As 2025 inches closer to becoming a relic of the past, the music world is leaving behind another memorable year. Having soundtracked all the joy, heartbreak, love, and confusion felt throughout these last twelve months, each new release has seemingly offered an escape—an opportunity to unplug, appreciate, and truly listen.
And listen, we did. Spanning across genres and acts, the KSDT Radio Media Department has compiled a list of our personal favorite albums of 2025. While this collection is by no means exhaustive, it is—in fact—representative of the individual tastes, interests, and experiences that shape who we are and the stories we carry.
In celebration of the music that brought us closer to ourselves and each other this past year, we hope you also find the time to pause and listen. Perhaps you will catch a glimpse into the collective artistry that connected us all in 2025.
–Megan Hirao, Media Director (‘25-’26)
5 Seconds of Summer: EVERYONE'S A STAR
An eclectic blend of pop, rock, and alternative, 5SOS’s sixth studio album, EVERYONE’S A STAR!, fuses the strongest elements of each member's solo work. The album playfully pokes fun at their teenage years in the spotlight and how pop-punk purists often dismissed them as too “boy-band” to be taken seriously.
Here, the band adopts exaggerated “star” personas, exploring the highs and lows of fame, including parties, love, and the blurred lines of indulgence. The track “Boyband” captures these themes with lines like, “Boy in a boyband, imaginary boyfriend / Irritates the metal heads, it's your favourite (Boyband).” In an interview with Sean Brown, the band touched on their past frustration of being labeled a “boyband” in a way that was intended to insult their musicianship. Over time, they embraced the term, reclaiming it and redefining it on their own terms. EVERYONE’S A STAR! channels that reclamation into some of their most confident work yet. –Lola Dogat
Audrey Hobert: Who's the Clown?
Who’s The Clown welcomes listeners into the world of Audrey Hobert with dry wit and playful self-awareness sung over plucky guitars and infectious melodies. Her stream-of-consciousness lyrics might be an acquired taste for some, but their delightfully quirky charm is impossible to resist.
On “Sex and the city,” Hobert complains about the bleak modern dating scene with frustratingly relatable lines like “He's heating up and eating up a pizza pocket / I wanted one, but he forgot it / He's off his meds / And he's an artist.” On “Bowling Alley,” she shifts her focus to the absurdities of social life, using its setting as a metaphor for the blinding superficiality of popularity. Who’s The Clown’s strength lies in Hobert’s ability to turn universal emotions into songs so precisely articulated that they feel like she’s peering straight into one’s own life. –Lola Dogat
Bad Bunny: DeBÍ TiRAR MáS FOToS
Bad Bunny’s sixth studio album DeBí TiRAR MáS FOToS is so much more than just another spectacular album from Latin America’s greatest international superstar; it's a heartfelt love letter to Puerto Rico, its people, and its fight for independence. Bad Bunny has brought música urbana and reggaeton to the global mainstage, all the while never forgetting his Puerto Rican roots. Now, entering his 30s and looking back on his meteoric rise to superstar status, DTMF represents a stoic reflection set to music.
The lead single, "El CLúB," is, on the surface, a moody ballad about missing an ex-girlfriend, fused with soul-shaking EDM. Looking closer, the track captures the dissonance between the superficial joy of stardom and the internal struggle of feeling unfulfilled and wanting to go home. Other songs such as "BAILE INoLVIDABLE" and "DtMF" crystallize Bad Bunny’s complex emotions regarding his life and successes, interpolating heavily from the Salsa legends that came before him to create a new sound entirely. The album culminates with "LO QUE lE PASÓ A HAWAii," rallied by pounding drums and hypnotic guitar, Bad Bunny vows to stand with his community and preserve the island's rituals and history, one day hoping for independence. –Alex Curwen
Bassvictim: Forever
Building on their earlier releases, it feels like Bassvictim has finally carved their niche in the indietronica pseudo-genre through their latest album, Forever. The nostalgic feel and upcycling of Eurodance sounds make me think that Forever has to be a reference to the Numa Numa guy circa 2004.
