings together some of hip-hop’s most innovative voices in the underground. This collaboration has remarkable lyrical depth and The Alchemist’s production quirks create a significant contribution to the culture. It is an album indebted to the New York hip-hop scene, and brings forth two of its current disciples to spit some of the best bars you’ll hear this year. My favorite track has to be “Mayors a Cop,” since I never forgave my hometown for electing Eric Adams. It really drives home the betrayal that was felt from his election, and the resistance of those who know better to cowardness and fascism.

29. New Blue Sun by André 3000

There is nothing more that can be said about this album that hasn’t already been said. If you somehow haven’t heard of this one yet, the story goes like this: One of the biggest genre-defining voices in Southern hip-hop decides to come out of pseudo-retirement (no rapper ever actually retires) to release his debut solo album, something that fans have been anticipating now for several decades. Upon first listen, the revelation becomes apparent that this album contains exactly 0% rapping, and 100% flute. And you know what? It BANGS.

30. In Between Thoughts…A New World by Rodrigo y Gabriela

“In Between Thoughts…A New World” by Rodrigo y Gabriela displays in full force their exceptional guitar skills. The album beautifully amalgamates flamenco, rock, and folk influences, showcasing their ability to produce harmonious and exciting auditory experiences from just acoustic guitars. They’re two of the best living guitarists on Earth, and together they once again knock it out of the park with an album of pure instrumentals that has one believing that an entire orchestra must be involved. Nope! Two wooden guitars.

31. Transmissions From Total Refreshment Centre by Total Refreshment Centre, Soccer96, Kieron Boothe

This collaborative effort brings together the jazz-infused electronic brilliance of Total Refreshment Centre, Soccer96, and Kieron Boothe. This album makes our list for its seamless integration of genres, showcasing a hypnotic fusion of beats and improvisational flair that touches on folk, hip-hop, jazz, and more experimental sounds.

32. The Aux by Blockhead

“The Aux” is proof that if you think hip-hop is dead, you’re just not paying attention. Blockhead’s beats provide the perfect canvas for the likes of Danny Brown, billy woods, and Navy Blue to deliver verses dripping with brilliance and confidence. The sophisticated production here combines with a slew of guest verses from some of the best in the scene right now to make a hip-hop album that needs to be on any best of the year list. The final track is one of the best posse cuts ever constructed, featuring a rare verse from fellow Queens native Despot, who semi-retired to open a deli.

33. LP1 by Isola

Isola’s debut album “LP1” manages an atmosphere that is both calming and complex, showcasing Isola’s talent for creating transportive music. Her angelic voice and streamlined beats produce a record that feels lo-fi, but has too many intricacies and idiosyncrasies to be cornered into such a simple genre. Her track “Too Soon” is an absolute blast, and a dance track that knows it doesn’t need to rush to be exhilarating.

34. SCARING THE HOES by JPEGMAFIA, Danny Brown

The explosive collaboration between JPEGMAFIA and Danny Brown in “SCARING THE HOES” is a rollercoaster of experimental rap. The album is noted for its high-energy and innovative production, blending avant-garde approaches with unique lyrical styles to create a memorable and audacious listening experience that serves both of them well. Their lyrical abilities complement well, and their implicit understanding between each other develops a synchronization in ideas and delivery that makes “SCARING THE HOES” sound effortless.

35. Songs To Come Home To by Ta-ku

This album spearheaded by trip-hop producer Ta-Ku is a soulful, downtempo masterpiece. “Songs To Come Home To” blends soothing melodies with introspection to deliver a tranquil and emotionally potent listen. One of the best covers of the year is featured here as a bonus track as well, with his own rendition of “Take On Me.” This record rivals his previous efforts found in “Songs To Break Up To” and “Songs To Make Up To.”

36. Live at Bush Hall by Black Country, New Road

Capturing the excitement and the dynamic presence of their live performances, “Live at Bush Hall” by Black Country, New Road is a testament to the band’s musical versatility. This recording of a live session is comprised of wholly original music, and the band’s first foray into new horizons after the departure of their lead vocalist. What might have been a death sentence for other bands instead pushed New Road to make their most creative and spirited album yet.

37. And Then You Pray For Me by Westside Gunn

Westside Gunn’s “And Then You Pray For Me” delivers gritty, hard-hitting hip-hop with old-school braggadocio and the best ad-libs in the business. This album has distinctive style and lyrical complexity, establishing it as a worthy entry into the unmatchable discography of Gunn.

