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Soundoffs 13
Album Ratings 4573
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Last Active 07-24-18 7:36 pm
Joined 07-23-18
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| my top albums of 2025
yes this is extremely late. albums are grouped by genre category in no particular ranking. full writeup if you want to read (I had to cut down some of the descriptions here): https://open.substack.com/pub/theredlenses/p/redlenses84s-album-of-the-year-list-d19?r=jly2j&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true | | 1 |  | Rosalia
Lux
true labors of love such as this fly in the face of the music industry standard of constant output. the sheer scope of this project, from the many collaborations and contributors to Rosalía’s research into the themes and lyrics, show an artist in full control seeking to bring her vision to life. and what a treat the final product is: a beautiful pairing of orchestral music with experimental pop and Latin music traditions. this record truly feels one-of-a-kind in its sound; both reaching for the divine through Rosalía’s focus on the lives of four different saints yet grounded and accessible through its pop sensibilities. Rosalía has made waves before as a popular artist, but this may very well be her crowning achievement to this point. the only question that remains is what will come next for her in this transcendent moment. | | 2 |  | Hayley Williams
Ego Death at a Bachelorette Party
the former Paramore frontwoman demonstrates her songwriting prowess on her most complete solo work to date. initially released as a collection of singles, Ego Death eventually was rounded out into a full-fledged album. Williams succeeds especially in the lyrical department, writing pithy observations and personal revelations in a way that’s accessible without being cringy or giving too much information (like others of her ilk who shall remain nameless). from calling out another famous artist to finding words to rhyme with her prescription medicine, Williams’ words add to the charm of her melodies. on pretty ballads, bopping rockers, and everything in between, Hayley has the Midas touch. with the final tracklist coming out at 20 songs, there's something here for everyone, but why would you want to skip ahead when each song is its own little treasure? | | 3 |  | The Antlers
Blight
for a pop record, this is a pretty slow-moving and in some ways demanding listen. not that it’s hard to listen to, but it really requires your attention to appreciate the finer points. on the surface it can come across as lethargic and perhaps even uninteresting, but it’s quite layered and deep if you give it the time. many of the tracks are four or five minutes in length if not longer, giving the group time to play with their ideas and play out in sections. each song feels lovingly crafted as they blossom over their runtime. it’s a quite melancholy and poignant album, providing an extremely introspective feel. this is one I might have missed if I didn’t take the time to come back to it; it definitely rewards you for taking your time and letting it overcome you. | | 4 |  | Yasmine Hamdan
بنسى و بتذكر [I Remember I Forget]
a precious blend of subdued art pop with Yasmine Hamdan’s influences from her home of Lebanon. true to its title, Hamdan’s songwriting is rooted in her home country: what came before her, what she left behind, her memories and present experiences, and the way current events shape her emotions toward these subjects. these deeply personal lyrics are paired with musical motifs that are dark and brooding, yet gentle enough to contain the delicate expressions within. this is a quietly powerful remembrance of and tribute to one’s roots and everything that helped make you what you are, no matter how close or far away in space and time. | | 5 |  | Juana Rozas
Tanya
talk about one to blow out your speakers to: this is simply a tour de force from start to finish. at every turn, TANYA is loud, abrasive, and full of attitude, chaotically spanning EDM and electropop as well as noisy industrial rock. yet above the blasting music rings Rozas’ vocal performance, bringing the swagger and poise that these club bangers demand. whether taunting and inviting, forceful and indignant, or beautifully crooning, each song gets exactly the performance it needs out of her as she chronicles the fall of the titular Tanya into a world of decadence, excess, and danger. this is the sound of a sonic explosion where the fun can turn sour real quick. | | 6 |  | Madilyn Mei
A Thousand Songs About It All: Act 1
with his charming songwriting and delightful voice, Elio Mei (stage name Madilyn) puts on their very own one-person circus. Mei’s voice carries each song with an endlessly positive demeanor that melted even this cynic’s heart. even the more tender or bitter moments have a certain cheeriness to them that is downright infectious, all brought on by his vocal performance. whether gritting his teeth through the pain or genuinely beaming, that positivity is like a hot air balloon that gives each line authenticity and personality. with the focal point being definitely Mei’s voice, the music is centered around Mei playing ukelele and the additional strings, synths, and other sources add color and pizzazz. this hopelessly endearing indie pop may not be for everyone, but even a sarcastic irony-poisoned guy like me can’t help but lighten up when listening. | | 7 |  | Clipse
Let God Sort Em Out
the return of Clipse to the music scene was met with widespread excitement, and their reunion release does not disappoint. with a star-studded list of features and Pharrell Williams producing, they reassert their dominance in the hip-hop world with engaging beats and hooks and biting bars like they’d never left. while many of the songs are bursting with attitude, I also really appreciate some of the more somber moments like the opener “The Birds Don’t Sing” and the closer “By the Grace of God.” they do a good job of changing up the vibe without breaking up the flow of the album. this is a fantastic return for this duo and one can only wonder what the future will have in store for them. | | 8 |  | McKinley Dixon
Magic, Alive!
