Music is the soundtrack to my days, what helps me process the world, and makes life experiences even more memorable. As such, I put together a list of the best and most important records that made my year, in the hopes that you find something new to listen to.
Curated Playlist (standout tracks from each album):
1. L.S. Dunes – Violet
Mental—absolutely mental. That’s really the only way to describe Violet, the second LP from L.S. Dunes, in a concise and impactful grouping of words.
Things start calmly enough on “Like Magick,” though you can feel the tension steadily building toward something far more frenetic. That release arrives immediately on the explosive “Fatal Deluxe,” as Anthony Green (of Circa Survive and Saosin) screams—no, shrieks:
“Burn, focus, with a thirst unnatural…”
From there the album only escalates. The center stretch becomes a force of its own, driven not just by the abrasive yet beautiful musical delivery from this supergroup—featuring members of Thursday, My Chemical Romance, and Coheed and Cambria—but also by the confrontational lyrical hooks in tracks four through six.
From “Violet”:
“Know that I forgive you but I never will forget
Unmoved by the attention so I retract the sentiment
The moment I forgave you, I regretted it.”
From “Machines”:
“Wild cry, eczema wreath, wild cry, eczema wreath
Tonight it can be anything you want
The right direction, right direction
Try again, try again, try again, try again.”
From “You Deserve To Be Haunted”:
“My delusion, resist the impulse, the futile cause
The final move, a haunted cross
Will the sickness spread with the witness gone?”
An absolute 10 out of 10 makes perfect sense as none of Violet’s ten tracks are skippable. There’s no doubt this album is helping someone work through very dark times. And it feels fitting that the record closes with “Forgiveness,” a song that simply asks the listener to keep their loved ones safe, far away from the enemy (which is the writer)—something that, at times, may be the hardest but most necessary thing to do.
When an album is this fearless, this cathartic, and this impossible to ignore, the top spot becomes less of a choice and more of a certainty.
Standout Tracks: Like Magick | Fatal Deluxe | I Can See It Now… | Violet | Machines | You Deserve To Be Haunted | Holograms | Paper Tigers | Things I Thought Would Last Forever | Foregiveness
2. Thrice – Horizons/West
Horizons/West arrives at a perfect time where AI-created songs are filling up playlists; it is proof that something so natural sounding, so vibrant, so alive could never be created using any type of artificial flavoring or assistance. You would think being the 12th studio record from these Irvine, California natives that there wouldn’t be much left to say, especially given the tidy genre labels so ungenerously tacked to this band. But there’s no simple way to explain how the quietest and loudest moments, paired with themes of truth and spiritual clarity in the complex modern world, highlight Thrice’s ability to go once again beyond their preconceived boundaries.
The three-four-five track run of “Albatross” –> “Undertow” –> “Holding On” is a masterclass in album sequencing, each song building emotional and sonic momentum. Gnash snarls and slashes apropos to its name. On “Vesper Light,” Dustin Kensrue reaches falsettos that somehow make the chorus yowls hit even harder.
It would be easy to continue pulling out a standout moment from every track. Said differently, Horizons/West doesn’t rely on one, two, or even a group of tentpole songs; every piece finds its own to create an album, a true album at the core of the definition, that is immersive and entrancing from the first building note to the final descending rumble.
Few bands twelve albums deep can still sound this inspired, this purposeful, and this alive—and that’s exactly what makes Horizons/West such a remarkable runner-up.
Standout Tracks: Blackout | Gnash | Albatross | Undertow | Holding On | The Dark Glow | Distant Suns | Vesper Light
3. Ben Kweller – Cover the Mirrors
Being sad isn’t supposed to sound this happy, it just doesn’t seem possible. Maybe it’s Ben Kweller’s forever-youthful voice, or the overt nerd-pop glow that immediately calls to mind Blue Album-era Weezer. Maybe it’s simply our instinct, as humans, to search for light in the darkness, especially when we know the real-life event that inspired this record, quietly tipping the half-empty glass toward something sunnier. There’s a temptation to hear joy where there should only be grief.
But no, it’s more than that. Cover the Mirrors is an exceptional piece of work. Kweller has always been good, but this is a different level entirely: Jeff Tweedy-level directness in the vocal delivery, immaculate yet crunchy power-pop craftsmanship, and lyrics that don’t just describe feelings but paint scenes you can’t forget, like those spots/afterimages you see when you close your eyes tight after looking at something bright. It’s music that understands sadness doesn’t have to be dour to be truthful, and that sometimes the brightest melodies are the most honest way to survive what hurts.
Albums like this have a way of settling deeper with time, and it wouldn’t be surprising if Cover the Mirrors quietly grows into the record I remember most from this year.