38. Suddenly My Mind Is Blank by Jouska

Jouska’s “Suddenly My Mind Is Blank” is one of the most esoteric albums on this list. I can’t remember where I found this artist with 14000 listeners on Spotify, but I was intrigued and stunned when I gave her new album my first listen. The genre conventions are so easily adhered to that it allows her to veer off course when she wants to into more experimental and elegant territories. There was real excitement in me when I discovered this LP. A secret I get to reveal to anyone who will give new electronic and bedroom-pop albums a listen.

39. Love In Exile by Arooj Aftab, Vijay Iyer, Shahzad Ismaily

“Love In Exile” is a transcendent fusion of jazz and traditional music. Arooj Aftab, Vijay Iyer, and Shahzad Ismaily create tracks that blend soulful melodies with masterful string instrumentation, crafting deeply moving music that is ingrained with cultural significance. Aftab’s vocals are sung in Urdu, and delivered with such a level of ethereal grace that one might assume there’s some effects added. Aftab is just that good.

40. Härvest by Poison Ruïn

Poison Ruïn’s “Härvest” is a punk album with a fuzzy raw sound that harkens back to bands like Motorhead. The whimsy and campiness never give way to corniness however, as Poison Ruin prioritize a mastery of the fundamentals of the genre before anything else. The themes of violent resistance could not be more relevant today, and the guitar shredding reminiscent of Iron Maiden makes a great backing track to revolution.

41. Born Again by Danger Mouse, Jemini the Gifted One

“Born Again” marks a remarkable collaboration between the legendary producer Danger Mouse and the lyrically gifted Jemini. In the early 2000s, the first collaborative album between these two basically put Danger Mouse on the map, and became one of the most revered albums in the underground hip-hop scene. Too bad Jemini never released a second album! So imagine my surprise when this sequel, produced in 2004 but shelved until now for reasons unknown, quietly dropped and proved lightning can strike twice.

42. Goodnight, God Bless, I Love U, Delete. by ✝✝✝ (Crosses)

In this atmospheric and moody album, ✝✝✝ (Crosses) imbue alternative rock with electronic nuances to create a unique sound that mixes Nine Inch Nails with Deftones.

43. Calm Ya Farm by The Murlocs

The Murlocs’ “Calm Ya Farm” brings a fresh energy to garage rock, infused with bluesy undertones. Its catchy hooks and unpolished approach prove that The Murlocs have plenty to contribute to the zeitgeist in their own right.

44. Girl with Fish by feeble little horse

“Girl with Fish” shimmers out of indie rock’s familiar waters, infusing folk melodies and shoegaze swirls into a captivating brew. Feeble little horse crafts an album that feels instantly welcoming, like a worn but beloved sweater on a crisp autumn day. Playful lyrics weave through layers of fuzz and twang, each song unraveling with a sense of eager curiosity. The band is able to maintain a presence that is comforting and familiar even on first listen. “Girl with Fish” contains one of my favorite tracks of the entire year as well. The track “Pocket” is a heavenly indie gem that uses fun production tricks and deep sincerity to guide a complicated, pretty, and emotionally wrought journey.

45. Census Designated by Jane Remover

Jane Remover’s “Census Designated” is a tortured and intense take on experimental shoegaze. To assign it any one genre is difficult, so defining it in atmosphere might be easier. It is an oppressive and anxiety producing atmosphere, with Remover’s voice cutting thorough only to offer company amongst the agony. The raw droning guitars and pessimistic lyrics are skillfully employed to great effectiveness.

46. Running From the Chase by Truth Club

Truth Club’s “Running From the Chase” is a compelling post-punk shoegaze album that also employs dark pessimism to construct an unescapable atmosphere. The pessimism here lands as a call to action though, and feels as though there might be something inspiring about still being here at all.

47. OPEN by Lunice

In “OPEN,” Lunice explores the intersections of hip-hop and dance music, creating a captivating experience that redraws the boundaries of what an A-list producer can accomplish in the experimental realm. The pulsating beats and innovative sound design illuminate Lunice’s talent for making music that is weird but accessible.

48. Secret Stratosphere by William Tyler & The Impossible Truth, William Tyler

This instrumental album by William Tyler & The Impossible Truth is a healing and finely detailed collection of soundscapes. “Secret Stratosphere” showcases Tyler’s mastery of the guitar, creating an immersive listening experience filled with complexity and depth.

49. Love Hallucination by Jessy Lanza

Jessy Lanza’s “Love Hallucination” is a unique take on electronic pop, bringing together danceable rhythms with her gorgeous, amazing vocals. Its vibrant vocal delivery and floaty beats bring the listener a glimpse of clarity and serenity.