I was introduced to McKinley Dixon in 2023 when I made my first list, and while I thought highly of his release that year Beloved! Paradise! Jazz!?, it wasn’t quite enough to reach the best of the best for me. two years later, I think he’s taken it to that next level. his ability to combine the energy and excitement of jazz and combine it with his self-assured rapping yields results that are brimming with the joy of creativity. the live instrumentation is quite a treat as well, providing wonderfully flowing and varied instrumentals that give Dixon and his guest artists the stage to shine. it’s a just plain fun album that makes you want to get up and move along with it as it takes you to your happy place. | | 9 |  | Gabe Nandez and Preservation
Sortilège
this is a top-notch collaboration with both artists bringing their A-game. Preservation’s beats and samples are phenomenal, creating a hazy and laid-back vibe, but with just enough tension to keep things interesting. Gabe ‘Nandez’ hushed and relaxed delivery fits in perfectly in this environment; he sounds completely locked in and yet he’s spitting effortlessly. “sortilège” translates to mean a magic spell or enchantment, and that’s exactly what these two bring to the table here: a hypnotizing exploration of an uncannily familiar world. | | 10 |  | Backxwash
Only Dust Remains
Zambian rapper Ashanti Mutinta’s desperate, passionate delivery is backed up with grandiose beats that accentuate the urgency of her words. it’s hard not to feel moved to sadness by her questions and pleas. as the title suggests, a lot of the album’s lyrical content deals with legacies, aftermaths, the way things unfold after tragedy and the way it is remembered. the beats and backing tracks can be equally moving, using synths, strings, and operatic choruses to emphasize. Mutinta is deeply honest and emotional with her words and music being the perfect vessel to get her thoughts out in the world. | | 11 |  | clipping.
Dead Channel Sky
through glitchy production and relentless bars, the urgency of clipping.’s music is ever-apparent. rapper Daveed Diggs’ powerful storytelling and monotone, lightning-fast delivery makes his words and message hard to ignore. the freaked-out electronics and noisy beats make it basically impossible. clipping. thrive in this environment of technological overload and employ it for a deeply unsettling feel. synths and samples are used to craft glitchy, disturbing beats that evoke the dystopia described on tracks like “Code” and “Dodger.” Dead Channel Sky is a digital breakdown that reaffirms clipping.’s dominance in this dark corner of hip-hop and electronic music. | | 12 |  | Billy Woods
Golliwog
Billy Woods continues to prove he’s one of the most talented names in hip-hop today. the latest entry in his catalog features a host of producers that all contribute to the eerie, disconcerting feel of this album. Woods’ lyrics offer no consolation to this, commenting on domestic abuse, torture, the genocide in Gaza, and more. the beats and production are what really tie everything together to sell this depressing atmosphere, making it impressive with how many different hands played a role here. Woods’ storytelling and wordsmithing is top-notch as well to make this an extremely effective and poignant exploration of the dark themes and subjects discussed here. | | 13 |  | Snapped Ankles
Hard Times Furious Dancing
true to its title, the turmoil of our modern age has rarely sounded so danceable as it does on this album. this U.K. group have been honing their craft with their unique “log synths” and other assorted electronics for over 10 years now, topped off by their live performances where they perform in ghillie suits. on this release they turn up the intensity and the fun, bringing to the table 9 tracks dripping with bitter criticism, pulsing synths, and bouncing beats. the buzzing, clanging, and whirring electronics create darkly enticing rhythms. with topics ranging from the cost of living, corporate greed, digital dominance of our lives, and plenty more, this album captures the essence of a rave through a political lens of raw emotion, be that biting anger or fleeting optimism for how we can push back against those that would divide us. | | 14 |  | Cory Hanson
I Love People
at first, I found this to be a perfectly listenable and enjoyable album, not much more than that. but as the year went on I began to see it cropping up in my various traverses online and I eventually decided to give it another go, and then I started to get hooked. Cory Hanson sets the tone with his soft tenor vocals plus guitar or piano with additional musicians from the typical rock band structure to strings and brass. in his lyrics, he depicts plenty of sorry subjects for us to take in: lovers down on their luck counting their mistakes, a soldier struggling to adjust to the return home from war, a broken down cop with nothing better to do on the clock than scroll Pornhub. yet as he proclaims throughout the title track, (which stands out above most of the rest with how upbeat and positive it is,) Cory loves people, and no matter who is the focal point of his musings, there’s a certain amount of compassion and reverence for the common person in each song. | | 15 |  | La Dispute
No One Was Driving the Car
