Another year (almost) gone and another year of fantastic releases. As always, here at Louder Than War, we have put our hive mind together to come up with a rundown of our top 100 albums of the year. From fantastic debuts to continued resurgences of the old guard, 2025 has given us so many to choose from. There were acts that pushed the musical boundaries, clashed the modern with the traditional, left no socio-political stone unturned, or simply produced some of their finest work to date, helping us block out the noise and focus solely on what we love: the music.

All in all, over 200 albums were voted for by our writers and, as always, it was a tough task to get it down to the top 100. It was a tight early battle between the final top three, but, as the votes rolled in, there was only one clear, runaway winner.

So, here we are, the Louder Than War Top 100 Albums of 2025.

100. Ty Segall: Possession
(Drag City)
Having long stepped away, although never say never, from his cranked garage beginnings, Ty Segall has swept across many styles, briefly landing and picking what he wants before taking flight once again. Across all that, Possession just might be his most satisfying destination. An album soaked in classic sounds of yesteryear: grounded, earthly, and yet with its sights firmly set skywards.
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99. Lily Allen: West End Girl
(BMG)
Eschewing the tabloid focus to strip everything back and bare her heart, Lily Allen has crafted an album that, through its clearly open wounds, details a relationship breakdown like few albums have before. It is vulnerable and yet still teaming with moments of strength, the knife going deep before the twist.
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98. Jim Bob: Automatic / Stick
(Cherry Red)
The prolific poetic mind of Jim Bob arrives with two fine examples of his exemplary talent, spread over two platters of melodic pop punk anthems only the man himself can produce. Accept no imitations. Jim Bob is still banging out stuff that is relevant to these times, with the same old wit and wisdom he’s carried over his career of ups and downs.
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97. Shapes Like People: Ticking Haze
(Jangleshop)
The beauty of the album is that there is such a variety in the tracks; however, they hang together perfectly in their wonderful blend of gorgeous, jangly dreampop. Tickling Haze evolves the style and flavour of Carl Mann’s previous work, but it is his wife Kat’s vocals that are the real treasure here, taking this release somewhere else.
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96. Zack Keim: Battery Lane
(Action Weekend)
The music skips into a trippier psych, laid back, off the beat and stumbling through a summer-spun haze. It’s there on Incredible, the guitar line following the lush melody of the harmonies as Keim croons over the top. All together it proves that versatility is his key, his way to open your heart and pluck at the strings that have you yearning for a simpler time, a sunnier time, an evening stroll down Battery Lane.
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95. Suzanne Vega: Flying With Angels
(Cooking Vinyl)
Over the years, Suzanne Vega has broadened her musical scope while maintaining the acuity of her mostly first-person observations. Now, with her first studio album in nine years, Suzanne Vega crams witches, prophets, outlaws, chambermaids and rats into a diverse collection that goes where folk-rock normally fears to tread.
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94. pyncher: Every Town Needs A Stranger
(Cracked Ankles)
A journey through the deep south of both America and the UK via Salford and Withington Baths, this magnificent collection of songs is designed to be played on a loop with the utility of an appropriately large bass bin. Partly, its magnificence comes from the egalitarian approach to songwriting and influences, where the criteria seem to be that there’s no criteria at all.
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93. Pete Bentham & The Dinner Ladies: Art, Religion & Chocolate Biscuits
(9×9)
In a world gone mad, Pete Bentham and the Dinner Ladies Art, Religion and Chocolate Biscuits theatre of the absurd just makes sense. Always communal rather than confrontational, the adrenalized outbreaks of pure glee remain, while the weightier offerings stretch their ‘Kitchencore’ apron strings. Humour in music, just like writing, can always go wrong but there is always hope with Bentham as the Dada Daddy.
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92. Soulwax: All Systems Are Lying
(Deewee)
A relentlessly exciting listen that feels like being plugged straight into a futuristic club mainframe, Soulwax fuse jagged electronics, chopped vocals and industrial grooves into something razor-sharp and addictive. It’s less an album and more a high-concept rave for listeners who love bold, boundary-pushing dance music.
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91. Marie Davidson: City of Clowns
(Deewee)
A stark, noir-tinged album that turns late-capitalist burnout and urban dread into something strangely seductive. Blending minimal electronics with heavier, club-leaning moments, a mood that’s equal parts art-house soundtrack and after-hours warehouse set, it’s a demanding listen, but, if you’re in the mood for something dark, conceptual, and emotionally raw, City of Clowns is a powerful and unnervingly immersive experience.