50. Only Constant by GEL

“Only Constant” erupts like a fire, gripping with Sami Kaiser’s distinct howl and propulsive guitars. Melodic bursts pepper the chaos, offering catharsis even as the staggering pace sustains. While short and sharp, it leaves a lasting burn, cementing GEL’s status as hardcore’s future with grit and undeniable charm.

Making a list like this is difficult, because I can’t listen to everything, and my rankings change with each new album added into rotation. Some albums get bumped in favor of featuring lesser known artists. So if a 2023 album you love didn’t make it, reach out to me and let’s talk about it! Here’s a few honorable mentions, for example:

In Times New Roman… by Queens of the Stone Age

Playing Robots Into Heaven by James Blake

Anyhow by Leland Whitty (of BADBADNOTGOOD)

SPELLLING & The Mystery School by SPELLLING

The Chalice & The Blade by Real Bad Man and YUNGMORPHEUS

Data by Tainy

93696 by Liturgy

How To Capture Playful by Pink Navel and Kenny Segal

Now for a few awards that might be unconventional, but were impactful enough for me in 2023 that they are worth noting explicitly:

The best bootleg album goes to “Live At Frontón ’22 Vol.1y2” by King Gizzard and The Lizard Wizard. This fan recorded and produced live album captures the fevor and excitement of the band’s live show in Mexico in 2022. It blows the official bootleg from last year, Chicago ’23, out of the water.

The best leaked album of 2023 is “Long Beach, California” by Vince Staples and The Alchemist. The flawlessly smooth delivery outperforms Staples’ last official effort, and The Alchemist shows again that the streak of genius he’s been on lately is not temporary.

My favorite album I still have not listened to yet is “Hellmode” by Jeff Rosenstock.

Worst concept album, unsurprisingly, goes to Random Access Memories (Drumless Edition) by Daft Punk. That’s the whole catch. It’s the exact same album. Same mix. Same production. The sole difference? The drums are missing! Good luck dancing, jackass!

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1. Sunrise Bang Ur Head Against Tha Wall by Nia Archives

Nia Archives’ EP is a vibrant fusion of jungle and drum & bass, infused with her distinct vocal style that makes her sound like an echo reverbing off the walls of the Matrix rave cave. The title track is a standout, combining breakneck beats with introspective lyrics, showcasing her ability to merge high energy rhythms with deeply personal narratives.

2. Blackbox Life Recorder 21f / in a room7 F760 by Aphex Twin

Aphex Twin returns with an EP that’s as enigmatic as it is groundbreaking. “Blackbox Life Recorder” is a venture through ambient and experimental electronics, showcasing Aphex Twin’s unparalleled ability to produce music that is so otherworldly. There’s a reason a drop from Aphex is an event in and of itself. After decades of being a tastemaker for IDM, he’s showing he has no intention of resting on his laurels.

3. Perspective by Jlin

Jlin’s “Perspective” stands as a testament to the innovative possibilities of electronic music. Tracks like “Dissonance” offer a sound that is complex yet accessible, and entirely unique to Jlin’s artistic vision. The tinny clangs and warm cascading drums of that track in particular encapsulate the creative way Jlin designs such an organic tension with some of the most purposefully artificial percussions.

4. Dreams Of A Dancefloor EP by Octo Octa

In “Dreams Of A Dancefloor,” Octo Octa delivers a nostalgic yet fresh take on house music. The EP, especially the track “Let Yourself Go!,” is a perfect blend of classic dance rhythms and contemporary breakbeat, making it both a throwback and a forward-looking piece of work. The ghostly wails in the background hint at influence from more ethereal senior acts like Massive Attack and RJD2. There’s plenty to pull apart here, and it all comes together in a dance oriented project that feels most compelling with headphones on.

5. Right After I Smoke This… by Webbed Wing

Webbed Wing’s EP brings a unrefined and gritty edge to indie rock. “Right After I Smoke This…” is a collection of tracks that are emotionally charged and musically expansive. Webbed Wing began as an offshoot of the grunge band Superheaven, and the influence is apparent in the heavy riffs and song writing. For an EP, there’s an impressive amount of genre blending, with styles from indie rock, shoegaze, grunge, and garage rock all being employed while never losing cohesion.

6. Dismantled Into Juice by Blawan

Blawan’s “Dismantled Into Juice” is an electrifying journey through techno and industrial soundscapes. This EP, particularly in tracks like “Body Ramen,” stands out for its oppressive energy and intricate sound design, showcasing Blawan’s skill in crafting intelligent techno that’s technically complex. Lots of percolating and undulating sounds here. Real head scratchers, in a good way. Sounds like, aquatic, but also cybertronic at the same time. This is music that dares you to find a way to dance to it, because just sitting there while it plays would be agonizing. It’s inspiring really. A spellbinding listen that I request you have ibuprofen on hand for.

