I’m Getting Killed By A Pretty Good Life
Some of My Favorite Albums of 2025
Holy crap, 2025 has been an impressive year for music. From hip-hop to emo and everything in between, fans of every genre and style of music have found something to love this year. As the year draws to a close, I’m taking a moment to reflect on some of my favorite albums that have come out since January. Here we go!
The Scholars
Car Seat Headrest
Will Toledo's veteran Car Seat Headrest project seems to reinvent itself with each new album: morphing from spacey slacker rock to driving, anxious power pop to tender, broken indie rock to head-scratching amalgamations of everything in between. Their newest, most ambitious album to date swells in terms of both size and scope: CSH is writing a modern indie rock opera while also coming into its own as a band rather than a vehicle for Toledo’s songwriting. Across nine tracks, he tells a story, joined for the first
time by guitarist Ethan Ives, of a fictional university that I’d be kidding you if I claimed I understood. Cryptic songwriting aside, the band’s first album in five years feels in many ways like a true return to form; longer tracks, including “Gethsemane” and “CCF,” are on par with many of my favorites from Teens of Denial and How to Leave Town. The musicianship is both superb and inspired, taking cues in equal parts from Bowie, Mozart and Shakespeare. On the whole, the album accomplishes with surprising aplomb the unenviable task of reestablishing Car Seat Headrest in the current music conversation as well as defining a new sound and direction for the band.
Getting Killed
Geese
New York art-rockers Geese have moved into the spotlight considerably since the release of 2023’s sagacious, psychedelic 3D Country, most notably due to frontman Cameron Winter’s solo debut. The band’s third album sees them working to find a happy medium between their own music and Winter’s, leading to a sound both more involved and sparse than any other Geese project. The sounds on this record are truly unlike any other, paying equal respects to the classic art
punk of the Feelies, the legendary jams of Can, and current acts all across the indie rock spectrum. Winter also has some damn impressive chops as both a singer and a songwriter, leading to anxious, Radiohead-y freakouts like “Trinidad,” driving bangers like “Bow Down,” and heartbroken, soulful ballads like “Au pays du cocaine.” Probably the most unique listen out there this year.
Ekoya
Jupiter & Okwess
Graceland fans beware: this is the real stuff. On their fourth album, veteran Congolese showman Jupiter Bokondji and his band Okwess International power through 36 minutes of searing, futuristic Afro-rock that draws inspiration from the classic Afrobeat of Fela Kuti and William Onyeabor, Congo and Latin American traditions, contemporary dance music and beyond. While the album’s lyrics deal with difficult topics, most notably a loss of cultural identity resulting from the impacts of globalization and
imperialism, Bokondji remains optimistic. The album’s title, when translated from the band’s native Lingala, means “it will come.” As our times seem to be bleak and getting bleaker, it’s important to listen to music like this that reminds us of what we can overcome.
Only Frozen Sky Anyway
Jonathan Richman
Nearly forty years after departing the Modern Lovers and beginning his solo career, Jonathan Richman is still going as strong as ever. His material released since signing to tiny Cleveland indie label Blue Arrow Records has taken a uniquely personal and spiritual bent, which continues on this collection of twelve songs. Veteran drummer Tommy Larkins is along for the ride, as well as a cast of supporting musicians including former Modern Lover and Talking Head
Jerry Harrison. Across the record, Richman sinks his teeth into folk traditions both popular and obscure, as well as delivering personal musings that take inspiration from the fifties rock and roll that has been such an influence on his personality as a musician. The emotional breadth across the album is also impressive; while songs like “You Need Me Too” and “Little Black Bat” are pretty out there, it’s almost impossible to listen to “The Dog Star” or “That Older Girl” without shedding a tear. Fantastic work, Jonathan.