The youthful tone of “Grass is Greener” stands out from the rest of the album by mixing what sounds like royalty-free inspirational iMovie music with funky drums and a beautiful cacophony of unadulterated voices. It’s the return to innocence, play, and nostalgia that many of us have been searching for since MGMT’s "Kids." As a whole, Forever is a breath of fresh air, reminding me of dewy mornings while still calling back to late 2000s European club music. Despite being only three years old, Bassvictim’s newfound virality is honestly overdue. –Michelle Gao
Big Thief: Double Infinity
Big Thief's sixth studio album, Double Infinity, tackles some of life's heaviest topics like aging, time, and where you are in the world, but somehow leaves you feeling calm while taking it all in. The album blends folk-rock with experimental moments, and Adrianne Lenker's vocals mix huskiness and softness to give each song real weight. The instruments and lyrics balance each other perfectly, so you can appreciate both simultaneously.
The lead single, "Incomprehensible," confronts the fear of aging, with Lenker asking to simply be left alone as she embraces uncertainty. "No Fear" lets the music breathe with minimal lyrics, giving you space to sit with your thoughts. "How Could I Have Known" is a bittersweet closing track reflecting on transformation and saying goodbye to the past. Double Infinity proves Big Thief can make you sit with life's biggest questions while keeping you grounded in the moment. –Nadia Royal
Bon Iver: SABLE, fABLE
Bon Iver’s SABLE, fABLE feels as if the two ends of his eclectic artistry have effortlessly met in the middle. Drawing from his early acoustic sound to his later electronic shift, Justin Vernon delivers a flawless, two-disc project that encapsulates his journey through a personal revelation—a rebirth of some kind.
Composed of the first four tracks, SABLE finds Vernon reckoning with his past and navigating uncertainty, guided by gentle fingerpicked guitar and melancholic strings. From there, the record brightens; with singles "Everything Is Peaceful Love" and "Walk Home," fABLE embraces the tenderness of falling in love, accompanied by a vibrant pedal steel guitar and euphoric harmonies to radiate that warmth. On "There's A Rhythymn," Vernon returns to the introspection that opened the album, but now through the lens of newfound peace and acceptance. If SABLE is a desperate search for meaning, fABLE is the hopeful light at the end of the tunnel. –Sarah Yoo
Conan Gray: Wishbone
Conan Gray's fourth studio album, Wishbone, is his most devastatingly personal work yet. If you didn't think he could get more gut-wrenching, this album proves that narrative wrong, immediately. Gray dives into yearning, hidden relationships, heartbreak, childhood trauma, and letting go—all delivered through raw, haunting vocals that feel both intimate and timeless.
The record's lead single, "This Song," is one of Gray's first true love songs, capturing the intensity of loving someone with your whole heart. Its counterpart, "Vodka Cranberry," explores the painful aftermath of that same relationship, showcasing Gray's impressive vocal range. "Carmel" completes this trilogy, reflecting on how certain people stay with you long after they're gone. This is the album Gray has always wanted to make: unapologetically honest, holding nothing back, and more open than he's ever been. Wishbone is a powerful exploration of love, loss, and new beginnings that resonates with anyone who's ever felt like they’ve been the ones to receive the short end of the stick—or wishbone, for that matter. –Nadia Royal
CORTIS: Color Outside the Lines
CORTIS shatters K-pop expectations by drawing outside the coloring book in their debut album, Color Outside the Lines. Living up to their name, we're welcomed into their teenage thoughts with contrasting soft melodies and hardcore beats that make you restless and escape the mundane 9-to-5 life, which is unpolished yet real.
Our first coloring page opens with their hit single, "GO!," which firmly states how CORTIS will be defying K-pop standards globally with a messy, fun hip-hop mixed pop beat. Following up, "What you want" bashes your face with a '60s melodic rock that constantly reminds listeners their youth won't hold them back in achieving their dreams. "FaSHioN" shatters the melody with trap hip-hop styles that most K-pop groups wouldn't dare to cross, as the song focuses on true self-expression rather than fitting in with society. –Julian Gonzales
Deftones: private music
Known for their nuanced grasp on the delicate balance between aggression and cinematic beauty, private music is Deftones at their most confident yet. With a discography spanning ten albums over their more than 30-year tenure as a band, the record, while something of a return to form, pushes their sound with brute force and lush ephemera into newly redefined territories.
