Album of the Year
Malibu – Vanities
Going into this year, Malibu (French composer/producer/vocalist Barbara Braccini) was in the unique position of already being one of my favorite musicians despite having never released an official album. Between her stunning first two EPs (One Life and Palaces of Pity), incomparably consistent monthly radio show (United in Flames on NTS), and prolific side projects (Belmont Girl and DJ Lostboi), she’d already created a singular sonic universe that I never grow tired of spending time in.
Best of all was last year’s Essential Mixtape, easily my favorite release of 2024 and some of the most gorgeous and euphoric music that I’ve ever heard, period. It’s a perfectly realized collaboration with Swedish artist Merely (Kristina Florell), the only other musician I know of who can match Malibu’s unfathomably angelic vocals and bottomless depths of emotion.
When Braccini announced that she would be releasing her debut album in 2025, it immediately became my most anticipated release of the year. And even though I went in with sky-high expectations, she still managed to leave me breathless once again. Comprised of nine short tracks that seem to fly by in minutes before concluding with four longer tracks that feel endless in the best way, it’s a perfectly paced meditative journey that only gets better as it goes along.
As for describing the songs themselves, I don’t even know where to begin. Part of what I love most about Malibu is that her music defies easy labels – sure you can call it ambient, but Vanities isn’t a record that you throw on casually in the background. It’s a total immersion experience that fully engages all of your senses and emotions, best experienced loud on headphones without distractions.
There’s also an inherent cinematic quality to these songs, with each track possessing the ability to transform whatever environment you’re in and make you forget your surroundings. It evokes imagery of driving late at night on an empty road through winding hills, or sitting alone on a rooftop and observing all the twinkling lights of the city below. Whether I’m listening at home, on the beach, or riding the trolley, Vanities never fails to make me feel like I’m living in a movie.
But what really makes Vanities stand head and shoulders above any other album released this year is the emotional resonance. It’s exceedingly rare for new music to make me cry on first listen, but I was sobbing uncontrollably by the time I reached the mesmerizing 9-minute title track. Any music that can affect me on a primal level so quickly, without even the benefit of lyrics, is a remarkable achievement by any metric.
Ultimately, this album and Malibu’s music as a whole offer a perfect example of the limitations of language. I truly can’t find the words to express how much this record means to me, how much comfort and solace it’s brought me at a time when I really needed it. I could go on and on about her music and try to describe everything I love about it, but ultimately, Vanities doesn’t encourage that kind of analysis. It’s music that’s meant to be felt, not listened to, and no other album in recent memory has made me feel more than this one.
(remaining albums are listed alphabetically by artist)
Black Moth Super Rainbow – Soft New Magic Dream
Musician Tom Fec is the mastermind behind two incredible projects, focusing most of his attention in recent years on his TOBACCO material. With Soft New Magic Dream, he’s brought BMSR back for the first time in seven years, since 2018’s masterful Panic Blooms. And while this album can’t quite match the transcendent highs of its predecessor, it’s another beautiful collection of deconstructed pop songs that will be sure to please longtime fans.
If someone were to accuse Fec of repeating himself across the six BMSR records, they wouldn’t be entirely wrong. He’s only made subtle tweaks to his sound over the years, continuing to rely on his foundation of dreamy analogue synths, blown-out bass and percussion, and heavily processed vocals that sound alternately gorgeous and unsettling. But it’s such a unique sound, not to mention so nostalgic for me on a personal level, that I never really get tired of it.
I will say that Soft New Magic Dream is the first BMSR album where I’m starting to feel the novelty wearing off a bit, probably because Panic Blooms felt like the peak of this specific style. But this record still has plenty of treasure to offer, from the ultra-crunchy guitar and bass riffs on “Tastebud” to the wall of whirring synths that sound like they’re crying on “The Eyes in Season.”