Standout Tracks: Dollar Store | Going Insane | Trapped | Oh Dorian | Killer Bee | Depression | Don’t Care | Brakes
4. Deftones – private music
I’m what you’d call a late bloomer when it comes to Deftones. While I enjoyed some of the bigger songs on White Pony—“Digital Bath” still has one of the coolest drum sounds ever—and often heard their name mentioned alongside other favorites like Incubus, I initially wrote them off as poster boys for nu-metal. In doing so, I missed the insane growl-to-grace range of Chino Moreno’s voice, the thunderous guitar riffs that hit like clenched fists dripping with hot tar, and the unexpected dream-pop sensibilities that soften and contrast the band’s detuned, hazy moments.
Thankfully, I came to my senses over the past decade, working my way through their back catalog just in time for private music to become one of the first occasions where I could truly experience a new Deftones release in real time. There’s a rawness that runs through all of private music—even the lack of capitalization in the album and song titles feels intentional, like a quiet statement from the band: this is fully human art, no shortcuts, no gloss, and certainly no room for doubt.
Standout Tracks: infinite source | ecdysis | departing the body | cXz | milk of the Madonna | my mind is a mountain | locked club | I think about you all the time
5. Franz Ferdinand – The Human Fear
“Alright, here we go with riff one” appropriately opens the fabulous sixth studio album from Franz Ferdinand, the post-punk philosophers who hide behind danceable rhythms. Tight, angular riffs aid in the delivery of the band’s trademark swagger. They’ve famously said they make rock music to dance to—and let me tell you, we are dancing.
“Audacious” is the most Beatle-esque we’ve ever heard the Scots sound, though “Black Eyelashes” isn’t far behind, with harpsichord-laden hooks and pounding drums reminiscent of “Being for the Benefit of Mr. Kite.” Other highlights include pulsating rocker “The Doctor,” “Night or Day” (a song that could have easily been included among their early career hits), and the powerfully aching “Tell Me I Should Stay.”
I think the fear referred to in the title The Human Fear is intimacy, about wanting connection and being exposed by it, or the ache of needing someone while pretending you don’t.
Franz Ferdinand have a reputation for being cheeky (even a little silly), and don’t get me wrong, that label fits. But in time, I think they’ll be properly recognized for what they truly are: meticulously crafted songwriters, buoyed by Kapranos’s theatrical yet tender vocals, a rhythm-first approach, and a rare virtuosity of taste, control, and intent.
Standout Tracks: Everydaydreamer| Night or Day | Audacious | Black Eyelashes | The Doctor | Tell Me I Should Stay | Bar Lonely | The Birds
6. Inhaler – Open Wide
Inhaler have truly come into their own these past few years, filling a very specific hole in my music collection left by the disbanding of so many jangly indie-rock acts and anthemic guitar music saviors of the early aughts. I’ve been binging on their records this year, revisiting their excellent debut album, which I’ve adored for years, and working my way through the rest of their catalog.
Open Wide didn’t grab me at first; maybe it felt a little too ’80s-influenced or safe. But it eventually clicked once I heard it in context with the rest of Inhaler’s work, especially when it became clear they were aiming for a more dynamic, synth-driven pop sound. “X-Ray” is an exuberant rocker, built around a breathy, gentle, and unforgettable chorus that perfectly lands on the line “feels like heaven.” The subtle yet propulsive bass line on “Again” is a thing of beauty, as is the inward-looking and immediately immersive “Charms.”
Standout Tracks: Feels Like Heaven | Charms | X-Ray | Again | Your House | Billy (Yeah Yeah Yeah) | Even Though
7. Matt Embree – Orion
An album like Orion is hard to put into words, but here goes nothing: groove-driven songs that stroll rather than run, pairing spiritual, political, and personal reflections with the act of learning to sit peacefully with the cards you’re dealt. Every piece of music seems intentional—well considered, carefully crafted, and never rushed.
“Side Eye” stands out for the space its production leaves, allowing the roaming bassline and sticky melody to burn through. Many of the songs feel built for late nights and long days, like “Bad Actors,” with its rolling Mellotron and sneaky catchiness. The true apex, though, is “Miscellium,” which resembles capturing an idea before you know what it’s going to become—keeping momentum so nothing slows down, much like the act of sketching. Even so, the pre-chorus and chorus land with absolute precision.
The only real drawback is the album’s short length, but if rumors hold true and a new Rx Bandits record is on the horizon, that concern may soon be eased. Although, if haunting final track “Praying in the Dark” was the last thing we heard from this artist, it would be a standing-ovation worthy swan song.
Standout Tracks: New Noun | Hold Up | Miscellium | Side Eye | Bad Actor | Praying In The Dark | Summer House Savior
8. Hayley Williams – Ego Death at a Bachelorette Party
I was really late to the Paramore party. But I think that puts me at an advantage (more on that in a minute).