The most striking quality of private music upon first listen is its sheer polish. The album’s production is glossy and refined, allowing the mastery of each of the band’s members to shine through effortlessly. With tracks like "infinite source," an easy standout for its distinctive ear-catching main riff, lead guitarist Stephen Carpenter delivers some of his best work yet, and Chino isn’t far behind either, soaring on tracks like "i think about you all the time." All in all, private music is an expansive testament to Deftones’ powerful legacy, and if nothing else, further cements them as true auteurs of alternative rock. –Julian Aguilar
Dijon: Baby
Intentionally imperfect and sonically explosive: Dijon’s sophomore album, Baby, is tearing apart the seams of contemporary soundscapes. Through a masterful display of experimental R&B, Dijon laces each track with textural instrumentation, sporadic embellishments, and emotionally charged vocals to deliver an erratically cohesive project that navigates the new experiences of fatherhood, love, and domesticity.
Take the record’s biggest hit, “Yamaha,” which finds Dijon outlining his desires of intimacy overtop glimmery synths and granular drums. This juxtaposition of eclectic sounds with raw, vulnerable lyricism best embodies the sonic eccentricity that consistently reverberates throughout this project. Perhaps, though, if Baby has proven anything, it is that these creative risks are often worth embracing. –Megan Hirao
Djo: The Crux
Joe Keery, known by his musical alias Djo, delivers his most relatable work yet with his third studio album, The Crux. The record captures that disorienting "in-between" phase of life: navigating crossroads, searching for connection, and figuring out who you are when everything feels uncertain. Blending groovy synth-driven indie with deeply personal lyrics, The Crux feels like the perfect soundtrack for late-night drives and those moments when you're just trying to make sense of it all.
The album's lead single, "Back to Basic," critiques society's obsession with being unique while delivering an irresistibly fun beat. "Lonesome is a State of Mind" beautifully captures the confusion and isolation that comes with growing up, while "Potion" slows things down as Djo searches for a genuine romantic connection. With its Grammy-nominated album artwork, The Crux proves that Djo isn't afraid to get personal while creating an album full of variety and heart. –Nadia Royal
Drop Nineteens: 1991
Starting 2025 strong, iconic shoegaze band, Drop Nineteens released, 1991, essentially a potent time capsule of an album, reigniting my love for shoegaze. Although they are best known for their album Delaware, this album truly takes the listener back in time to the initial demos they recorded. I am so glad that even after all these years, the Boston-based band decided to release this album. Filled with their groovy yet powerful baselines and psychedelic sonics, the band explores shoegaze and rock in a much-appreciated, abstract way. From the smooth and dreamy sounds of "Daymom" to the anxiety-inducing "Back in Our Old Bed," this album is a prime example of why musicians need to have creative freedom. As a big fan of Delaware, I would never say, "I wish that album never existed," but hearing Drop Nineteens' initial vision for themselves, I wonder what else could have been made. Prior to 1991, I didn't really see the connection between Drop Nineteens and other "shoegaze" bands like Slowdive, but now?! Are you telling me "Kissing the Sea" was not made by an EU dream-pop-rock band?
With that being said, I understand why they did not release these demos at the initial start of their career, because God forbid shoegaze has some whimsy to it. But man, this album was such an amazing experience. –Emma Cam
ENHYPEN: DESIRE : UNLEASH
ENHYPEN quite literally unleashes their desires in DESIRE : UNLEASH, following a supernatural concept of vampires delving into the wickedness of attraction. With futuristic pop-rock, it drives the message of dangerous temptations about falling in love while draining others like Dracula.