7. Psychic Dance Routine by Scowl

Scowl’s “Psychic Dance Routine” is a fierce entry into the hardcore punk scene. The title track is a neat package of aggressive riffs and potent vocals, capturing the band’s spikey energy and uncompromising nature. It’s such a punchy and catchy sound too when the guttural vocals give way to a clean and pretty delivery. The distinct elements of the song stand out well enough that I was immediately able to tell when I happened to hear it in a Taco Bell commercial earlier this year. I’m hoping to hear more from Scowl soon, as I’m always welcoming of any band that’s indebted to The Runaways.

8. 063 by Anunaku

Anunaku’s “063” is a unique blend of tribal rhythms, pulsating synths, and thumping beats. The track “Nebulosa,” is evidence to Anunaku’s ability to produce dance music that is rhythmically rich and culturally layered. You can tell there’s a slew of influences in terms of epochs and disciplines, and a dedication to understanding the genre at a deep level. It is evident in the stylistic choices and small moments that Anunaku fits into songs that sound so spacious and vast. This is the type of music that might be playing in the menu of a PlayStation 1 game about racing spacecraft, but for a refined palate.

9. Become by Beach House

In “Become,” Beach House explore their dream-pop essence deeper than they ever have before, leaning into ambient sugary textures more than fuzzed up shoegaze-adjacent sounds. This EP exhibits an approach that would be experimental to most, but is typical for them only because they’re so foundational in the scene now. Ethereal synths and haunting vocals are featured throughout, further solidifying their position as innovators and mainstays in the genre.

10. Ferox by Capsule

“Ferox” by Capsule is the band’s first new material in a decade and a bold statement in metallic sludge rock. Characterized by its high-octane energy and varied vocal stylings, this EP marks Capsule’s return with a vengeance. The track “Trash” showcases their ability to blend chugging rhythms with a speedy delivery, creating an exhilarating sound that crosses into territory reminiscent of mathcore. Short and sweet, this EP contains all killer no filler and even impresses at times with the level of technicality present in the heaviest moments.

11. 4D Country by Geese

“4D Country” by Geese stands as a satisfying amalgamation of indie rock and experimental sounds. This batch of tracks illustrates their knack for combining catchy guitar riffs with unconventional sonic textures, painting a vivid soundscape that calls back to cool Western tropes while keeping in step with classic NYC indie scene influences like The Strokes. Overall, while I enjoyed the preceding album, this EP is able to stand out more due to a less crowded field. I’m glad for it, because Geese remains an interesting take on fuzzy, grungy art rock.

12. An Object In Motion by Drab Majesty, Rachel Goswell

This collaboration between Drab Majesty and Rachel Goswell is a novel take on post-punk, goth aesthetic, and new wave. The track “The Skin and The Glove” shines in its atmospheric depth, where Goswell’s airy vocals beautifully complement Drab Majesty’s signature dreamy synths. Drab Majesty has been well respected for a while, but only recently has been gaining more notoriety. I regret missing them when they opened for Slowdive, the band Goswell is a permanent member of.

13. how it all falls away petal by petal by Carrion Spring

Carrion Spring’s “how it all falls away petal by petal” is a poignant exploration of emotional turmoil through post-hardcore. Tracks like “Motional” showcase their ability to intertwine intense, cathartic energy with deep lyrics. It’s dripping with knowledge of Midwest emo, mathrock, and hardcore stylings. The final track is a Death Cab for Cutie cover that shines with a droning, heavy creative interpretation.

14. ISS009 by Skee Mask

Skee Mask’s “ISS009” is a masterful blend of breakbeat and ambient electronic. Skee Mask’s skill in crafting intricate rhythms and immersive soundscapes is unmatched. Moments of clarity come through in slow passages of smooth synths, then come crashing down again amidst the wild scratching and energetic flourishes.

15. 667 EP by Abstract Elements, BOP, Diagram

The “667 EP” brings together Abstract Elements, BOP, and Diagram for an experimental foray into drum & bass. I can’t remember for the life of me how I came across such a deep cut. Two of the collaborators here have fewer than 2K Spotify listeners combined. Regardless, this EP stopped me in my tracks. It’s a cheery and whimsical project filled with strange beeping and muddled sounds that are hard to pinpoint. I hear influences from hyperpop prominently featured here as well.