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90. Low Girl: Is It Too Late To Freak Out?
(AWAL)
Low Girl have crafted an album that confidently and unashamedly expresses a gamut of emotions whilst traversing a number of styles. Whilst at times the subject matter, whether referenced directly or obliquely referenced, can be dark or haunting, there is always a sense of optimism, a sense of hope. Is It Too Late To Freak Out? is hopefully the first of many long-form peaks for the Hertfordshire-based quartet.
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89. Ethel Cain: Willoughby Tucker, I’ll Always Love You
(Daughters Of Cain)
She has more than earned the right to this kind of iconography; as a transgender woman from a Baptist family, she has walked through fire and brimstone to be here, delivering songs replete with unvarnished emotional truths. The brooding southern Gothic atmosphere of her Floridian upbringing stretches out, imbuing it with moody, slowcore stylings. Her songs reward patience, unfurling their sonic and thematic landscapes slowly.
LIVE REVIEW // BUY HERE

88. Autocamper: What Do You Do All Day?
(Safe European Home/Slumberland)
Autocamper are like a breath of fresh air, and one of several bands who have picked up the proverbial gauntlet to keep the jangling end of indie music alive. It would be lazy to reel off the band many influences, and would do them a disservice; you just need to listen to What Do You Do All Day? to appreciate they clearly have an impressive collective knowledge of what’s gone before but also with an eye on the future.
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87. An Slua: Sure Look It
(Distr-Oi!)
Musically they draw on a range of influences, but centred round a heavy thumping fast take on Oi. It’s in the raw vocals, the terrace roar of crew choruses and the pounding drums- the incised guitar attack of AC/DC, the power chords of Steve Jones and that 12 bar blues riffing of Cock Sparrer/Status Quo (take your pick), albeit heavier and darker. Everything sounds pushed into the red, so you get the full ferocity.
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86. Tropical Fuck Storm: Fairyland Codex
(Fire)
The band’s DIY approach, creating sonic tapestries that depict the dystopian world through which we sleepwalk, while still, occasionally, offering us a glimmer of hope that we can come out the other side, has resulted in a shift in focus that proves just what we already knew. There is no background music here, no distraction, no second screen scrolling. Fairyland Codex is a journey, an album that demands attention from start to finish.
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85. Stereolab: Instant Holograms On Metal Film
(Warp)
Instant Holograms on Metal Film plays like Stereolab’s graceful victory lap: concise, groove-driven, and quietly adventurous rather than loudly experimental. Sadier’s vocals remain the emotional anchor, cool and airy, threading soft political and philosophical undercurrents through hypnotic patterns that reward deep listening with tiny shifts in arrangement and texture.
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84. Humour: Learning Greek
(So Young)
Not only have Humour met expectations with Learning Greek, they have exceeded them. The emotional content and impactful lyrical content is matched by the music. It’s powerful, heartrending, personal and exploratory. If this is what we get waiting for their first album, then the world, and not just Greece, is Humour’s oyster.
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83. Everson Poe: Enough Is A Myth
(Fiadh)
Enough Is A Myth is an album that works on numerous levels, and while it’s a lot to take in, it really does deserve your time and attention. Fans of Hellraiser, doom metal and goth will be equally mesmerised. Everson Poe remains an utterly fearless artist and possesses a sound that continues to surprise and challenge the listener. After 17 albums, that really is an impressive feat.
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82. Deep Sea Diver: Billboard Heat
(Sub Pop)
With their fourth album, Billboard Heart, Sub Pop-signed Seattle indie-rockers Deep Sea Diver are in contention for Album of the Year. Standout track What Do I know showcases frontwoman Jessica Dobson’s captivating singing, with echoes of peak Patti Smith, while her impassioned guitar-playing nods to Radiohead and Yo La Tengo. Skilfully combining ear-worm melodies, propulsive riffs and arresting lyrics, Billboard Heart is one of the must-hear albums of 2025.
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81. Citric Dummies: Split With Turnstile
(Feel It)
Blistering, fast-as-hell punk rock and a departure from their previous more “Danzig-esque” album, Citric Dummies move toward a faster, more hardcore sound, prevalent to those excellent US bands of the early-80s. Split With Turnstile is not actually a split album with the band of that name, it’s a clever marketing ploy. The album is full of punchlines; humour at a full-on frantic pace that leaves you breathless and wanting more.