The first supper takes place in "Flashover" as you're blasted with EDM beats that signify the uncontrollable desire for romantic connection that overtakes your self-control. "Bad Desire" follows up with heavy pop and the self-awareness that your love will turn an innocent person into a vampire. If you were Dracula, you wouldn't be able to resist, as "Loose" slows down the tempo with soul-inspired beats and encourages giving in to your desires before the tension leaves. Feel-good, piano pop floods in as we pull back from selfish desires in "Too Close." Now, there's the realization that healthy love needs self-control before you drain your lover. There's beauty in yearning for someone, just don't be a vampire (please). –Julian Gonzales
Ethel Cain: Willoughby Tucker, I'll Always Love You
Through themes of longing and heartbreak, Hayden Anhedönia’s Willoughby Tucker, I'll Always Love You brings a poignant close to the narrative of her stage name and fictional character, Ethel Cain. In this album, Anhedönia explores the beginnings of Ethel’s relationship with her first love, Willoughby Tucker, capturing the tender innocence and quiet dread that precede the tragic events of Preacher's Daughter.
The lead single, "Nettles," is a folk-country ballad that frames Willoughby as Ethel’s escape from her family trauma and suffering, which, in hindsight, she sees as worth enduring, as it led her to him. “This was all for you,” she sings, a devastating confession that echoes throughout the haunting, shoegazey "Dust Bowl" and soul-crushing fifteen-minute closer, "Waco, Texas." Even the three instrumentals, composed of droning piano and distorted guitar, evoke the harsh realities of idealized love and inevitable loss—feelings that, though rooted in the story of Ethel Cain, remain deeply universal. –Sarah Yoo
FKA Twigs: EUSEXUA
FKA twigs shifts the game of music in her new album EUSEXUA. She explores the alternative sphere, delving into techno dance beats reminiscent of rave music. Despite sticking to an electronic vibe throughout this album, she adds her own twists that create a sound unique to FKA twigs.
This album plays with the idea of music in its entirety, treating production as an art as she experiments with manufactured and acoustic sounds. This sound is prominent particularly in “Drums of Death,” where her mixing is crafted so intricately that I can’t even picture how she’d put it together. Not only are these songs well-produced, but her lyrics carry impactful and relevant themes. In “Room of Fools,” she explores how club culture has become a means for escapism, describing people as open wounds and the nice feeling you get from dancing as a means to cope. These aspects combined create the masterpiece that is EUSEXUA. –Tasi Washington
Glixen: Quiet Pleasures
Like a caress in the dark, Glixen’s Quiet Pleasures is a textural descent into distorted tactile bliss. Conceived alongside producer Sonny DiPerri—notable for his work with the likes of My Bloody Valentine, DIIV, and Julie—this record encapsulates the growing presence of their distinct identity as a band. Blending a range of influences from Godflesh to Björk, the habitat of Quiet Pleasures is haunting, uneasy, yet bewitchingly intimate in its subtle tension.
"shut me down" opens the record; devoid of vocals, a maelstrom of fuzz echoed by thundering drums envelops the mix in an eerie gloom as the song’s intro rises into a crescendo like an imminent storm. Lyrically, vocalist Aislinn Ritchie explores veiled desire, devotion, and the allure of sensuality. She sings on the record’s final track, "lick the star," "Are you satisfied? / Cause it’s all I have / she wants a taste of the noise / forever drowning for more." –Julian Aguilar
Hayley Williams: Ego Death At A Bachelorette Party
No one does it like Hayley, Miss Williams (if ya nastyyyy), especially with her third and supposed final project under her name, Ego Death at a Bachelorette Party. From initially and cryptically releasing 17 tracks on her website, quickly removing them, to now, with the three extra tracks she added one by one, EDAABP is finally complete. As a solo artist, Williams previously explored themes of feminism, cultural upbringing, and love through lo-fi and folk-filled melodies. However, EDAABP is filled with pop, rock, R&B, and punk elements, and if you couldn’t guess by now, I love… experimental music. Beginning with the first track, “Ice in my OJ,” something about Williams starting a solo project, angstily shouting “I’M IN A BAND, I’M IN A BAND” with a distorted voice, you just know this album is not just a composition of songs, but literally a work of art.