Honorable mentions: River of Heaven by Machinedrum & Holly, Lidian by Gish, The Sound of the Rain by Awnthay, and suraksha by Pinkshift.

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Negroponte, with the wisdom of someone who’s witnessed the tides of the music industry, spoke of the highs and lows, the grind behind the glamour, and the joy of making art. Just as we began to dive deeper into the nuances of their recent album and the ethos of Guerilla Toss, Emily Carter from the indie band Bricklayer dropped in, adding a candid layer to the conversation. Carter’s spontaneous query about navigating the music scene served as a testament to the community spirit and shared journey of artists. This interaction was sweetened further by a brief cameo from Kassie Carlson, the lead vocalist of Guerilla Toss. Her energy, combined with Peter’s insights, painted a vivid picture of life on and off the stage.

As with any great performance, it’s the unscripted moments that often steal the show. Our chat was no exception. After the interview, check out some shots we gathered of their closing performance.

* Interview conducted on July 23, 2023 and has been edited for clarity

EchoEthos: So first of all, great fucking set. You’re closing out Nice Fest. It’s the third year it’s happening. It’s really grown, and it’s filled a niche in Boston because there’s not a lot of festival stuff. There’s Boston calling, but that’s like-

Peter Negroponte of Guerilla Toss: Yeah, they always snub us.

EE: Yeah. Oh, there’s no way they would book Guerilla Toss.

PN: *laughing* I mean, someday…

EE: Well, you look back, and they book Eminem, Travis Scott and 21 Pilots for the headliners one weekend, and that’s not really, you know-

PN: They always throw on one DIY act, or maybe two or something. I saw there were some cool bands.

EE: I do appreciate that. They do have some local stuff like Coral Moons, Mint Green, bands like that. In any case, Nice Fest exists and it’s great that it’s able to get indie acts, stuff like Guerilla Toss. I think this latest album, “Famously Alive”, was your debut on SubPop, right?

PN: Yes. Our debut LP. We did a seven inch for them right before the pandemic. It came out during the pandemic, in the peak of it. But this was our first LP we did for SubPop, and it came out over a year ago! It’s crazy. Yeah. We put a lot of work into that one and I’m really proud of that record.

EE: Very great record! I mean, for you guys the competition is only out doing yourselves because before that you got the album “GT Ultra”.

PN: Yeah.

EE: And then you follow that. What was that, “Twisted Crystal”?

PN: Yeah, “Twisted Crystal”. That was good. That was a good one. We’re all very proud of that.

EE: Did you feel some sort of pressure for your debut to live up to certain expectations? Because SubPop has this roster that is legendary and now you guys fit in there so well! But now you have to produce a new record. How did you guys approach that?

PN: It’s an honor to be on SubPop. It’s a long- I was really sort of playing the label game for a minute. After we were DFA. We were so lucky to get in with SubPop. They’re like a dream label. It’s a real label. There’s a lot of people working. It’s a big operation. It’s obviously legendary. It’s this incredible machine. Well maybe machine makes it sound negative-

EE: It’s neutral!

PN: It’s a well-oiled machine! We should be totally honest. We definitely felt the pressure to make a record more so than ever, and you’re totally right, that’s a great way of putting it. We pressured ourselves. We put pressure to outdo ourselves. We were making that record and just doing something we hadn’t really ever done before. Which was really funny because we were really trying to reinvent the band again and again. We made this sort of twisted pop album, or our version of it. We put a lot of work into that record.

EE: It shows!

PN: It was the kind of thing where we wrote 100 songs and threw them all out.

EE: No way!

PN: We wrote just so much. I would spend weeks on something then be like, that’s not worthy, nahhh. Then I just never finished it. But that’s all part of the process and it was- We were so lucky because we had the uh, the world is-

Emily Carter of Bricklayer: Holy fuck. Unfucking real.

*At this point we are interrupted by the lead singer of Bricklayer, Emily Carter, who had also performed at Nice, a Fest earlier that same day.*

PN: Thank you! Yeah you too. Thank you. I was just schmoozing with your band mates about how y’all should really go for it. Yeah, you gotta play in the city. You gotta try! You’ve got to be- you gotta like, play the game if you want it. Or don’t! Because the game sucks.

EC: Well, can you tell me a little about it?

EE: Hey, I’m running a local music publication. I’m interviewing Peter.

PN: Yeah I’m doing an interview right now.

EC: Oh sorry-

EE: No worries! No, I like this. This intersection. Because then I get to tag, Oh, Bricklayer drops in!

PN: If you wanna drop in-

EC: I would love some insight. Whatever you’ve got.