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80. Nervous Twitch: The Day Job Gets In The Way
(Spinout Nuggets)
Nervous Twitch effortlessly blend punk with Indie Pop, with their new album showcasing their own particular flavour of first-wave CBGBs’ punk meets scuzzy C-86 pop, singing tales of joy and feelings of frustration, with sharp character observations…‘if it ain’t broke, don’t fix it’.
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79. Rhoda Dakar: Version Girl In Dub
(Sunday Best)
Alongside princess Hollie Cook, Rhoda is the Queen of UK Pop Reggae and these Dub versions are an absolute joy. Timeless songs reassembled and filled with space and love and echoes that reverberate across the decades. Sometimes, all you need is Dub.
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78. Teenage Waitress: Upstairs To Finish A Dream
(Blackstar)
With Teenage Waitress the musical landscape changes from track to track. This is a soundtrack to a film Daniel Ash which is playing over and over in his head. It leaves you feeling like you’ve been on a journey. You’ll not be quite sure where the journey has taken you but you’ll want to go on it again.
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77. SumWot: Over The Line
(Self-release)
After a storming appearance at Rebellion Festival, Black Country-based SumWot release their debut album, Over The Line. With Black Flag, L7 and Joy Division as along with Post-Punk and RiotGrrrl movements as influences, the band are definitely ones to keep a close eye on.
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76. Hollie Cook: Shy Girl
(Mr Bongo)
Hollie Cook’s default setting is her smile. Somehow that smile embeds itself at the very core of her voice, her songs and her music. Hollie Cook is majestic – the modern-day queen of Lovers Rock. God Save Her… and her friends & family. Shy Girl really is beyond criticism, and Hollie Cook is making exactly the music that she wants to make.
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75. The Long Decline: Moribundiing
(Gnu Inc.)
A cult band who should be… a better-known cult act like say, Daniel Johnston or The TV Personalities, sharing as they do, some of the same wayward sensibilities and insights. A strange and wonderful album for strange and wonderful people to enjoy. People who are part-hippy, part-punk, part-commie and totally Bonobo-like humans. The kind of people that the Artist Formerly Known As Kenny Wisdom and I like.
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74. Olivia Cuttill Quintet: …And Writing And Singing And Tunes To Be Swingin’(Olivia Cuttill Music)
On…And Writing And Singing And Tunes To Be Swingin’, Olivia Cuttill and her Quintet offer a beguiling musical palette that gives us a thoroughly modern take on the creative freedom, all through a jazz-based approach. Improvisation and being open to where the groove of the music takes you are their calling cards.
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73. FKA Twigs: Eusexua
(Young)
If pop was once about the thrill of the new and the pleasure in the unexpected, then FKA Twigs’ future pop still has the power to shock and surprise and plant you into a Bladerunner sci soundscape and put the flesh back into the machine. She defines groundbreaking with sounds you didn’t even know you needed. So there is a future!
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72. Lambrini Girls: Who Let the Dogs Out
(City Slang)
Songs that are a great testament to the live shows we’ve been witnessing the past couple of years that are fired out with confidence, venom and convincing vocals that and delivered like an argumentative, stroppy teenager winning an argument with a stressed-out parent over the kitchen table for the fiftieth time.
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71. The Headcoatees: Man-Trap
(Damaged Goods)
This really is the Headcoatees’ ‘finest hour’ and ‘career-best’ – because the garage joie de vivre is still there, but so is the depth of Childish’s more recent songwriting. So are the inspirational covers, and the punk rock energy and shadow of death are never far away. A most welcome return from the Medway’s Shangri-La’s.
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70. Davey Woodward: Mumbo In The Jumbo
(Last Night From Glasgow)
A bit lazy-hazy, laidback and lo-fi…. A strange set of song ideas and stories. Songs that are odd reveries about childhood, relationships, outsiderdom and the poet-rocker narrating, channelling Dylan, Reed and Bolan to the max..  a slow-burning, ‘grower’ and an idiosyncratic work by a great, underrated artist.
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69. The Delines: Mr Luck and Ms Doom
(Decor)
The words and music turn everyday struggles into something tragic and inevitable. It’s the astonishment of music that in 3 or 4 minutes a whole beautiful story can be woven. They raise country soul to an art form – this has a lot to do with Vlautin’s mastery of words – but it has a lot also to do with the musicians and that voice.