in all honesty, my first encounters with this band were in preparation for this new release to come out. but like many before me, I was thoroughly impressed by their ability to utilize poetic verses in heavy and hard-hitting emo music, and I can definitely hear their influence in other similar bands I’ve grown to love over the years. on this release, we get an interesting sense of contrast in how the band has evolved while staying true to their roots. of course a common topic of discussion with emo bands as they get older is that they’ve aged out of the angst and edginess of their youth; how can they still emulate what made them great while not coming across as the “how do you do, fellow kids?” meme. but here there’s a world-weariness that wasn’t really there before on their earlier releases which lends this album gravitas. La Dispute and by proxy the willing listener reconcile with the fact that they’re not those kids anymore and that things haven’t gotten easier, just a lot more real | | 16 |  | Honningbarna
Soft Spot
once this album kicks into gear, it’s an explosion of screaming guitars that’s impossible to contain. packed tight with driving riffs and soaring choruses, the pure energy coming from each track on this album radiates like heat from the sun. the band is tight and weaves through different tempos and moods while always employing a sharp, angular approach to their songwriting. the guitar and vocals are equally powerful and blown out, providing a hugely distorted sound with punchy bass and drums underneath. this is a true scorcher of an album that’s not to be missed by any rock fan who likes things loud and fast-paced. | | 17 |  | Huremic
Seeking Darkness
this South Korean artist typically deals in dreamy shoegaze under the name Parannoul, but on this side project they take a much darker turn that really surprised me. some of the longer tracks slowly build from quiet ominous harbingers into cacophonous raging storms. the drums are thunderous and clanging; the guitar is crying out with all the noise it can make; the synths create all kinds of otherworldly sounds. it sounds like the apocalypse descending upon the world as you can only watch helplessly. the slower sections like on the end of the third track and beginning of the fifth can also provide a great catharsis to the destruction from the louder sections. if you’re down with longer compositions and distorted loud rock, this is absolutely one for you. | | 18 |  | Cardiacs
LSD
it’s a true marker of perseverance that this album finally saw the light of day, and an additional credit to it is how great it turned out. Cardiacs have earned acclaim as adventurous torchbearers of rock into the modern era, but all that came to a halt when frontman Tim Smith unfortunately suffered a stroke in 2008. since then, this album has gone through many stages of development and recording, with Tim’s brother (and bassist) Jim and the other members working with Tim and his family to incorporate his input. Tim sadly passed away in 2020, and in the years following Jim spearheaded the completion of the album based on Tim’s guidance from his other family and friends. the final product is classic Cardiacs from front to back, showcasing every side of their complex and grandiose style. from the weaving odd time signatures and energetic riffs to the blasting choruses and soaring strings, this doesn’t feel like a mournful goodbye, but instead a triumphant victory over tragedy and death. | | 19 |  | Psychedelic Porn Crumpets
Carpe Diem, Moonman
there must be something in the water in Australia for it to have produced so many of the best psychedelic rock groups of our current era. PPC actually had two releases this year, but I have to go with Carpe Diem, Moonman which is yet another rollicking display of their rambunctious sound. look no further than tracks like “March on for Pax Romana” to get a sense what this band is all about, combining the fuzz and groove of psychedelic rock with the noisy unfinished attitude of garage rock. it seems like anything these guys touch hits a certain mark of quality, but Moonman is for sure an impressive standout in their body of work with plenty of chunky riffs and memorable earworms. | | 20 |  | Imperial Triumphant
Goldstar
for 20 years at this point, Imperial Triumphant have been honing their craft as avant-garde metal specialists, and here they have brought forth their most accessible, yet also jam-packed offering to date. using the titular “Goldstar” as the framing device of a cigarette brand, IT paint a picture of a society in decay promising decadence but bringing suffering and destruction. the music is unrelenting, with furious riffs and blazing fast drums changing on a whim. as the chaos draws to a close on the final track, “Industry of Misery”, one notices a tasteful musical reference to the riff on The Beatles’ “I Want You (She’s So Heavy)”, considered by many to be one of the first metal riffs in rock music. their take on this moment sums up how far IT have come as well as provides the perfect wrap-up to their strongest release yet. so I guess you could say I give them a Goldstar for this one. (sorry.) | | 21 |  | Agriculture
The Spiritual Sound
black metal may be the foundation of the sound for Agriculture here, but the span of subgenres and influences on this release is difficult to describe in just a few descriptors. Agriculture constantly keep the listener guessing with new tricks up their sleeve on every track, from post-hardcore to dreamy atmospheric cuts to dark sludge passages and beyond. the vocals are primal screams that hammer home the emotional impact of this raging storm of music. in spite of being a little all over the place, it’s a quite cohesive final product with a lot to offer to the metal listener with an ear for varied moods and distorted timbre. | | 22 |  | Lycopolis