Not only does her voice have range, but also her lyrics. In her American Gothic track “True Believer,” Williams pays homage to Billy Holiday’s “Strange Fruit” and her Southern upbringing with profound lyrics like “The South will not rise again / Til it's paid for every sin Strange fruit, / hard bargain Till the roots, / Southern Gotham.” When I first heard this song and saw her perform this on Jimmy Fallon’s Tonight Show with an all Black orchestra, I literally got chills. Then we have her tribute to Sofia Coppola’s Lost in Translation in “Dream Girl in Shibuya,” where lyrics like “Hate that you've already seen / Every bad side of me / … Came back more kawaii / We could pretend it's our first time” with a dream pop melody explored a toxic relationship where the girl tries to change herself to appease the man. If this wasn’t enough to tell me about her and Taylor Yorke (whom I still love), the final three tracks were. There is truly so much that Williams unveils about herself, her values, and her past in this project. She will always be the biggest star, not just in this racist country singer’s bar, but in my heart. –Emma Cam
Japanese Breakfast: For Melancholy Brunettes (& sad women)
Known for her music as Japanese Breakfast, Michelle Zauner's 2025 album, For Melancholy Brunettes (& sad women), explores the beauty of… well… melancholy. Although Zauner traverses variety within acoustics, tempo, and genres in this album, it is much shorter than previous projects and sonically more laid back. This is not a bad thing; rather, it allowed Zauner to hone in on a lyrically experimental album. Ranging from grungy “Honey Water” to the eclectic “Picture Window,” the album is, at its core, a stepping stool for this band’s artistry.
The poetry of this album can literally be explored by its usage of poetry. For example, “Leda” explores the exploitative and manipulative relationship between men and women, akin to Zeus and Leda. Complimenting the soft melodies of the song with slowly sung lyrics like “Oh, you always take it way too far / Is it the bottle or blood? I can't relate to you at all,” uses the Greek tragedy of Leda in respect to a modern-day woman experiencing a man in her life succumbing to alcoholism and violence. Nonetheless, this album's leading track, “Orlando in Love,” retells the poem of Orlando Innamorato, whose themes of desire, corruption, and temptation perfectly encapsulate this introspective project. –Emma Cam
Kali Uchis: Sincerely,
Sweet, sensual, sultry—what more could you ask for from Sincerely,? A beautiful, heartfelt album that brings you to tears, Kali Uchis does it again. Her third consecutive top ten album, Sincerely, is a testimony to softness and an ode to the most important thing in life: love. The project consists of love letters to your loved ones; a song for each love in your life.
Flow from song to song because this is Kali’s most cohesive album to date. Unplug for fifty minutes, and let your mind seamlessly move through the tracks and indulge in the airy, ethereal wavelengths that will heal your soul. Be ready to visit the deepest depths of your heart because this album will make you feel it all. –Katelyn Villon
KPop Demon Hunters Cast: KPop Demon Hunters (Soundtrack from the Netflix Film)
The animated musical sensation Kpop Demon Hunters, which took Netflix by storm, broke countless records as No. 1 on the Billboard Global 200 and US Spotify. HUNTR/X claimed the place of the highest charting K-pop girl group in US Spotify history, while Saja Boys became the highest charting K-pop boy group. It’s hard not to sing along when each track is undeniably catchy and contagious. The opening sequence with “How It’s Done” hooks you in with its high energy, and then “Soda Pop” follows with its addictive chorus. “Golden,” which secured the No. 1 spot on the Billboard Hot 100 Chart, steals the show as HUNTR/X’s anthem with its uplifting lyrics and soaring high notes. With its well-crafted, addictive melodies, the soundtrack succeeds in weaving an iconic collection full of K-pop charm and colorful storytelling. –Jamie Lim
Laufey: A Matter of Time
Laufey’s third studio album, A Matter of Time, is a magical concoction of jazz, bossa nova, and dreamy classical pop. “Clockwork”—done in jazzy Laufey fashion—and “Lover Girl” introduce the album, carried by rich, deep vocals and confessions of hopeless romance. “Snow White” then captures the frustration of comparing oneself to what society perceives as feminine perfection in a slow, heartbreaking ballad. With each track, Laufey moves away from that hopeless romantic persona, such as in the song “Mr. Eclectic,” poking fun at her pretentious past-lover. Throughout the album, Laufey maintains her fairytale-like sound while delivering gut-wrenching lyrics, cinematic vocals, and playful harmonies. –Jamie Lim
Lorde: Virgin
Virgin is an album so raw that it feels slightly invasive to listen to, but given the cover art, it seems as if that was the point. Here, Lorde lays herself bare (literally), unapologetically letting go of the patterns that once defined her and stepping into a self that is finally hers to embrace.
