Although quieter overall than last year, 2025 has seen outstanding releases from many bands and artists, both well-known, and obscure.
To name a few, Elton John teamed up with Brandi Carlile to release “Who Believes in Angels?.” It’s a first-rate compilation of songs they co-wrote, and it’s a treasure. Let’s dance!
Tame Impala (aka Kevin Parker), best known for his imaginative psychedelic synth soundscapes, released sterling “Deadbeat,” his first album in five years. The incomparable Joni Mitchell thrilled fans with “Joni’s Jazz,” a superb 8-LP vinyl box set, and rock lovers got their fill via Turnstile’s “Never Enough.” Car Seat Headrest’s “The Scholars” got rave reviews from music critics this year. It’s ambitious indie-rock at its finest.
Pop singer Addison Rae dropped her lush, carefree debut “Addison,” while Japanese Breakfast gave us gorgeous, gentle indie-pop via “For Melancholy Brunettes (& Sad Women).”
Here are my picks for this year’s best albums.
Wet Leg – “Moisturizer”
English indie rockers Wet Leg dropped new album “Moisturizer” in July. Their 12 solid, spunky tracks testify to the staying power of this relatively new band.
The album was recorded in a house in Suffolk after their recent tour. Original band members Rhian Teasdale and Hester Chambers are now joined by tour mates Ellis Durand (bass), Joshua Mobaraki (guitar), and Henry Holmes (drums).
On the new album, tracks like “davina mccall” and “11:21” find them sharing more of themselves – their insecurities and vulnerabilities – than on their debut. And happily enough, Wet Leg retain their post punk sound and entertaining dry wit.
Especially fun are the thrilling indie-rock “mangetout,” “liquidize,” and “CPR”: “Hello?” / “999, What’s your emergency?” / “I…I…I…I’m in LOVE!”.
Most recommended track? Let’s go with retro-sounding “davina mccall,” a silly love song with adorable lyrics and a vocal delivery that’s sheer perfection.
Wet Leg won Best Alternative Music Album for their self-titled debut in 2022, when they were also nominated for Best New Artist.
“Moisturizer” debuted at number one on the UK Albums chart.
Haley Williams – “Ego Death at a Bachelorette Party”
In late August Paramore’s lead singer Haley Williams released stellar “Ego Death at a Bachelorette Party.” It’s an extraordinary collection of great tracks sure to enjoy a long shelf life and catapult her career trajectory.
Once upon a time, in 2003 at the tender age of 14, Williams signed a contract with Atlantic Records. It required six albums with her band Paramore. Today she’s the only original member remaining. The contract also required two solo albums.
Twenty years later – having lived up to her end of the deal – Williams is like the proverbial butterfly emerging from its cocoon. We feel this both through her vocals, and the entire album’s fresh, freewheeling feel.
The new release – 20 tracks! – is chock-full of ace, self-assured songwriting. Co-written with friend and fellow musician Daniel James, topics range from depression and loss (“Parachute”), to love, denouncing religion (“True Believer”), and her time with Paramore (“Glum”).
Arrangements fall into rock (“Mirtazapine” “Hard”), alt-rock (“True Believer” “Zissou”) pop-rock (“Ice in My OJ”) and indie-pop (“Whim”) genres, and no two songs sound alike. Williams released “Ego Death” on her own label, “Post Atlantic.”
Catchy, clever “Love Me Different” seems destined for radio airwaves. Buoyant “Disappearing Man” with its bright chords and layered vocals recalls The Beatles’ “Rubber Soul”… it’s that sonically rich. The candid, appealing title track is both sad and funny. Her melancholy but soothing “Negative Self Talk” arrives at a surprise conclusion.
“Parachute” is sure to be a fan-favorite at concerts, and I can’t wait to hear it live. Turn it up!
The album is up for a Grammy in the Best Alternative Music category. CD’s are hard to find locally because it’s sold out or on back order everywhere, but you can find it on her website.
Of Monsters And Men – “All is Love and Pain in the Mouse Parade”
One indication of a good album is the urge to crank up the volume when you first hear it. The new Of Monsters and Men album is a phenomenal collection of indie folk-rock tracks you’ll want to play loud.
Six years since their last release, the Icelandic rockers extraordinaire return with new album “All is Love and Pain in the Mouse Parade.”