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68. Spear Of Destiny: Janus
(Eastersnow)
Spear Of Destiny have successfully rewritten their past once again. The songs sound more cohesive, a true representation of the quality of the songwriting. Thankfully, Kirk Brandon has stuck to his convictions and, with the talents of his band, has finally been able to deliver two albums as he originally intended them to be captured.
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67. Melvins: Thunderball
(Ipecac)
With Thunderball, Melvins have achieved that elusive thing; appeasing the nostalgic hardcore who are itching to relive those golden memories of their youth but also contemporary listeners, unfamiliar with the band, who will just dig those heavy riffs – afresh – like the fat old Heads at the back once did. Even though appeasement would never, ever, be part of Melvins’ agenda.
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66. mclusky: The World Is Still Here and So Are We
(Ipecac)
The World Is Still Here And So Are We is an angry, amused and much-welcome return. They haven’t reinvented the wheel but sometimes dousing said wheel in gasoline and riding it into battle while screaming about dickheads and horse thieves is all you really need. And yes, their band is still better than your band. Good to have ’em back!
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65. Knives: Glitter
(Marshall)
Near every song is a monstrous assault on the ears. An album driven by the vocals that increase the euphoric nature of each song whenever the rest of the band join in, which is where Knives’ songs hit the spot.
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64. Deathretro: The Art of Collision
(Cosmic Glue)
Honing their considerable alt-rock/ post-punk skills while expanding their musical horizons, The Art of Collision is a real dark gem. Where they take us next is anyone’s guess, but Deathretro continue to impress with an album that feels lean, explosive and adventurous.
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63. Gina Birch: Trouble
(Third Man)
Raincoats veteran Gina Birch arrives back on the scene with her second album, a bold step from her solo debut. She has come up trumps with another fine album of weird and wonderful that isn’t easy listening at first, yet grows and grows. A masterpiece of modern art for adventurous music lovers.
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62. Chameleons: Arctic Moon
(Metropolis)
Arctic Moon has a good claim to be Chameleons’ best album yet: it has breadth, maturity, sophistication and not a single weak track. Time to stop thinking of them as “coulda been contenders” – they’re back in contention now, with an energy that shames many a younger band.
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61. Ludovico Einaudi: The Summer Portraits
(Decca)
Einaudi’s music has transcended its classical roots, attracting a broader audience and potentially detracting from the experience for traditional classical music enthusiasts. It is easy to see why, he has a knack for haunting melody and for beautiful musical drama that can appeal to lovers of music across the genres. The Summer Portraits is a moment of beauty and calm in our loud days. It would fit equally well at a Café Del Mar sunset as it would soundtrack a Lars von Trier film or unwinding during a stressful time. It is exquisite, delicate and stirring.
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60. John McKay: Sixes And Sevens
(Tiny Global)
A reminder of what’s possible when musicians treat culture as a site of struggle rather than a set of permissions. A call, perhaps, to make things harder again. To be challenging. To be ambitious. To believe, once more, that nothing is too good for the common man.
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59. Jehnny Beth: You Heartbreaker, You
(Fiction)
This second solo album is a relentless nine-song rematch. From the opening round, which starts with Broken Ribs and ends with I See Your Pain, you’re slammed repeatedly by low bass blows and edgy guitar jabs. Constantly on the ropes, you feel unlikely to ever get a respite. Beth screams, “I’m no good for people,” as she delivers a devastating soundtrack that leaves you breathless, exhausted, and utterly exhilarated.
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58. Brian Bilston and the Catenary Wires: Sounds Made By Humans
(Skep Wax)
For poetry enthusiasts and lovers of classic ‘indie-pop’ from the 80s and 90s, this is a match made in heaven. Pop music for grown-ups with humour and pathos and a socio-political core. About loneliness, love, loss, laughing at life’s absurdities, Englishness, the mystique of solicitude, it will make you laugh, cry, and make you feel less alone…. What more can you ask for from sounds made by humans?
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57. The Lovely Basement – Lowlands
(Precious Recordings of London /  No Aloha)
You have to let the relaxed gentleness of The Lovely Basement groove literally slow you down, lower your blood pressure as you recline on the couch. They don’t demand your attention in a brash way, more whisper in your ear. But they are not just ‘easy-listening’ – there is a lot of content and wisdom in these songs. This is The Lovely Basement’s best album yet.