In the electrifying tracks "Man Of The Year," "Favourite Daughter," and "Broken Glass," Lorde tackles complex themes of gender fluidity, generational trauma, and body image, backed by stabbing synths and powerful, chilling vocals. On the album’s cinematic closer, "David," Lorde cries, "I made you God ‘cause it was all / That I knew how to do / But I don’t belong to anyone," a vulnerable, yet striking revelation that reclaims her identity as her own. –Sarah Yoo
Love Letter: You Look Good In Red
Birthed in the writhing melting pot of SoCal’s DIY Scene, Love Letter’s sophomore LP You Look Good in Red exudes the ethos of its origins. Synthesizing elements of screamo, post-hardcore, and traditional hardcore with vulnerably melodic indie rock hooks and acoustic interludes, the LA three-piece explores the seething heartbroken fury of loss and the gentle pain that remains in its wake.
The album’s lead single, "Lie To Me," sets a precedent of gargantuan proportions; reluctant longing, mistrust, and resentment are punctuated by guttural yells and frenzied palm-muted guitar lines as lead singer True Bonewitz reflects on a past relationship marred by lies and betrayal—all culminating in a hazy halftime breakdown as the song closes out. Track two, "My God It Was Wonderful," stands out in particular for its emotional impact. As the song explodes into its chorus, Bonewitz laments, “I’ll pray till the day that I’m dead that in the afterlife we’ll fall in love once again,” a fittingly tragic line for a song that explores an all too familiar hesitation to forget. –Julian Aguilar
Not for Radio: Melt
Maria Zardoya, lead singer of the indie pop band The Marias, makes the surprising decision to separate from the band to create the alias, Not for Radio. She debuted with the album Melt, which retains the psychedelic pop aspects of her previous works but has a distinct sound to set it apart.
This was one of my favorite albums of 2025, becoming an immediate addition to my record collection. It held similar themes to her previous works, but twisted them into more intriguing ideas, such as in “Not the Only One.” This song grabbed me immediately, discussing a love triangle where the speaker longs for someone they shouldn’t, seeking him in someone who is potentially better. For something more audibly fascinating, I really enjoyed listening to “Back to You.” The production of this song feels like those ASMR TikTok lives, sending tingles through my brain. In this album, Maria works well to create her own sound while discussing topics she is passionate about in a new way. –Tasi Washington
Oklou: choke enough
A fusion of experimental elegance and digital soundscapes, Oklou’s choke enough is a dynamic, textural record pushing the bounds of electronic music. Through its synth-heavy production, trance-like ambience, and rhythmic fluidity, the project is an emotionally complex yet ambiguous collection of songs that offers a welcome change of pace from the current glitchy, hyperactive electronic scene.
From its collaborations with Bladee and underscores on “take me by the hand” and “harvest sky” to singles like “blade bird” and “family and friends,” Oklou’s gentle vocal delivery and subdued production echo a captivatingly ominous yet compelling charm. Nevertheless, it is this hazy mystique sprinkled throughout each track that makes the record all the more entrancing. –Megan Hirao
Olivia Dean: The Art of Loving
Olivia Dean’s sophomore album, The Art of Loving, catapulted her to mainstream stardom, and for good reason. With soulful honesty, quiet tenderness, and Dean’s warm vocals, the album immerses you in an exploration of every facet of love.
Its breakout hit, “Man I Need,” glows with transcendent, giddy energy, while tracks like “Something Inbetween” and “Let Alone The One You Love” lean into dreamy keys to navigate the desire for a gentler, more negotiated love—one in which two people support each other without losing themselves. Blending neo-soul and pop influences, Olivia Dean delivers a wholesome and rom-com-coded body of work that feels beautifully intimate and heartfelt. –Lola Dogat
PARTYOF2: AMERIKA'S NEXT TOP PARTY!