Led by vocalist and guitarist Nanna Bryndis, Of Monsters and Men have long specialized in magical storytelling enhanced by sonically rich musical touches. Their newest album retains this unique vibe, almost becoming a genre unto itself.
Bravo!
As they march through life’s challenges on “Dream Team” and “Tuna in a Can,” poignantly share vulnerabilities on “Fruit Bat,” or become contemplative on “Ordinary Creature,” the band gifts us an album that’s strong, assured and cohesive.
A bit of a departure from the rest of the album is the hushed, ethereal title track…don’t miss it.
Brandi Carlile – “Returning to Myself”
American singer-songwriter Brandi Carlile’s 8th studio release “Returning to Myself” is an impressive, artistic achievement.
On this album, Carlile looks inward in a way she says wasn’t possible since her big breakout moment at the 2019 Grammys.
On that night, she sang “The Joke” from her “By the Way, I Forgive You“ album. Her performance stunned many in the Grammy audience who’d never heard of her. It opened doors and led to so many new opportunities (including getting to know Joni Mitchell, and this year, working with Elton John), that she didn’t have time for much else.
On “Returning to Myself,” Carlile dives deep into soul-searching and introspection. She says inspiration came from the music that drove her early works, like Emmylou Harris’s “Wrecking Ball” and U2’s “Bullet the Blue Sky.”
The 11-time Grammy winner worked with producers Aaron Dessner (Taylor Swift, Big Red Machine), and Andrew Watt (Rolling Stones, Lady Gaga) on the new album. The touching title track began as a poem she wrote soon after arriving at Dessner’s Long Pond Studios; it’s on our playlist.
Carlile was stirred to write the fiery, anthemic rocker “Church and State” on Election Night 2024.
Fans and newbies alike are bound to love this one.
Bad Bunny – “DeBI TiRAR MaS FOToS (DTMF)”
Once again, Bad Bunny proves his talent for making Latin music that’s fresh, inventive, and captivating.
His sixth album DeBI TiRAR MaS FOToS (DTMF / “I Should Have Taken More Photos”) merits your attention.
Known for his Puerto Rican sound and singing in a conversational tone, on the new album Bad Bunny merges multiple music genres, especially Reggaeton. With elements of hip hop, Latin American, and Caribbean music, it’s one of the most popular music genres in the Spanish-speaking Caribbean.
The overriding theme of DTMF is Puerto Rico’s struggle for sovereignty and the resiliency of its citizens. The nostalgic title track, with more of a folk or world music vibe, is animating and touching. It peaked at number one early this year.
“Lo Que Le Pasó a Hawaii” (What Happened to Hawaii), is a sobering, thought-provoking track drawing comparisons between Puerto Rico and Hawaii. Bad Bunny’s poignant love song “Turista” will tug at your heartstrings .
Guaranteed to be blasting at this year’s New Year’s Eve blowouts, “DeBI TiRAR MaS FOTos” is a contender for Album of the Year at the Grammys.
Flock of Dimes – “The Life You Save”
I’ve long been a fan of indie-rock band Wye Oak, and leaned into their album “The Louder I Call, the Faster it Runs” during the pandemic.
This year, founding member and lead singer Jenn Wasner gifted us with a collection of new tracks via “The Life You Save.” This is her third studio album under the name Flock of Dimes, and it’s superb.
The album’s soothing, lush, introspective arrangements are perfect for an afternoon reboot from daily strife, or for enjoying during a mellow evening at home.
“The Life You Save” explores the complex topics of addiction and codependency but never becomes bogged down or morose. That’s quite an accomplishment. Wasner’s candid, vulnerable vocals and acoustic guitar on “Not Yet Free” are pleasingly reminiscent of a young Joni Mitchell.
Whether she’s singing about heartfelt devotion to a struggling friend on “Long After Midnight,” or showcasing her guitar prowess on songs like “Pride”, she’s got us in her corner.
Taylor Swift – “The Life of a Showgirl”
Turns out Taylor Swift was writing songs during the European leg of her The Eras Tour.
Not only that, but her decision to reunite with former collaborators Max Martin and Shellback gave the world the pop explosion they were waiting for.
Part of its massive appeal has undoubtedly been top-drawer hit single “The Fate of Ophelia.” Here, Swift drew on her literary love of William Shakespeare, this time zeroing in on Ophelia from the play “Hamlet.” Dance-pop, funk and synth-pop make for a heady combination, and the driving baseline doesn’t hurt, either.