Blood Orange – Essex Honey
As the first new Blood Orange album in seven years, Essex Honey was one of my most-anticipated releases of 2025 and I wasn’t disappointed in the slightest. In fact, I think this is the best record that Devonte Hynes has made since 2013’s Cupid Deluxe and arguably his most cohesive, accomplished work to date.
While it may not offer as many catchy hooks or danceable grooves as some fans have come to expect from Blood Orange, Essex Honey more than makes up for its lack of simple pleasures with a staggering emotional impact. Hynes wrote this record in a state of grief after losing his mother, trying to find meaning and joy in his life again through music. The results are moving to say the least, framing the experience as a cathartic healing exercise for both Hynes and the listener.
But even if you don’t personally connect to the sentiment of this record, it’s still a marvel of production and composition. These tracks are filled to the brim with soaring vocal harmonies, rich sonic textures, and lush layers of instrumentation including piano, saxophone, cello, and more. The album also flows smoothly from top to bottom with creative transitions that occasionally reprise bits of earlier songs, adding to the overall feeling of cohesiveness.
Compared to many of the artists on this list, Hynes has enjoyed a surprising amount of success. Even more surprising, that success hasn’t stopped him from making exactly the music that he wants to make, not compromising his unique sound or catering his vision to appease fans. It’s extremely refreshing to see a true artist pouring his heart and soul into his work and actually being rewarded for it. And while I hope his next album doesn’t take seven years to make, the wait would be well worth it for more music of this caliber.
Deradoorian – Ready For Heaven
Angel Deradoorian is an incredibly gifted musician who deserves far more recognition than she’s received up to this point. Though she came to prominence as part of the band Dirty Projectors and has collaborated with the likes of Flying Lotus and Animal Collective frontman Avey Tare, her stellar solo discography has disappointingly flown under the radar. But if there’s any justice in this world, Ready For Heaven will change that.
Easily the artist’s most consistent and memorable record to date, this is an all-killer-no-filler collection of psychedelic rock jams and synth-pop bangers that only continues to improve with repeated listens. Deradoorian flexes her skills as a musician and producer throughout, packing these tracks with irresistible bass lines, funky keyboard riffs, and trippy sound effects in addition to her distinctive, pitch-perfect vocals that can shift from gentle to commanding at a moment’s notice.
Ready For Heaven is also one of the most conceptually relevant and affecting records released this year, dealing with the struggle to live ethically and continue to function as human beings in an increasingly dystopian society that’s being eroded by the effects of capitalism. It all culminates with “Hell Island,” a moving tribute to Palestine and the victims of genocide that concludes the album on a majestically powerful note.
Erika de Casier – Lifetime
The fourth album from Erika de Casier is easily her strongest work to date, a short and fast-paced collection of experimental R&B music featuring hooks that seem to lodge deeper in your brain with each listen. Entirely self-produced and released through her own independent label, this record showcases the Danish artist at the peak of her powers and has deservedly earned her lots of new fans as a result.
The instrumentals throughout this album are downright intoxicating, instantly establishing a deeply sensual vibe that never lets up. The percussion is crisp, the melodies are serene, and the low end kicks hard. Erika’s lighter-than-air vocals are the perfect complement to these compositions, her sultry voice and intimate lyrics gently guiding the listener through this achingly romantic experience.
Everything about this record feels authentic and effectively realized, right down to the beautiful cover art that sums up the mood of the music perfectly. It also has tremendous replay value, with the short length and complete lack of filler ensuring this album stayed in regular rotation for me all year long. After such an impressive breakthrough, I’ll be highly anticipating whatever de Casier does next.
James K – Friend
This album was an out-of-nowhere surprise for me this year, as I wasn’t familiar with any of James K’s previous music. But I felt immediately drawn in by her wispy vocals, which seem to float over the hypnotic instrumentals of these tracks like thin clouds stretching across the sky. Even though most of these songs lack traditional or obvious hooks, her melodies have a haunting quality that makes me want to keep returning to them.