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56. FACS: Wish Defense
(Trouble In Mind)
In what marks Steve Albini’s final recorded work, FACS returned with a dangerous yet hypnotically seductive journey into self-reflection, taking their meditation on modern existence and individuality to new depths.
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55. Band of Holy Joy: Scorched Jerusalem
It is the Band Of Holy Joy’s darkest, bleakest album for a long, long time, if not ever and yet it still inspires and is a brilliant work of impressionistic yet expressive art. If you know the band’s back catalogue, the album is still a surprise as there are programmed drums instead of a drummer. Drum’n’bass beats and bleeps as well as guitar and strings. An airy production with vocals at the forefront. It’s a different kind of Holy Joy. An angry and despairing one to begin with.
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54. Big Special: National Average
(SO)
Big Special have created an album here that uses their original blueprint from Post Industrial Hometown Blues, yet smashes it to pieces with a dark and exhilarating album that challenges the brain with some pop moments a la Yard Act without the poncy art bollocks. Game on…
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53. The Lovely Eggs: Bin Juice
(Egg Records)
The Lovely Eggs marked their 20-year career anniversary with the self-deprecatingly titled ‘Bin Juice’, a collection of self-recorded outtakes from the ‘Eggsistentialism’ album, alongside some rare B-sides all wrapped in some eye-popping Casey Raymond artwork and a black plastic bin bag…but as we all know “one man’s rubbish is another man’s gold!
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52. Care Home: For Nothing
(Endless Hum)
For Nothing is a 53-minute hardcore goth-punk opus. Pouring their sweaty, punk-rock souls into these songs for the last few years has helped Care Home to create a debut album that more than lives up to the anticipation.
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51. Boko Yout: Gusto
(Hoopdiggaz)
Clocking in at just under 35 minutes and with 13 short sharp tracks under its belt, Gusto is an album that absorbs myriad musical genres, moulding them together into a sound that feels both utterly familiar, yet strange and beguiling in equal measure.
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50. Today Is The Day: Never Give In
(Supernova)
Today Is The Day have delivered a career-best in Never Give In. It’s a mature, enthralling and, well – immaculate – implementation of sincere multidimensional horror. There is a profundity to it that I just haven’t heard in much else, for what seems like the longest time. It is art, in the truest definition of the word.
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49. Frankie And The Witch Fingers: Trash Classic
(Reverberation Appreciation Society / Greenway)
Frankie And The Witch Fingers return with a wildly mutated take on their fierce proto-psych-punk on an album that no doubt lives up to its name. They have expertly captured a world spinning blindly out of control. This is an ode to a society adrift on the ocean of distraction, scrolling through influencers selling unattainable lifestyles. The tech-bros have sold us a lie, their visions turning back on us to take what dignity we have left.
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48. Armoured Flu Unit: Carnyx
(Grow Your Own)
There’s no pussyfooting going on here… Armoured Flu Unit haven’t laid down the gauntlet, they’ve smashed it into smithereens. It’s a GBH of the senses as Carnyx knocks you senseless. Balanced to perfection with the result being a brutal sonic assault, it is a MUST-OWN album. It’ll educate, entertain, inspire and anger you.
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47. Mavis Staples: Sad and Beautiful World
(ANTI-)
At the grand old age of 86, Mavis Staples is still in her prime. Sad and Beautiful World is full of heavy soul grooves, tender soulful ballads and acoustic croons. And that voice, that voice is still as loud, as quiet and as affecting as it ever has been. 86 and still top of the class. Both she and her new album are, quite simply, classics.
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46. The Divine Comedy: Rainy Sunday Afternoon
(Divine Comedy)
Chamber-pop maestro Neil Hannon shows his sombre side on his first standalone studio album of the 2020s. It’s an affecting set of well-orchestrated songs that can bring consolation to the gloomiest hours. A bittersweet collection of songs that, subdued as it often is, has the salutary effect of confirming and strengthening our humanity.
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45. Jessica Winter: My First Album
(Lucky Number)
Treat yourself to some refreshing well-produced Pop music and before you know it you’ll be standing in a room one day at a huge party with a balloons, bucket loads of glitter and some flashing lights to compliment the amazing collection of songs some of us are already falling in love with that Jessica Winter has provided us with.
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44. Yungblud: Idols
(Island)
Up until now, his heart has always been bigger than his music, but this is Yungblud becoming the rock star that’s needed, and that he needs to be. That no-filter attitude, a self-created framework to work within, is starting to pay off. The semantics of change are an anger, an energy, a million tiny revolutions.