Sons of Set
production can be a tricky topic in the world of music. everyone has their own thoughts about what sounds good and bad, their pet peeves and vices. Lycopolis’ contribution to this topic is to drown out all the discussion by means of heavy black metal with an extremely loud and raw sound. hailing from Asyut, a religiously conservative city in Egypt, the members of Lycopolis remain anonymous and record in secret in an attempt to avoid backlash from local officials. perhaps this could also be attributed as part of the reason for their unpolished sound, but it meshes so perfectly with the music that one thinks if they had more time and resources, the end product wouldn’t sound much different. here they deliver their trademark blazing riffs and apocalyptic vocals which take some adjusting if you’re coming from something that sounds any cleaner. this combined with their Middle Eastern influences provides for a haunting listening experience as bleak desert imagery flashes through your mind. | | 23 |  | Sulfuric Cautery
Killing Spree
it may be hard to tell but the slash there is actually not italicized, indicating that this is two separate albums from this artist from this year. if you’re not familiar with this metal subgenre, it won’t take long to get an idea of the basic gist and a sense of whether or not you’d like to continue. featuring song lengths which are typically short for this genre, Sulfuric Cautery deliver a straight-up blistering almost 50 minutes of material between these two releases that vary in production but not in complete assault of your ears. between a pinging snare bouncing like a kickball setting the frenzied tempos and the in-your-face gurgling vocals, there’s times on Killing Spree where you can scarcely hear the guitar. the mix is different on Consummate Extirpation, bringing the guitar much more into the forefront with a sludgy tone. regardless which style you prefer more, the music is face-melting extreme metal breakdowns. | | 24 |  | Sulfuric Cautery
Consummate Extirpation
these albums are a perfect example of one of those things you simply can’t recommend to everyone, and still they demand recognition on this list. they’re just that unrelentingly good. | | 25 |  | Cave Sermon
Fragile Wings
there is much to be said about an artist changing their style. I know because I’ve read a lot of comments discussing this topic with respect to many an artist. so when it comes to this release from solo artist Charlie Park under the name Cave Sermon… I can’t help but be proud of him. on this release, Park delivers what I would call more of an evolution than an outright pivot in terms of sound, employing the post-metal trappings he employed on 2024’s Divine Laughter with additions in the more technical departments. while this may come slightly at the detriment of some of the softer and slower sections, it gives all the more limelight to Park’s incredible performances on all instruments as he weaves even more complex compositions together in a tighter runtime. while perhaps I overlooked giving him the chance to make my list last year, Park has absolutely been added to my list of artists to keep an eye on going forward. | | 26 |  | Deafheaven
Lonely People With Power
certain groups will always be cursed to live in the shadow of their most well-known and appreciated release, unless they can somehow be lucky enough to strike gold again and come out with something that rivals if not overcomes that shadow. of course in this context I am speaking of the seminal 2016 album Sunbather and the unfortunate predicament that Deafheaven find themselves in. I do think Sunbather is still the best Deafheaven release, but damn if this one doesn’t come close. the crescendos and builds are just as impactful without feeling like they are trying to recapture the magic. the interludes provide time to breathe and digest what you’ve heard before being taken on the next ride. by the time you reach the end, the highs and lows have utterly washed over you and you try to come to grips with what you’ve heard: a rival for Sunbather that owes a debt to it but at the same time seeks to forge its own path distinct from its predecessor. | | 27 |  | Psychonaut
World Maker
“prog metal is not dead!” I proclaim from my soapbox to an audience of no one. this year we saw the long-anticipated reunion of Mike Portnoy with Dream Theater, with the end product being pretty damn solid if not exactly breaking new ground for the prog metal veterans. with that framing in mind, we can see just how Psychonaut takes that foundation and enhances the typical prog metal formula into something more creative. they dare to go beyond the typical trappings of their contemporaries by incorporating additional influences in their sound. the ambient drum part at the beginning of “Origins” leading into the full breakdown by the band is particularly of note in that regard. it's Psychonaut’s fresh approach outside of just kickass prog that makes them and this release appealing to me (even though the straight-ahead prog sections go pretty hard too). | | 28 |  | The World Is a Beautiful Place...