Pain To Power
Maruja
The full-length debut from the UK jazz-rockers deserves recognition as one of the best politically motivated works of the decade so far. Wailing saxes and noisy post-hardcore-influenced instrumentals underscore Harry Wilkinson’s intense lyrical craft, which he uses to dig into themes of class struggle and conflict overseas. The uniqueness of the music on this album must be underscored–it’s equally likely to satisfy fans of Fugazi, Rage Against the Machine and John Coltrane. Maruja’s message can’t be ignored, though. Throughout
all of Wilkinson’s details of harsh realities, his call for unity and compassion is truly touching and should be heard by all.
Balloonerism
Mac Miller
In the past ten years, fewer passings have saddened the music community as much as that of Pittsburgh rapper Mac Miller, who rose to fame and acclaim in the 2010s. January saw the first official release of his second posthumous project, which was first recorded in 2014. It’s undeniably his darkest release, with airy, psychedelic beats that underscore the addiction and mental health struggles that were present during Mac’s career. The conceptual scope of this album is not to be denied, either. It
closes with “Tomorrow Will Never Know,” a disturbing, largely ambient song detailing Mac’s thoughts on the great thereafter. It’s not as pleasant or consistent as 2020’s Circles, but in some ways, it feels like a more fitting tribute to one of hip-hop’s tragic heroes.
Forever Howlong
Black Country, New Road
Rather than try to surpass the aforementioned Ants From Up There, BC,NR made a wise decision by taking their music in an entirely new direction altogether. Their first studio album since vocalist Isaac Wood’s departure from the band due to mental health concerns sees the band heading in a more chamber pop-oriented direction, balancing Joanna Newsom-esque folk overtones with a heft inspired by classic indie rock bands like Arcade Fire. Singing and
songwriting duty is shared between band members Georgia Ellery, May Kershaw and Tyler Hyde, who lend their voices to bright, tender songs that explore the joys and sorrows of entering adulthood. The emotional timbre of this album is also much different; while Wood’s writing for the band dealt with many of his personal struggles, Forever Howlong celebrates the deep friendship between the band’s members, focusing on love rather than despair. The band’s distinctive, classical-inspired sound is still present, being fleshed out even further by indie producer mastermind James Ford. Possibly my favorite indie rock album of the year.
God’s Gonna Give You a Million Dollars
Shallowater
While many bands in the past few years have pioneered a sound known as “dirtgaze” or “bootgaze” that mixes country rock with elements of shoegaze and slowcore, few have hit the nail on the head with the precision of Houston’s Shallowater. On their second album, the band moves slowly and sweetly through sonic
landscapes of despair and decay, characterized by a rotting house in the closer, “All My Love.” Tracks like “Sadie” and “Ativan” strike a perfect balance between wailing, fuzzy guitars, country twang and whispered slowcore vocals. Having veteran indie producer Alex Farrar at the helm is also a benefit, since his work with Wednesday and MJ Lenderman has made him familiar with the dirtgaze sound. Definitely have tissues on hand if you give this a listen–it’s a tear-jerker.
Gnarcissists
Gnarcissists
The debut effort of these ascendent New York garage punks quickly became one of my most anticipated albums of this year as soon as it was announced. After listening, I can confirm that it does not disappoint. My favorite tracks from the band’s EPs, such as “Fentanyl” and “Counter-Strike,” have all received newer, heavier, crunchier versions. They’re not afraid to get weird, either–an extended jam at the end of “Celebrity” would be off-putting to the average Ramones fan, but I’m absolutely there for it. Hopefully this album becomes a favorite of Gen Z punks–-it’s humorous, energetic and raw as hell.
Forward
First Day Back
The band’s name says it all–it’s “real emo’s” first day back. The Santa Cruz quintet’s music is raw and emotional, with a sonic palette nearer to Cap’n Jazz or Endive than Mom Jeans or Hot Mulligan. While the music is indebted to its 90’s midwest emo predecessors, it feels really fresh in a lot of ways, such as the addition of expansive instrumental passages and the expressive sounds of harmonica and violin on multiple tracks, such as “Lines.” The band’s sound balances perfectly between original and traditional elements, and I’m excited to see where they take it next.