What’s better than a party of one? A PARTYOF2! Duo Jadagrace and SWIM bring bangers and party culture back with their debut. There are no skips on AMERIKA’S NEXT TOP PARTY! and every song on the eleven-track project is a certified hit (in my book). Each track is this beautiful meshing of sonic elements that scratches my brain in the best way possible. The vibes from this album are absolutely irresistible, and we need to take a second to appreciate how perfect Jada and SWIM build upon and complement each other in vocals, attitude, and artistry. This project expands past its sonic elements and into testimonies of vulnerability, rawness, and their truths. I truly cannot get enough from this project and from this duo, and I have to give flowers to PARTYOF2 and AMERIKA’S NEXT TOP PARTY!. –Katelyn Villon
PinkPantheress: Fancy That
PinkPantheress’ newest album, Fancy Some More?, is a collaborative expansion of her latest mixtape, Fancy That. Pink’s high-paced drum and bass style collides head-on with a wave of early 2000s nostalgia to create a new sound altogether. Hearing the collective demand for songs over 60 seconds, Fancy That marks PinkPantheress’ longest album yet at 20min 33sec, and Fancy Some More? absolutely blows any other of her records out of the water, coming in at 1hr 32mins. Pinkpantheress’ style and sound have come a long way since her breakout in 2021, with Fancy That having propelled her to superstardom.
The lead single, "Illegal," starts off quietly, sampling "Dark and Long" by Underworld for a classic drum and bass feel. “Illegal” then quickly is swirled up by her classic pop sound to set the tone for the album: confident, adventurous, and ready to dance. Following this, "Tonight" and "Girl Like Me" keep this confident feeling going with hazy synths and echoed vocals, pierced by upbeat drum and bass backings, making for a consistent feel throughout the album without feeling repetitive. The final song, “Romeo,” ties a bow on the record. With a classic pop hook, PinkPantheress closes an album that's perfect parts old and new, nostalgic and futuristic, and perfectly her. –Alex Curwen
Sabrina Carpenter: Man's Best Friend
While some have called it “no Short n’ Sweet,” this sleeper album will sink its claws into you if you give it a chance. It ranges from instant classics like “Tears” and its Rocky-Horror style music video to “When Did You Get Hot?,” the song I cringed through upon my first listen. But sitting with the album and accepting its unseriousness is a crucial part of allowing yourself to enjoy it! Unlike some blonde white woman who dropped albums this year, Sabrina can make a banger record and take a joke while she’s at it—just check out the chorus of “Go Go Juice,” and you’ll understand. Before you dismiss this pop star’s latest release, give her center spread a chance; “Sugar Talking” through “Never Getting Laid” are unequivocally peak. –Elizabeth Owens
Sleigh Bells: Bunky Becky Birthday Boy
Bunky Becky Birthday Boy (BBBB, for simplicity’s sake) is a markedly fun listen, especially for fans of Sleigh Bells’ 2010 cheer-inspired album, Treats. Like most of their previous records, Sleigh Bells’ BBBB sits at the junction between pop and metal; reminiscent of flashy glam metal sounds of the 1980s, yet equally characterized by its more modern, hyper-paced, and noisy layering. BBBB tastes like bubblegum and feels like being blown up by Marty McFly’s amp.
Tracks like “Badly” contrast Mötley Crüe-esque sounds with hyperpop inclusions and bright vocals, reminding listeners that the current noise-pop landscape has largely been cultivated from Sleigh Bells’ discography. The album’s intentionally vacant lyrics leave plenty of room for the loud-yet-well-contained mess that is Bunky Becky Birthday Boy. –Michelle Gao
Smerz: Big City Life
From the romanticised train ride home to the monotony of daily routine, Big City Life by the Norwegian duo Smerz soundtracks the two-sided glamour and intimacy of urban existence. With its moody blend of atmospheric pop and trip hop, the record’s introspective reimagining of city living flickers between moments of commotion and allure while recounting narrative fragments of the metropolitan lifestyle.