Dreams Of Being Dust
nothing could have prepared me for including this band on this list. I was first introduced to TWIABP in the infancy of my first individual musical discoveries during my first summer internship. of course this was dead smack in the middle of my pop-punk phase, and young adult me was quite excited by their blend of melodic angst and post-rock tendencies as well as their ridiculous name. flash forward almost 10 years and that conspicuous name flashed across my eyes with a 2025 release fresh off the presses. while I had admittedly drifted away and somewhat outgrown this era of my musical taste, I still wanted to see what it was all about. come to find out that while I was moving on, TWIABP were continuing to refine their sound with heavier post-hardcore influences. so right from the get-go, I was pleasantly surprised, and that feeling gave way to genuine appreciation. TWIABP pull this off with aplomb and forge into the future with their familiar yet refreshed sound. | | 29 |  | Bela Fleck, Edmar Castaneda and Antonio Sanchez
BEATrio
to me in a word, this album feels like motion - forward momentum propelling you onward, not forcefully but cheerfully in a way that you can’t help but feel yourself being uplifted. this delightful trio of drums, bass, and banjo provide jam after jam of a unique jazz-fusion-meets-bluegrass sound. the musical chops on display and interplay between the musicians is truly a joy on every listen. even when the playing gets fast, there’s still an effortlessness to it that brings that sensation of joy. it’s like cresting the hill of a roller coaster and feeling the acceleration as you begin to rush to the bottom. somehow they maintain that feeling throughout the album, never reaching the bottom until its completion when you realize it is over. | | 30 |  | The Necks
Disquiet
this Australian trio of piano, bass, and drums are masters of the slow build. since the late 1980s, they have cut out their niche of extended single-track albums with compositions that slowly morph and evolve throughout their runtime, and gained plenty of acclaim among those in the know. “jazz” isn’t really the best descriptor for their music, but what is? here they seek to outdo themselves yet again with a triple album’s worth of music. each of these four tracks are perfect examples of their formula, with my favorite being the longest, “Ghost Net.” the three members weave in and out of focus with a plodding bass riff, off-kilter drum beat, and soloing piano while a hazy organ and lightly chiming ride cymbal provide the background. like “Ghost Net”, each track is each mesmerizing in its own way, providing a soundscape to get lost in again and again to pick up new subtleties each time you listen. | | 31 |  | PulciPerla
Tatekieto
utilizing pieces of jazz fusion, cumbia, hip-hop, reggae, and more, these two groups join together and create something wholly unclassifiable and endlessly enjoyable. the blend of genres on this release is enough to make it a certifiable jam-fest. what propels it over the edge into album-of-the-year territory is the spirit and energy behind each performance. underpinning every track here is an unquenchable enthusiasm and desire to elevate the group. the jubilant fervor can be felt in each aspect of this record, be it the blasting horns or the smiling vocals or the unrelenting percussion or the chirping keyboards. each song is its own little excursion to a private island where you can only stay for a short time to unravel its wonders. no worries though, you can always book a return trip whenever the siren song calls you back. | | 32 |  | Yoni Mayraz
Dogs Bark Babies Cry
keyboardist Yoni Mayraz has no shortage of ideas when he’s in the groove. this 14-track effort perfectly captures that creative spirit; with most cuts coming in around the 2- to the 3-minute mark, each is a succinct journey that doesn’t overstay its welcome or become overbearing and repetitive. combining jazz, funk, Middle Eastern influences, and electronics, Mayraz and his supporting musicians come together with a sprawling, lush sound that is cool and collected even when it picks up the tempo. it's a pleasant and engaging listen that is constantly serving up new tricks to keep you entertained. | | 33 |  | The Circling Sun
Orbits
with the images of space evoked by the name and cover of this record, you can absolutely expect the music to deliver. this jazz collective by way of New Zealand brings to the table seven suites of sublime listening that really do feel like drifting through space and looking out at the cosmos. some tracks are breezy and laid-back, others pick up the tempo and intensity a little, but each one has their entrancing yet relaxing qualities. this is achieved through the vast palette of instruments on display here, in particular the percussion, choruses of vocals, and the synths. the beats provide the backbone and the drive of each track, with multiple sound sources providing great texture. the singers harmonize with ease and add a retro vocal jazz vibe to the proceedings. and the synths add that little extra to capture the spacy vibe without doing too much. Orbits envelops and swiftly delivers you to parts of our universe unknown. | | 34 |  | Artemis (USA)
ARBORESQUE
with one foot in traditional post-bop and the other in the present, this five-piece serves up track after track that makes you feel like you’ve been transported to a jazz club. the drumming here is the catalyst of all the motion of this album, featuring rolling fills and seamless transitions. the production is expertly done as each instrument feels perfectly balanced: the piano is light and airy, the horns are strong yet not overpowering, and the rhythm section holds down the fort. it may not be the most adventurous jazz album out there but it’s not trying to be; Artemis are perfectly comfortable in their lane and check all the right boxes on this charming release. | | 35 |  | Hayden Pedigo