At just over an hour, the album does feel a bit too long with a few tracks that drift by without leaving a strong impression. But the highs of this record are very high, with tracks such as “Lung Slide,” “Idea.2,” and “Blinkmoth (July Mix)” ranking among the most beautiful songs that I heard this year.
Neggy Gemmy – She Comes From Nowhere
After a series of solid releases under the alias Negative Gemini, Lindsey Elise French shortened her name to Neggy Gemmy and reinvented her sound with the excellent 2023 album CBD Reiki Moonbeam. While that record left me excited to see what she’d do next, She Comes From Nowhere represents a massive leap forward for her that ranks among the most colorful and exciting pop albums in recent memory.
Sadly, Neggy Gemmy’s music is probably a bit too weird to break into the mainstream. But if she could get the exposure she deserves, I think this album has crossover potential. Every single track here is fun, catchy, and easy to dance to, with infectious vocal melodies and stellar production. Most impressive of all, she does everything herself, even playing the guitar and making her own music videos.
As if all of that weren’t enough, this album is also brimming with personality in a way that feels far too rare these days. In a world of homogenized pop stars who all look and sound the same, French has established an image that’s endearingly playful and cinematic through her cartoonish Neggy Gemmy persona. After dropping a record as dynamic and effortlessly iconic as this one, it feels like the sky is the limit for her going forward.
Nmesh – The Molokai Compendium
The long-awaited follow-up to 2017’s instant classic Pharma, The Molokai Compendium is another head-spinning plunderphonics journey that runs as long as a feature film. Immersing the listener in a highly detailed sonic universe inspired by the vibe of a series of trashy 80s action movies set in Hawaii, it’s a thrilling listening experience that’s never predictable and always feels gloriously alive.
Though Nmesh’s music has primarily been associated with the vaporwave genre, this album feels like a new direction. While it retains his methodology of layering a dizzying number of samples on top of one another, the former drummer flexes his production chops here like never before, leaning more into other subgenres such as IDM and drum ’n’ bass.
The record’s 80-minute runtime is undeniably excessive, with a few too many short interlude tracks that don’t leave a strong enough impression to justify their inclusion. But the peaks of this album are truly incredible, ensuring that this is one trip to Hawaii you’ll never forget.
Oklou – Choke Enough
The debut record from Marylou Mayniel, Choke Enough might be the poppiest album to ever make one of my top ten lists. I’ll admit to feeling underwhelmed by it initially, with only a few tracks standing out to me on first listen. But I found myself coming back to the album repeatedly until it reached the point where I thoroughly enjoyed it top to bottom.
Choke Enough is a subtle listening experience, filled with soft, auto-tune accented vocals and haunting synth melodies that flit in and out of your consciousness like faded memories, too elusive to fully grasp yet too potent to let go of. It’s not an album that will light up the dancefloor, with the exception of “Harvest Sky,” a standout banger of a track that feels like going to a medieval rave. I’ve seen it described online as “club music for introverts,” which feels like the most appropriate label for Oklou’s style that I can think of.
Unlike most of the artists on this list, Oklou isn’t trying to blow your mind. She’s offering the simple pleasures and comforts of pop music wrapped in a new package that feels unique and exciting, to the point that I’m not surprised she’s selling out shows all over the world right now. It’s refreshing to see someone having success who actually deserves it – I only wish that more pop music sounded this good.
Oneohtrix Point Never – Tranquilizer
It wouldn’t be an understatement to say that Daniel Lopatin, better known as Oneohtrix Point Never, has fully established himself as an experimental music legend at this point. With seminal albums like 2015’s Garden of Delete and 2013’s R Plus Seven, plus his unforgettably propulsive scores for the Safdie Bros’ films Good Time and Uncut Gems, he’s left an indelible mark on the worlds of both music and cinema.
As a result, I have very high expectations going into any new OPN release, but Tranquilizer is his first album in a while to truly blow my mind. Built primarily from a massive library of commercial sample CDs released in the 90s, Lopatin twists, distorts, and blends sounds together in a way that’s nothing short of awe-inspiring. The result is a near-hour of unclassifiable music, songs that are virtually impossible to wrap your head around no matter how many times you listen.