PN: Of course, if you want to drop in. I mean, this is great, this is interesting. You’re gonna put this in the interview?

EE: Yes, please. Well, this is pretty organic because we were talking about how the latest LP was on SubPop, and that’s a huge accomplishment.

PN: We put a lot of work in to find a new home for us and SubPop was a blessing but it took a lot of like, I don’t know if I want to say schmoozing, because we kind of fell in with those guys. There was a long back and forth with them and we’re really lucky to be on that label. It was a lot of emails, and communicating, and you want to come off as cool, but you don’t want to be annoying, and you want them to like music and the whole thing. It’s a game. But it’s a game with some really interesting and incredible people, especially SubPop. They’re fantastic. I feel like sometimes people talk shit on their labels. I have nothing bad to say about SubPop. They’re in Seattle and I wish I could see them more, but now we go out to Seattle multiple times a year and hang out.

EE: Right. Were you doing a fest there soon?

PN: Yeah. Like in a couple days and we’re gonna see all the SubPop people.

EE: That’s sick as hell. What fest is that?

PN: It’s called Timber Fest. It’s funny. I don’t know if the prints on the poster had to be a certain way, because it looks like Jeff Tweedy from Wilco’s headlining one night, and that we’re headlining the other night. Which is pretty funny. You know, I think it was a font sizing thing, but it looks like we’re the two headliners! The teenage me would have gone nuts. I was such a big Wilco fan.

EE: I feel like you can pull people now. That room was full. Well, what advice do you have for an up and coming band in that same sphere of influence.

EC: I’d love to know.

EE: -like Bricklayer?

PN: Advice? Well, obviously you got to make music. You got to make art. You gotta constantly be writing and creating. Writing music is the best. To me, it’s my favorite thing to do. That’s the best buzz I get right now. When I’m working on music and it’s going well, and I’m writing, and I love performing! I love touring, but I also love having my own little home studio. I just make these intricate demos and work them with the band and then we go to the studio again and do it all over and that kind of stuff. Yeah, obviously make the content. Create music that you believe in. And then there’s the next part, which is to try to figure out how to get other people to hear it. It’s really tricky, and I don’t know exactly what advice I could give other than, go be part of a community. I know there’s a good one in Boston. At a certain point, you gotta go down to New York City. Play with all the coolest bands you can find and make friends. Like, don’t make friends with shitty people or whatever, but find the cool ones and share your creativity with one another and form a thing.

EE: A thing?

EC: You got it! *laughing*

PN: And then at some point you got to send a bunch of emails and DMs on Instagram and make friends and reach out to artists you respect and try to schmooze and not be annoying but you know-

EE: It sounds like a lot of business emails is what you’re saying.

PN: It is a lot of business emails. I mean it’s so abstract, but-

Kassie Carlson of Guerilla Toss: I can get you the shirt, Peter. I just have to get the keys to the car.

EE: You were so fantastic out there! I tried so hard to buy a shirt. You’re out of XL in both! Yeah. So I was catching up with Peter because I run a music publication called EchoEthos here in Boston.

KC: Oh nice! I’d love to take a look at it!

EE: Y’all are so fantastic. Saw y’all years ago at Brighton Music Hall. Saw you again open for Pavement.

PN: I loved it.

EE: But that was one of my questions too.

KC: At the Wang?

EE: Yes! At the Wang Theater. What is the connection there? How did this end up happening?

KC: He just hit us up on Twitter!

EE: That’s nuts! Stephen Malkmus just listens to Guerilla Toss and liked your music?! Wow!

PN: Thanks! I really loved-

EE: Now that’s organic!

GT: *laughing*

EE: That’s so cool. Okay. Oh my gosh. I love that.

KC: Yeah, he came to one of our shows.

EE: I couldn’t believe it when I saw the lineup, because I love Guerilla Toss, but I bought that ticket just for Pavement then I found out you guys were opening! I was like, what a combo!

PN: I love when it works out like that.

EE: I think back and Sloppy Jane opened for you at Brighton Music Hall, right?

KC: Yes!

EE: Oh my gosh. In that time. Like four years ago? That iteration of Sloppy Jane was more or less 10 members as I remember it. That performance that she gave was intense, and now she’s on Phoebe Bridgers’ label. And that’s really cool.

KC: Yeah! They’re friends.

EE: They’re friends! Well, that’s very nice. Thank you.

KC: Of course.

*talk of packing commences between Kassie and Peter, and I take that as my cue to let the band go before I overstay my welcome*

EE: I’m wrapping up here, anyway, but what was your name one more time?

KC: Kassie.

EE: I’m Bernardo, with EchoEthos. I’ll send you what I’ve got.