Hyperyouth
Joey Valence & Brae
The third album from the most dynamic duo of the twenties is their most impressive effort to date. After achieving worldwide fame, the group is taking a victory lap of sorts, moving from dancing on the streets of State College to hitting the club. The record’s style reflects this, adopting a more club-adjacent sound that pairs nicely with the 90’s style boom bap beats that JVB have always loved. Both rappers have also developed as lyricists, writing bars that frequently made me crack up as well as showcasing their almost
limitless ambition as musicians and performers. While the album doesn’t show the same purpose and ambition as 2024’s No Hands, it’s a fantastic listen if you just want to dance with your friends and have a good time.
Fun’s Over
KEG
Much more fun than the title suggests, the debut effort from London post-punk band KEG follows in the footsteps of many of its Windmill Scene predecessors, most notably Squid, whose expansive, experimental, horn-driven sound remains a significant influence throughout the album. However, where Squid’s lyrics convey a sense of apprehension and anxiety, the overall mood of Fun’s Over is much more positive. While the album goes through the ups and downs of an emotional roller coaster more than once, it comes out on top in the
end. Call me a sucker for good trombone parts, but Charlie Keen’s work throughout this record brings many tracks, especially “Photo Day” and “Skybather,” to the next level. Really looking forward to seeing where these guys take their sound next.
New Threats From The Soul
Ryan Davis & The Roadhouse Band
If MJ Lenderman is this generation’s Jason Molina, then Ryan Davis is probably David Berman: his lyrical craft relies more on dark humor and thought-provoking metaphors than simple, plaintive invocations. Both strategies are very effective, though, leading Lenderman and Davis to go on the road together last year. The fruits of touring both as a headliner and an opening act, both
solo and with a band, are present on Ryan Davis’s second LP, which was released back in July. The songwriting on the album’s many ballads, such as the title track and “The Simple Joy,” is impeccable. Davis isn’t afraid to incorporate the more surreal elements of his Sophomore Lounge label, either, leading to passages that sound equally influenced by bluegrass and breakbeats on tracks like “Monte Carlo/No Limits.” This album is guaranteed to blow away even the most jaded country critic.
Soft Spot
Honningbarna
Says a lot about this year that the one album that resonated with me the most was written in a language I cannot begin to understand. The seventh album by these Norwegian punks has many of the most insanely heavy and rhythmic performances of 2025, even considering the fact that we got new albums from Snooper and The Armed this year. While the album’s sound is incredibly abrasive, most notably on tracks like “Schäfer” and “Hvilke splinter” that borrow an industrial, Viagra Boys-esque synth punk tone and dial it up to eleven,
it also has more than a few truly transcendent moments. Vocalist Edvard Valberg’s passionate screams and yelps break down a language barrier to convey a sense of furious, determined optimism that wouldn’t feel out of place in a coming-of-age movie from the past ten years. Listen to “Festen som aldri stopper” and tell me you aren’t moved. Do it. I dare you.
No One Was Driving The Car
La Dispute
Incredible, gripping comeback album from Michigan post-hardcore band La Dispute. Vocalist and songwriter Jordan Dreyer further develops his unsettling, poetic lyrical chops over fourteen (!) tracks that are carried by disturbing, stream-of-consciousness musings on the end times we all live in rather than crunchy, hard-hitting instrumentals (though the album has its fair share
of those too). Dreyer pores over the everyday deaths and resurrections of modern life through passionate, personal metaphors that also expose the utter lack of control we feel over our world. Religion, aging, politics and the environment are all examined at length through a cinematic lens that evokes a feeling of self-fictionalization. Not an album that can be listened to casually, but it rewards with each re-listen.
But don’t just take it from me, folks. LISTEN to my favorite songs of the year right here!