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43. Heartworms: Glutton For Punishment
(Speedy Wunderground)
Heatworms’ striking debut album is a modern classic, fusing post-punk, darkwave and electronic influences into nine edgy, tension-filled tracks. Never shying away from the thorny issues of the day, it tells its tales with a theatrical flourish. For all of its intensity, it delivers a compulsive floor-filling danceability that should have packed the smoke-filled dancefloors of any good alternative club night.
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42. The Dirt: Monkeypunch
(Sister 9)
Sonic sidekicks Jack and Sachiko (aka The Dirt) return two years from their debut Agitator, upping their game and pulling the (monkey) punches with another platter of spoken word psych that’s up there with the best of them. It’s an angry bastard and full of invention from the dynamic duo. Unsettling for some and mesmerising for most.
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41. Vígljós: Ignis Sacer
(Les Acteurs de L’Ombre)
Medieval beekeeping/mycologist Black Metal from Basel in Switzerland. With a sound inspired by second-wave Norwegians like Darkthrone and Burzum but with an aesthetic that is more reminiscent of monks getting carried away at a basket-weaving party, Vígljós are mixing it up and bringing something refreshing to a scene that can, at times, look and sound a little bit predictable.
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40. Kronos Quartet & Mary Kouyoumdjian: Witness
(Phenotypic)
Over a decade in the making, Witness is part threnody, part documentary to and of the victims of the Lebanese Civil War, which spanned from 1975-1990, and the Armenian Genocide of 1915-1917 – both of which are important historical facets of Kouyoumdjian’s identity. Witness sheds light on the horrors of the past whilst maintaining a 21st-Century relevance, and it is what makes this collaboration between the Kronos Quartet and Mary Kouyoumdjian extraordinary.
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39. It’s Karma It’s Cool: One Million Suburban Sunsets
(Karma Cool Records)
Melancholy and bombast. Tears and little victories. Adversity and anthems to punch the air to.  One Million Suburban Sunsets is ‘driving music’ in both senses of the phrase. It’s not radical, but it is full of heart, soul and ambition and great songs. It’s Karma… are cool. This is their finest hour.
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38. Jeffrey Lewis: The Even More Freewheeling Jeffery Lewis
(Blang)
With this album, Jeffery Lewis, after 28 years performing and recording has reached the point where he has assumed the mantle of The Second Poet Laureate of New York City after Lou Reed. This is his masterpiece. A complete album that zigzags between celebrating life and considering death. Love and Art being the answer(s) but forgetting what the question was.
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37. Rosalía: Lux
(Columbia)
The rise of Spanish star Rosalía continues on Lux as she breaks any mould she had previously set. The sheer scope of the album is almost beyond comparison as she blends a modern-classical style with her ear for combining tradition and modernity. The drama created by the London Symphony Orchestra elevates the album further, as do the collaborations with Bjork, Carminho, and Yves Tumor (to name just three).
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36. The Loft: Everything Changes, Everything Stays The Same
(Tapete)
It is very rare that you get an album which is this good: Absolutely perfect in every way. (The Modern Lovers, Berlin, Even Serpents Shine, After Murder Park are the first few others that spring to my mind…) Every song, utterly fantastic in its own right, yet in sequence a complete, uplifting joy to listen to from start to finish. Ten songs. No extravagance. No gimmicks. A warm ‘analogue’ sound with no sign of digital modernity. Relaxed but skilful playing. Music in competition with no-one else. Songs that are immediate but with a lasting beauty that reveals itself with each subsequent listen.
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35. The Dissidents/D.O.V.E.: A Better World
(Grow Your Own)
Bright and refreshing, and while the album deals lyrically with some of the negatives of society, it puts forward an agenda for change. Grow Your Own keep delivering quality releases and in bringing together two bands from opposite coasts of the USA, they have delivered up a lesson in how to write great anarcho-punk tunes led by women’s voices.
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34. British Birds: Silence Daedalus
(Self-release)
Unlock this and you will find a true gem of an album by a band that are continuing to carve their own lo-fi DIY path, making their way through the thicket to find meadows of summer expanse where anything is possible. Whether British Birds stay a secret known only to the twitchers or take things further remains to be seen, but whatever they do next, we will be waiting and watching. Based on the leap they have made in the last year, and on this new album, British Birds are a band to keep firmly in your sights.