Their first album came out in 2005 (All We Know Is Falling), and I didn’t start truly listening to the band until the self-titled record arrived eight years later in 2013. Eight years might not sound like much, but that’s two high schools, or a full high school plus a college. I think the reason Paramore didn’t hit that hard for me at the time was that by 2005 I was already moving past “scene” or emo music and deeper into college indie rock. This makes sense, as it was right in the prime of my formative undergrad years, when being a music taste-maker felt almost as important as graduating. The only music in that genre I kept listening to came from bands I’d already built an unhealthy obsession with, like Death Cab for Cutie (Plans), The Juliana Theory (Deadbeat Sweetheartbeat), and Copeland (In Motion), all of whom released great records that year.
But once I finally got into Paramore, in the same year Pope Francis was elected, during the Edward Snowden NSA revelations, and when Breaking Bad aired its legendary finale, it was on. My obsession started with the irresistible catchiness of songs like “Still Into You” and “Now,” plus the catastrophic energy of “Part II,” then slowly crept backward in time to the incredible “Decode,” and further still into earlier highlights like “Brick by Boring Brick” and the tremendous “That’s What You Get.”
Fast forward, and I got to experience Paramore glory in real time with 2017’s After Laughter, Hayley Williams’ incredible sleepy solo debut in 2020 with Petals for Armor (which in hindsight feels like a premonition for Ego), and the Grammy-winning This Is Why.
Ego Death at a Bachelorette Party somehow feels just as strong as a full Paramore release, but again, only because I was late to the party. The songs are dynamic, catchy as hell, and destined to be loved for years—something that becomes even clearer when diving into the catalog later (see, there’s my advantage) rather than during Paramore’s Hot Topic–crazed years. “Mirtazapine” is a dangerous ear worm, “Kill Me” would absolutely destroy at a ’90s roller-blading rink, and “True Believer” is next-level in terms of Hayley’s songwriting. At this point, it’s hard to imagine a world without Hayley Williams’ music and each new release somehow makes me look forward to the next even more.
Standout Tracks: Ice In My OJ | Glum | Kill Me | Mirtazapine | Brotherly Hate | Negative Self Talk | Ego Death At A Bachelorette Party | True Believer | I Won’t Quit On You
9. The Favors – The Dream
I’ve been aware of Finneas O’Connell for some time, standing alongside his sister Billie Eilish as producer, co-writer, musical director, and more. But I didn’t fully appreciate his standalone abilities until I came across his outstanding cover of “Time of the Season” by The Zombies. His quietly powerful voice has a way of making you feel like you’re in the room with him, and it layers beautifully with other singers.
The Favors, his side project with vocalist Ashe, delivers a beautifully crafted pop record that echoes ’70s folk, baroque pop, and even the sweep of theatrical scores. The heartbreaking post-breakup song “The Little Mess You Made” is a perfect example of how well Finneas and Ashe work together to reach soaring emotional heights. “Times Square Jesus” is a gentler, slow-building tune that grows more dramatic as it unfolds. But the true magic appears on “The Hudson,” which makes you feel like you’re right there walking along the river late at night with this remarkable duo.
In a world of disposable pop, The Dream feels like something carefully built to last.
Standout Tracks: The Dream | Moonshine | The Little Mess You Made | The Hudson | Necessary Evils | Times Square Jesus
10. Perfume Genius – Glory
Perfume Genius has some serious legs to stand on with 2025’s Glory, a record packed with what I can only describe as a collection of “bests.” Blake Mills’s production (Feist, Fiona Apple, Alabama Shakes, etc.) and Jim Keltner’s drumming (John Lennon, Bob Dylan, Harry Nilson, anyone who’s anyone) elevate the inherent beauty of Perfume Genius’s songwriting, emphasizing just how strong these songs are without ever overwhelming them. That balance comes through most vividly on “In a Row,” which thumps along like a dying heart before erupting into sudden bursts of baroque power (proof that it isn’t quite ready to call it quits).
While “It’s a Mirror” was the first new song from any artist this year that truly obsessed me, it’s another track, “No Front Teeth,” that will ultimately stand as my song of the year. I loved it immediately, but it crossed into classic territory at exactly the right moment: about twelve minutes into a cold, dark January run, I turned a corner at the bottom of a hill as sunbeams crept through the pines, illuminating a cluster of steaming bushes. That image, paired with the song’s ethereal, soaring, and cascading vulnerability, landed with stunning force. Glory is a masterwork—one that feels certain to deepen and reveal itself even more with time.
Standout Tracks: No Front Teeth | It’s A Mirror | In A Row | Me & Angel | Clean Heart
About the author:
Kenny Bringelson lives in Woodinville, WA with his wife Kristi and two girls (Charlotte and Olivia). He is a music enthusiast who loves listening to records and playing guitar whenever he can. His background includes years studying education, and a master’s degree in journalism/mass communication. Additionally, Kenny recently completed studies at Washington State University in Viticulture and hopes to start his own wine grape vineyard in the future. As a professional, he has worked in educational technology, financial services, and more.
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