*Kassie’s uncle, who got a shoutout during their set, arrives*

KC: This is my uncle, Aaron.

EC: Uncle Aaron let’s goooooooooooo!

EE: OH, you’re the uncle! That’s so cool.

KC: He was in the audience tonight! We had a really good audience.

EE: You guys were electric! You had the audience in the palm of your hand. I was here all weekend and that didn’t happen with every band.

KC: Really?

EE: Absolutely not.

KC: Cool!

EE: Sometimes I’m hard on Boston, but I go to so many shows. I went to like 100 shows last year-

PN: That’s a lot.

EE: So many of them, people look like they’re waiting for the bus. Oh, and it’s only hurtful because they don’t understand what they’re taking for granted. Like, it’s Guerilla Toss!

GT: *laughing*

KC: Yeah it’s good out here. People don’t know that it’s good out here.

EE: Yeah you know, ignorance is bliss. I appreciate you guys talking to me and giving me the time of day.

KC: Yeah! I appreciate you too.

EE: I appreciate you playing Boston. Being here. Being part of Nice Fest, and being part of a festival that fills a niche.

KC: Yeah! Any time. It’s a great festival.

EE: Now there’s a place for more left-field bands like Guerilla Toss, and a place for upcoming bands, like Bricklayer. A place for more community, and I love to see it. So, thank you again. So sweet to me. Thank you!

~

As always, please make sure to follow us on Instagram and YouTube @EchoEthos

Fresh off their performance at the festival, Alex and Will sat down with us for an earnest chat about their musical inspirations, the distinct pleasure of playing in Vermont, and their dynamic songwriting process. We even got a glimpse into their affinity for fellow bands, admiration reflected in the tones and rhythms of their own work. This candid conversation speaks to the dreamy, spiritual aura of Paper Lady’s sound, which echoes through their latest EP, “Traveling Exploding Star.”

Read on for a firsthand look at Paper Lady’s creative journey and their unique perspective on the ever-evolving music scene. After the interview, check out the great shots we gathered of their spectacular performance.

* Interview conducted on July 21, 2023 and has been edited for clarity

EchoEthos: Hello, Paper Lady has been described as dreamy, spiritual, and haunting. Do you draw influences from that sphere of music? Bedroom pop has been exploding in popularity in recent years. Do you take inspiration from a specific genre, artist, or group of artists for your sound?

Paper Lady: I know we’re all pretty heavily influenced by Big Thief right now and Alvvays. They’re both fantastic bands.

EE: I saw Alvvays. I had the pleasure last November. Great band. What did you think of their latest LP?

PL: “Blue Rev”? Yeah. Sky high praise. We thought it was great.

EE: Yeah, I can hear some of “Blue Rev” in your own sound.

PL: Yeah. We try to have that. They kind of have like this wall of sound that I guess we try to also.

EE: That’s awesome. Yeah. How about you, Will? You agree with that?

PL: Yeah, definitely I was going to say the same bands, you know. We’re definitely like, shoe gazey. That’s really a genre that we take from. Freak folk is what we describe ourselves as.

EE: Well, I can definitely hear the influence of Big Thief in your music. By the way, they just released a new single called “Vampire Empire.”

PL: We just saw them on Tuesday in Northampton and they played that song.

EE: Yo! I was supposed to see them there too, but it got canceled due to COVID. Hopefully, one day. Anyway, it’s great to see your admiration. Love the influence. Great band. Great picks.

EE: I noticed that you’ve toured extensively across the country, especially in the northeast. Being from Massachusetts primarily, do you have a preference for playing here, or is there a certain state or city that you feel brings something to the show that makes you extra excited to play there?

PL: We really like Burlington Vermont and just the state of Vermont in general a lot. We love to be there. There’s a lot of bands that are coming out of there that are fantastic. Like, Greg Freeman and Lily Seabird.

EE: I’ll have to check them out. Thanks for the recommendation.

PL: They’re coming out of Vermont. I think we’re in Massachusetts because we all went to Berklee. So, we all went to school together and then kind of stayed together out of it. Alex is still doing a little bit. One more year at Berklee. So that’s why we’re based in Boston. It’s a great place too. Like DIY stuff to do.

EE: Oh yeah. Absolutely. I was very surprised, coming from New York City to discover the DIY scene in Boston. It’s really extensive and involved. I’ve really liked it. I mean, this shit’s DIY.

EE: Your lyrics often touch on themes of loss, love, and nostalgia. Are the songs primarily written by Alli Raina, the lead singer, or is there a collective effort in shaping the lyrics?