I'll Be Waving As You Drive Away
this is simply a joy to listen to and can grow on you so quickly. Pedigo’s guitar playing is beautifully evocative whether somber or joyful, occasionally stopping for a moment to reflect before forging ahead once again. there are occasional strings and synths in the background adding to the sonic palette and delicately filling out some of the space. while it can feel sparse at times, the tender, restrained playing here never actually feels like it’s lacking anything in terms of emotional weight. here Pedigo has struck on a subtly vibrant sound that effortlessly breezes by; once it’s over you don’t want to leave its gentle embrace. | | 36 |  | Gwenifer Raymond
Last Night I Heard The Dog Star Bark
Welsh guitarist Gwenifer Raymond provides her own take on the American primitive sound, picking her way through this extremely consistent release. as a contrast to the previously mentioned Hayden Pedigo, this takes fewer poignant pauses and instead chugs along with extremely rhythmic playing. if I’ll Be Waving didn’t have quite enough for you, this could be what you are looking for instead. Raymond’s playing cascades upon itself like a waterfall, flowing from note to note with careful precision. full of mystery and wonder, Dog Star is a beautifully textured tapestry with many small details to take in. | | 37 |  | Dijon
Baby
from vulnerable professions of love to triumphant bangers, Dijon finds himself comfortable in all moods with swirling, shining production. above all else what comes through to me on this release is his appreciation for his life and the family he has surrounded himself with. his children and his wife are frequent subjects of the lyrics on the album, held in the highest regard. the psychedelic production adds to these fuzzy feelings of affection and appreciation. Dijon demonstrates his mastery in all aspects of this album as he writes, produces, and performs many different instruments throughout this rich and layered project. this is a huge step for him as he ascends in the mainstream music world. | | 38 |  | Charlie Musselwhite
Look Out Highway
with a career spanning back to the 1960s, Charlie Musselwhite has been around the block and back a few times. so it’s no surprise that 2025 finds him doing the same thing he has been for decades: laying down quality blues with some mean guitar and harmonica. bereft of any crazy bells or whistles, this album feels like a relic of a bygone era, and pushing 80 years old, Musselwhite sounds just as timeless. it feels hard to say much about this because it just feels so rock-solid on its own merit. Charlie just wants to sing the blues, and I’m happy to let him carry on into the night. | | 39 |  | Sudan Archives
The BPM
with her violin in hand, Sudan Archives drops a slew of songs that fuse the attitude and soul of R&B with a host of other genres, primarily EDM but also hip-hop, dance, and more. the output of this careful calculation is songs that have passion and heart behind them, but also feel like they would go hard on the dance floor. the violin provides plenty of additional texture in the background; I feel like I notice it on a different track every time I listen. when you hear her assertive and skillful command of the vibe, you have no choice but to succumb to the spell of Sudan Archives. | | 40 |  | Galactic & Irma Thomas
Audience With the Queen
longtime soul veteran Irma Thomas teams up with the jazz-funk group Galactic to bring us this wonderful release that perfectly combines their sounds. brimming with attitude and earnest emotion, Thomas’ powerful voice shines and carries the mood of each tune. meanwhile the members of Galactic lay down slick backing tracks to complement her in every way. there isn’t a hint of overreaching; everyone here knows exactly what they need to do to bring this to the next level. it’s a crime this comes in at a runtime just over thirty minutes, as this is the kind of stuff you could listen to all day and never get tired of it. as it stands though, this is a fantastic collaboration that easily makes its case without overstating itself. | | 41 |  | Sister Nancy
Armageddon
Mad Professor is a veritable icon of production in the worlds of reggae and dub. the list of artists he has collaborated with over the years is nothing short of remarkable and grows longer by the year. here he teams up with Jamaican vocalist Sister Nancy for a release that is short in runtime but not short on what makes these two great. Mad Professor is as always serving up lush and layered production, expertly crafted at each turn to keep the vibes flowing. Sister Nancy’s passion rings through loud and clear on each line, channeling her emotion into powerful and moving ballads. Armageddon is a perfect combination of the strengths of these two artists brought together in wonderful harmony. | | 42 |  | Blawan
SickElixir
welcome to the strangest club in the world, with Blawan as your DJ. there is a tangible weird factor to this release; it’s danceable while making you wonder what exactly you’re getting down to. it’s a sort of stripped-back club music built around drum beats and vocal samples, with synths adding color rather than dominating the space. it feels like dance music made for aliens, or maybe insects? full of buzzes, whirs, clicks, pops, and all kinds of slimy and grimy sounds, it’s a sonic experience that evokes a kind of simultaneous repulsion and attraction, bound to drive you away without a second thought or keep you coming back for its strangely seductive rhythms and sounds. | | 43 |  | Ethel Cain