Too spacy and ambient for dancing but too glitchy and jarring to relax to, Tranquilizer is the kind of music that will probably only appeal to a limited audience. But even if it requires stepping out of your comfort zone and challenging yourself, you’ll be hard-pressed to find any new music out there that’s more inventive and rewarding than this.
Panda Bear – Sinister Grift
The newest solo album from Animal Collective member Noah Lennox, Sinister Grift is easily the most straightforward and accessible music he’s ever released. While that accessibility has helped him earn some of the better reviews of his career with this album, I’d be lying if I said it doesn’t feel a little too easy to listen to at times.
Having said that, there’s nothing wrong with a good pop/rock album if it’s well-written and produced, which this one certainly is. Noah’s vocals and songwriting are in top form throughout, providing plenty of golden harmonies and memorable hooks that stick in your head. And everything sounds crisp thanks to some stellar co-production/mixing by fellow AC member Deakin.
Ultimately, I think this album achieves exactly what it sets out to do very well and ranks among the more pleasant listening experiences of 2025. And the more accessible quality of these songs might even introduce new listeners to Noah’s music, which is a wonderful thing. But for me personally, I can’t help hoping that he comes through with something a bit weirder the next time around.
Stereolab – Instant Holograms on Metal Film
I never thought we would get another Stereolab album. The influential psychedelic band went on an extended hiatus after their 2010 record Not Music, reuniting to play some live shows in recent years but not performing any new songs. Now “The Groop,” as longtime fans call them, has finally made a triumphant return with Instant Holograms on Metal Film, their first official album in fifteen years.
Considering how long it’s been, I could forgive the band for showing a little rust – in fact, I fully expected it. But much to my surprise, this record sounds just like peak Stereolab. Laetitia Sadier’s voice hasn’t aged a day, weaving her signature beguiling melodies in English and French while also playing trombone, tambourine, and more. Tim Gane and the rest of the band haven’t lost a step either, packing the mix with entrancing rhythms and dense layers of instrumentation obscured through walls of effects.
I guess the only complaint that could be lodged against this record is that there’s nothing surprising about it. But considering how long Stereolab has been gone and how well their sound has aged, nothing about this album feels stale in the slightest. It will be very interesting to see how the band progresses from here, but if it turns out that this is their last album, it would be one hell of a finale for an outstanding discography.
The Mars Volta – Lucro sucio; Los ojos del vacio
When Omar Rodriguez-Lopez and Cedric Bixler-Zavala reunited as The Mars Volta in 2022 after a ten-year hiatus, I was ecstatic. However, while finally getting to see them live was a dream come true, I felt a bit underwhelmed by their self-titled comeback album, which lacked the unbridled energy and sonic experimentation of their earlier work.
Though it’s unrealistic to expect anything to live up to the impossible bar set by the first three TMV albums, Lucro sucio is the most exciting and inspired music that the duo has released in nearly two decades. An unpredictable blend of rock, jazz, electronic, Latin, and even pop influences that all flows seamlessly together as one 50-minute piece of music, this album takes you on an immersive journey that requires multiple listens to fully absorb.
This is definitely a more low-key and less indulgent version of TMV, coming nowhere close to the spastic freakouts and epic song lengths of their early music. But it’s also a densely layered work that’s overflowing with lush textures and subtle details, as Omar demonstrates his unparalleled sound manipulation skills throughout. And Cedric navigates the many sudden tempo shifts and mood changes with ease, seeming to constantly produce catchy hooks out of thin air while also showcasing his penchant for cryptic, instantly quotable lyrics.
Sadly, this album received mixed reviews from fans and virtually no attention from anyone else. Like most TMV albums, it requires some time and effort to wrap your head around, so hopefully more people will discover this record in the future and give it the love it deserves.