PL: So far, all of the songs that we’ve been playing live are written by Alli, then she brings in everybody else. And then we all figure out the instrumentation. Yeah, that’s where the group effort part comes in. That would definitely be a better question for her because she wrote all lyrics.

EE: She passed by me, but I was too shy. She was great up there, very emotional. She gives a shit. You would think that, you know, that’s a given. But I was telling Will, I went to like a hundred shows last year in like, every venue in Boston. Some artists don’t give a shit. Some artists are there for a paycheck. And that’s it. You guys really do seem dedicated to doing this. I mean, that’s the point of Nice, a Fest. It’s great to see.

EE: So Alli handles the lyrics, and you all contribute to the instrumentation. Is that the same process for your latest EP, “Traveling Exploding Star”? I know that came out just a few weeks ago.

PL: The latest EP is the most collaborative we have ever been. Usually, Allie comes to us with the songs, and plays guitar and sings it to us, and then we make it whole. But going forward, we’re trying to write together more. Just be like, everyone gets to be more involved in the writing process.

EE: I liked the new EP, so it’s great to hear you guys are keeping with a more collaborative direction. It’s a welcomed approach. Well, thanks. I appreciate it. Will, thank you. Thank you, Alex.

~

As always, please make sure to follow us on Instagram and YouTube @EchoEthos

Marking its third successful year, “Nice, a Fest” proved once again to be a key event in the musical calendar of Massachusetts. This four-day musical experience took place in Davis Square, Somerville split between two prominent local venues: the Crystal Ballroom and The Rockwell. Over 70 artists graced the stages, further enlivening the already dynamic local music scene.

The festival lineup celebrated its Boston roots, exclusively featuring acts with strong connections to the city. This year’s headliners were the Boston-born indie rock groups Karate and Swirlies, hailing from the 90s. These groups, reinvigorated and back on stage, shared the limelight with a diverse mix of current local favorites, promising newcomers, and more established acts such as Guerilla Toss, Frances Forever, Ovlov, Valleyheart, Bent Knee, Paper Lady, Awnthay, and Horse Jumper of Love.

Check out some photo highlights from Day Two below (we did not catch Day One that Thursday. We didn’t even own any equipment yet!). We’ve also got dedicated posts on Paper Lady, Awnthay, and headliner GUERLLA TOSS on the way, since we were fortunate enough to catch up with all of them for an interview.

Dino Gala

Ovlov

Swirlies

As a music enthusiast or someone just looking to immerse themselves in the festival atmosphere, “Nice, a Fest” proved to be a refreshing and lively celebration of Boston’s thriving music scene. More than just a music event, it was a heartening testament to the variety and depth of local music, making it an event not to be missed.

King Krule, known for his distinctive blend of punk jazz, trip-hop, and hip-hop, is currently touring for his latest album, “Space Heavy.” A must-see for anyone yearning for a unique musical experience, his live performances are a testament to the transformative power of sound we continually explore here at EchoEthos.

This ticket giveaway wouldn’t be possible without our collaboration with Light of Day Records. A staple of the Everett community, this record store shares our passion for connecting fans to the music they love. Together, we’re not only strengthening our local music scene, but also creating memorable experiences for you, our followers and supporters.

So, how about a memorable Friday night immersed in the absorbing sounds of King Krule? If you’re excited about this opportunity (and we think you should be), head over to our Instagram, @EchoEthos, for details on how to snag this hot ticket.

As always, remember that EchoEthos is more than just a music blog. It’s your companion on this celestial music adventure. So join us, and let’s experience the spellbinding artistry of King Krule at the House of Blues together!

Tonight, the stage will belong to Jockstrap, the band that has captured the attention of both fans and critics alike. With their ingenious blend of musical styles, they’ve stirred up the scene and tonight’s packed show is a testament to their growing popularity.

We’ve got a little something to make your day even more special: EchoEthos is giving away a ticket to this highly-anticipated, sold-out performance!

Envision yourself in the midst of this vibrant atmosphere, enthralled by the captivating show Jockstrap is known for, and surrounded by an equally passionate audience. This isn’t just another gig; it’s an invitation to delve deeper into the music world and feel its pulse.

The launch of EchoEthos is about more than just music exploration; it’s about fostering a community, a place where the shared love for music intensifies our experiences. This ticket giveaway is our inaugural echo, our way of letting you in on the adventure that awaits.

Follow @EchoEthos on Instagram for details on how to bag this coveted ticket. Remember, we’re not just a blog; we’re your compass in the vast landscape of music. Come on board, let’s experience the magic of Jockstrap at The Sinclair together!