Perverts
as I’ve been diving head-first into musical exploration over the past few years, I’m discovering how important context can be in listening to, enjoying, and evaluating music. our previous experience and likes and dislikes can subconsciously change the way you look at things no matter how much you try to be objective. so with this being my first introduction to Ethel Cain, any preconceptions brought on by her highly praised 2022 release Preacher’s Daughter weren’t there for me. in a large departure from her previous effort, this release finds her exploring dark, murky territory pervaded by drones and repeated distorted spoken phrases and samples. the silence or near-silence can be just as unnerving as when there is something to be heard. it’s a genuinely harrowing listen that demonstrates her strength branching out into new territory. I hope that she will continue with more experiments like this one in the future because this shows great potential and versatility. | | 44 |  | Ceephax Acid Crew
Slam Zone
if something could ever be said to be paradoxically restrained in its excess, this album would be it. Slam Zone is absolutely jam-packed with hooks, switch-ups, and of course the wonderful bleep bloops that on paper it just seems like too much to work out without coming across too cheesy. yet Andy Jenkinson AKA Ceephax Acid Crew has perfect knowledge of where to draw the line that each subtle change is interesting and keeps you listening rather than deciding to turn it off. especially with track lengths that can stretch into the 7, 8, and even 9 minute marks, avoiding monotonous repetition is extremely important. Jenkinson is able to keep the vibe consistently bumping while always bringing something switched up to the table. this is an airtight almost 90 minutes of off-the-wall techno that I simply can’t get enough of. if they played this at clubs, it might actually get me to go out more often. | | 45 |  | Djrum
Under Tangled Silence
simply put, this album is a delicious treat. each piece slowly evolves from a thoughtful and evocative piano soliloquy to an exquisite yet low-key IDM groovefest. the hour-long runtime may seem a little daunting, but it’s easy to get completely lost in the folds of this album and emerge on the other end scarcely realizing how long it’s been. the gorgeous production pairs the aforementioned live piano with all kinds of loops, beats, and spacy sounds in endlessly creative ways. simply put, it’s a perfect fit for sophisticated background music or deep focused listening with different moments that stick out on each listen. | | 46 |  | Ninajirachi
I Love My Computer
there’s no other way to put this: Ninajirachi earnestly proclaims her carnal love for her computer. yet as you listen to ILMC you can’t help but see her perspective. this album is an ode to the generations whose childhoods have in no small part played out digitally, exploring our relationships by proxy to the devices that we plugged in to which kept us going. Ninajirachi takes a techno tongue-in-cheek approach to examine the role that these devices and the internet have had in our lives as we became adults. this playful reverence and nostalgia for our computerized youth comes through strongest to me on “Sing Good”, where Ninajirachi sings from the perspective of her younger self taking a music class in school. these days, there is no shortage of personal reflections about the ever-expanding digital aspect of our lives, but I Love My Computer should go down as a clear standout in that category both for its vulnerable and relatable expressions as well as the banging music. | | 47 |  | Debit
Desaceleradas
Delia Beatriz combines murky ambience with an experimental form of music which incorporates slowed-down recordings of cumbia. one half of this album exists in a gorgeous haze that feels like overlooking a cloudy mountaintop as the sun rises; the other can be a lot more muddy, full of jitters and skips and haunting echoes. but all of it demonstrates Beatriz’ mastery at evoking these bizarre atmospheres that can be soothing or unnerving. as it plays out, I find myself reflecting on the very essence of sound and intention and how these can be utterly transformed and repurposed far beyond their original meaning. this record has a remarkably distinctive sound which makes it an extremely intriguing and fascinating listen each time through. | | 48 |  | Michael Malis & Zara Teicher
Retreat
recorded in St. Anthony’s Cathedral in Detroit, Malis and Teicher perform deeply contemplative pieces befitting of this album’s title. the acoustics provide a spacious feeling which the musicians utilize perfectly to create soft, yet compelling listening. Teicher’s french horn playing reminds me of a family joke that came out of my younger sister practicing trombone where she would blast a note as long and as loud as possible. whereas that was deliberately loud and disruptive, Teicher’s bursts are more subdued but still carry palpable force, weight, and passion. the pieces move slowly and assuredly, taking their time to ingrain themselves and traverse their paths. the meditative drones and melodies found here will echo through my speakers and my mind for years to come just as they first reverberated through the space they were recorded in. | | 49 |  | Jessica Williams
Blue Abstraction: Prepared Piano Project 1985–1987