The album’s breakout track, “You got time and I got money,” echoes these snapshots of urban living as it touches on themes of romantic passion while sonically evoking the ambience of a rainy walk back home. Other singles from the project, such as “Feisty” and “Roll the dice,” express similar sentiments that ultimately coalesce into a cohesive record transportative to a night out in the city. –Megan Hirao
The Weeknd: Hurry Up Tomorrow
In The Weeknd’s recent album Hurry Up Tomorrow, he defies my expectations. Going into the album, I expected him to stick to his electropop sound, and I’d be right. The only thing was, he works with his sound in new and intriguing ways that had me hooked.
Honestly, I usually don’t enjoy The Weeknd’s music, but I got put on to this one by a friend. Immediately going into the album, I was hooked by “Wake Me Up.” It begins with his usual sound, but an orchestration looms in from behind. Once the new sound hits its peak, it's almost like the Weeknd himself is carrying me to the gates of heaven. Another song that kept me listening to the album was “Sao Paulo.” I couldn’t help but bump to this sound; the beat alongside Brazilian-inspired sounds created a song to get you moving. –Tasi Washington
Toby Fox’s long-awaited continuation of Deltarune Chapters 3+4 takes us on a journey through darkness and friendship, featuring 78 new bangers, '80s game show nostalgia, a plethora of mini-games within a mini-Zelda adventure, and so much more! "It’s TV Time!" captures the enthusiasm of TV show host Tenna while delivering punchy 8-bit sax combined beats. "Ruder Buster" also somehow got ruder, with jazz-styled breakdowns carried with more confidence and smoothness.
Fox also includes many fun leitmotifs that bridge storylines and characters, drawing from the previous Deltarune chapters and Undertale. One exciting motif that came towards the end of Chapter 4 is "It's Raining Somewhere Else" and "The Place Where It Rained," which piques the curiosity of Sans’s connection between the respective alternative universes. –Jamie Lim
TOMORROW X TOGETHER: Starkissed
It's time to go star gazing as K-pop group TOMORROW X TOGETHER draws inspiration from constellations in their third Japanese album, Starkissed. The record involves euphoric beats that launch you to the stars and allude to the feeling of growing closer to your relationships before they disappear.
Full of '80s synths I can't stop listening to, "Can't Stop" features dreamy lyrics while drowning in intoxication to keep a romantic moment before the feeling drifts. These themes are explored further in "Where Do You Go?" and "We'll Never Change," which emphasize that change won't affect their relationship. Straight out of an anime opening song with hardcore pop-rock, the narrative progresses in "Rise" as they must go beyond the stars instead of staying in the moment—seemingly finding strength to forge ahead. Perhaps this is the sign to wish on a shooting star and wish for a K-Drama relationship. –Julian Gonzales
Twenty One Pilots: Breach
After the hype garnered from Clancy, Twenty One Pilots finally—truly—concluded their decade-long storyline in this cover-to-cover gold release. Breach, much like Clancy, is an undeniable love letter to the fans who have seen the Banditos through, with callbacks reaching as far back as Vessel (a “Migraine” reference in 2025?). The cinematography of the “City Walls” music video is not to be underestimated. From a long-time fan of their music, if not a committed fan of the lore, this album felt like rediscovering TØP for the first time. It’s made by its epic compositions like “The Contract” and “Tally,” but don’t underestimate the slower hits like “Center Mass” and “One Way.” The sound may be reminiscent of Blurryface with its gritty, jumpy beats, but Breach stands alone in its artistry. Goodbye Clancy, and hello to a new chapter of the discography. –Elizabeth Owens
Tyler, the Creator: DON'T TAP THE GLASS
Body movement, only speak in glory, don’t tap the glass: three rules that cannot better encapsulate the entire experience of DON’T TAP THE GLASS. Who wants fun, dance, energy? I know I do! And that’s what we all got on July 21st—the perfect album to harness that summertime energy. Following in its older brother’s footsteps, CHROMAKOPIA, DON’T TAP THE GLASS breaks all conventions of Tyler’s music history, and it’s beautiful. This project represents vibrancy and catharsis. Although only twenty-eight minutes long, the album is packed with a punch. Hit after hit, Tyler does not miss. If we should learn one thing from this album: forget what they all have to say, and be you to the fullest extent you can. –Katelyn Villon