In Germany, curious fans flocked to the museum housing artist Friedrich Heyser’s Ophelia painting, which inspired Swift’s pose on the album cover. Commented minister of higher education Timon Gremmels: “When a music video gets people to visit a museum, it shows that culture works – on all levels.”
Not surprisingly, the dance steps from the year’s most impressive music video (“Fate of Ophelia”) have gone viral on social media. On the slim chance you haven’t heard the song yet, you can find it via the clever, visually rich music video Swift herself directed.
Clearly, Swift’s romance with football player Travis Kelce is the centerpiece of “Showgirl.” But tracks like “Father Figure,” a synopsis of her naïveté during the early years of her music career, and funny and snarky “Actually Romantic” round out the album by means of score-settling. The winning title track – performed with Sabrina Carpenter – is some of Swift’s best storytelling.
”The Life of a Showgirl” debuted at number one on the Billboard 200 and sold over four million copies its first week. It broke records for the biggest debut week for any album in the U.S.
It’s the album most likely to get a Grammy, or at least a nomination, in 2027.
The Beths – “Straight Line Was a Lie”
Known for their openhearted indie rock, New Zealand’s The Beths gave us “Straight Line Was a Lie” – their fourth album – this year. Its ten pop-punk tracks are guaranteed to give the grayest of days a boost.
Elizabeth Stokes’s lovely vocals, Jonathan Pearce’s guitar riffs and the band’s harmonies sound better than ever.
Playful “Roundabout” is a perfect example of this band’s strong chemistry. “Metal” and “No Joy” recount lead singer Stoke’s recent health challenges. Delicate acoustic guitar on sorrowful “Mother, Pray for Me” is the perfect accompaniment to the song’s lament.
The Beths have been around more than a decade – band members originally met while studying jazz at University of Aukland. During the making of the album, they were inspired listening to music by Drive By Truckers, The Go Go’s and Olivia Rodrigo.
Hooray for this talented yet modest band, and their continued global successes in the indie music world. You’ll especially love the jubilant title track! Extra credit points for a great album cover.
Lord Huron – “The Cosmic Selector Vol. 1
L.A. – based indie-folk-rock Lord Huron returned this year with their fifth release, “The Cosmic Selector Vol. 1.”
This compelling, atmospheric album is one to put on your radar.
Band frontman Ben Schneider has long had an innate gift for vivid, cinematic songwriting, and that gift endures.
He has a talent for sharing his disillusionments and heartbreaks via engaging, moody, polished arrangements that resonate.
For example, “The Night We Met” from the band’s 2015 “Strange Tails,” has compiled a stunning 3 billion streams on Spotify…seriously.
An enthralling and mysterious road trip is the motif running through “The Cosmic Selector.” Album tracks explore themes of love and regret, conjure up vivid desert landscape images, and employ lots of reverb.
The moody, wistful “Looking Back,” and regretful, cinematic “Bag of Bones” draw us in from the get-go. Don’t miss the video for the latter.
The upbeat folk-rock “Watch Me Go,” and lovely, acoustic, bittersweet “Nothing That I Need” are both on our playlist.
This band is long overdue for a Grammy, and since they (somewhat shockingly) were overlooked again this year, let’s give ’em one here. 🏆
Billy Strings – “Highway Prayers”
There are few musicians who hold appeal across the generations like Billy Strings. If you’ve seen him live in concert, you already know this.
His new “Highway Prayers” release is the first bluegrass LP to top Billboard’s album sales chart since the “O Brother Where Are Thou?” soundtrack in 2002. It boasts a traditional bluegrass sound with engaging arrangements and expert musicianship.
As songs like “Don’t Be Calling Me (at 4 AM)” can confirm, the give and take between the various musicians is absolutely delightful,
“Stratosphere/I Believe in You” begins mystically, then segues into a folksy acoustic guitar with Alex Hargreaves on fiddle.
“Catch and Release,” Strings’ humorous track about being busted for pot by a state trooper on his way to go fishing in Montana, will make you laugh. Funniest line? “Only break one law at a time.”
Favorite track? His sunshine-y, nature-loving, “Gild the Lily”, which has been on our playlist. It features great lyrics and some pretty sweet violin. Put those vibes in a bottle!
“Highway Prayers” was recorded in L.A. and Nashville by producer Jon Brion (Aimee Mann, Fiona Apple). The album is up for a Grammy.
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