jazz pianist Jessica Williams had quite an illustrious career before she passed away in 2022, but this may be one of the more singular releases of her entire body of work. this compilation of recordings from her experiments with prepared piano demonstrates both her playing and creative abilities. I especially love how prepared piano can accentuate the percussive aspects of the instrument, and Williams makes great use of this on tracks such as “The Banshee” which uses extremely deadened keys to mark time. other keys sound like distorted chimes or faint pings, barely recognizable as a piano. far from a half-baked concoction or a self-indulgent mess, Blue Abstraction marks a beautiful moment in Williams’ career that deserved to see the light of day, even if a few decades later. | | 50 |  | Effluence
Pianistic Dismemberment
as the description for this album on Bandcamp reads, “NO GUITARS ON THIS ALBUM...'CAUSE PIANO ATE EM :[.” yes that’s correct, this is a death metal album where the primary instrument is piano and there are no guitars. I’ve gone back and forth so many times over whether this album is a joke or meant to be taken seriously, but it’s surprisingly loud and heavy enough to rise above the cheese that I have to give it credit on some level. under the moniker Effluence, solo artist Matt Stephens has put together some truly challenging avant-garde metal before, but this is clearly a level of derangement beyond anything he’s done before. that craziness is a bit too much for it to be taken completely seriously, but straddling the line of humor and hardcore actually works out in this album’s favor in my opinion. it’s impossible to truly describe just how strangely this concept works in words, so if you are intrigued you should check this out, if only to close the tab seconds later. | | 51 |  | Krokofant
6
before this album, Krokofant lost one member to downsize to a quartet, but you would hardly notice any part of their sound missing here. dropping their as-always sequentially titled sixth album in early January, this collection of raucous jazz-rock kept me coming back time and time again throughout the year. this band is just as comfortable rocketing through a crazy cacophony as they are unleashing a heady jam session, and we see both of those modes in almost every song on this set. unfortunately some of the transitions range from a bit abrupt to all-out stops and starts, which prevents these sections from fully gelling together. but all the same, Krokofant have put together another beautiful beast and perhaps a standout of their discography even though they forge ahead without one of their previous players. | | 52 |  | Obverse
Obverse
a prog rock trio of drums, bass and… harp? joining Chris Allison of Plini and Dan Briggs of Between the Buried and Me on this EP is Emily Hopkins, better known by her online moniker Emily Harpist. this concept may sound like a dud on paper, but in practice it actually works quite well. the result is a quick 25-minute jaunt full of grooving hard rock with a couple slower moments along the way. Hopkins’ extensive knowledge of pedals and effects makes her the perfect choice for this kind of experiment, as her playful plucking provides a light, angelic new age-ish contrast to the pounding drums and heavy distorted bass (which is right up front in the mix, almost sounding like lead guitar at times). she also shines in the more pensive moments, filling the space with her thoughtful melodies and reverberating tones. the interplay between the light, delicate harp playing and the bass and drums punching through it are what make this a really neat listen. | | 53 |  | Little Simz
Lotus
U.K. rapper Little Simz is extremely consistent and has earned her fair share of praise over the years. however this isn’t enough for her to rest on her laurels as she restlessly pursues each new project. Lotus is the next stop on her musical journey, as always featuring her impeccable flow and personal thought-provoking lyrics. Simz explores such themes as family and siblinghood, letting go of fear and apprehension, and chasing success versus personal fulfillment, giving the listener plenty to think about and interact with. the instrumentals on these tracks draw from many different inspirations, sometimes funky, other times soulful, still others dabbling in rock and Afrobeat. while not every song is a winner, most of them do impress in order to keep Little Simz’ impressive run going. | | 54 |  | Hiromi
Out There
Hiromi Uehara can absolutely fly up and down the piano and she’s not afraid to show off with blisteringly fast licks, trills, and riffs. unfortunately those indulgent tendencies kept this release off the list proper, but I still can’t help but marvel at the intensity and excitement bursting from this album. as a bandleader she also shines, for example in the multi-part title track which in my opinion is the most satisfying of the bunch. drifting through all manners of tempos, time signatures, and subgenres, Hiromi and her group expertly navigate through musical worlds with no words at all. this is a wonderfully exhilarating release that is full of wonderful moments well-worth unpacking. | |
Sagacious13
01.11.26 | I put placeholders for the genres in between but it looks like they didn't show up and I can't be bothered to try and fix it. honorable mentions start at Pianistic Dismemberment. thanks for reading | Calc
01.11.26 | more to check, great effort here! | arthropod
01.11.26 | You say it's extremely late, I'm planning to post mine at the end of the month. We are not the same.
Great list and writing, really makes me want to check some of these. |
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