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33. OSEES: Abomination Revealed At Last
(Deathgod)
Like much of Dwyer’s output, Abomination Revealed At Last is in no way designed to be an easy listen. It challenges you, to listen, to pay attention, as it flits, juts, and starts through sudden sparks of energy that keep its momentum up through the twelve tracks. It’s an album to pay sole attention to as they lambast the state of the world.
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32: The Man From Delmonte: Better Things
(Self-release)
Better Things will feel so familiar to people that after a couple of listens, you’ll feel like it’s been in your collection for years. I can’t imagine any diehard The Man From Delmonte fans being disappointed with this, and for anyone new discovering them for the first time, it’s a great introduction to one of Manchester’s greatest ‘best kept secrets’.
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31: The Reds, Pinks and Purples: The Past Is A Garden I Never Fed
(Fire)
The power of this album lies in speaking directly to us, exposing the absurdity of our everyday and, in doing so, gently imploring us to take hold of what we can, to simply take control of our own lives and close the door on the voices of self-doubt that keep us from finding what makes us fly. While the album may have been intended as a means of wiping his creative slate clean, a collection of songs that never quite made his previous records, the result is one that opens into a world to be explored, paths down which the reds, pinks, and purples bloom with a vibrancy that cuts through the grey.
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30. Cardiacs: LSD
(Alphabet Business Concern)
Released five years after the death of frontman Tim Smith (who had already written most of the music and provided vocals for half a dozen tunes on this) LSD is as euphoric, humorous and twisted as previous releases by the band, despite more than a quarter of a century since the band’s last studio release. A Posthumous album that takes the listener through a sad, nostalgic, bittersweet journey and still sounds like the band’s previous output despite the various vocalists that appear on this lengthy masterpiece. This album is a triumphant tribute not just to the deceased frontman, but it’s also a welcome return for a band that so many people still hold close to their hearts.
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29. Tulpa: Monster of the Week
(Skep Wax)
One of the most exciting new bands in the UK – but with the cool reserve of quietly heroic past-masters. This is a band for the new generation. Teenagers and twenty-somethings who are looking for the new, exciting and original in guitar-based music. This is a band who live in their imagination. Record their day-dreams and write about their nightmares. Tulpa don’t need hype and hyperbole. They are the real deal and sooner or later, the (secret) public will get what they want…the coolest, genuinely Indie-pendant Band in the UK
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28. Sparks: Mad!
(Transgressive)
Sparks have navigated bubblegum, art-rock, hi-NRG, operetta and many other genres besides in their long career. After all that, however, they have ended up with a unique amalgam that sounds like them and nobody else. There’s only one place you can get this stuff – and it isn’t going out of style any time soon. MAD! is the latest instalment of their work and it’s a hyperactive sugar rush of an album. Twelve insanely catchy tunes pummel away at your brain until it bears their lasting imprint.
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27. Private Function – ¯\_(ツ)_/¯
(FOLC)
Private Function have always been a band that play by their own rules; loose, fast, and ready to rip. From risking the ire of everybody’s favourite musical punching bag, Lars Ulrich, with their debut album, to a host of album variant stunts since then, they have proven that, while they may come across as a practical joke that got out of hand, they have one of the wildest collective imaginations combined with the guts and persistence to follow through. It is just that which has resulted in their best album to date.
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26. Avi C. Engel: Mote
(Fenny Compton)
To really appreciate the music made by Toronto-based songwriter Avi C. Engel (they/ them), you need to wait until nightfall. Mote – Engel’s latest offering – feels like a flickering light in the dark. This distinctly nocturnal mood is set from the very first words uttered on the album’s opening track, Nyx: “Fall hard into nights open arms”. It’s like someone has snapped their fingers and I’ve suddenly found myself floating into the night. Julee Cruise would almost certainly have approved.
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25. Armory Show: Dead Souls
(Last Night From Glasgow)
The Armory Show mare back! This minor miracle has gone pretty much under the radar, but after a 40 year gap between albums, they have stormed the barricades with one of the finest albums of the year in Dead Souls. The Armory Show manage to be epic and gentle, fresh and traditional all at once, sometimes in the same song. Their return is 2025’s most unexpected treat.
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24: Sunny War: Armageddon In A Summer Dress
(New West)
Sunny War delivers another stunning album of punk folk and blues with a full band and guest musicians of old school punks. Seeing her on the streets of LA and seeing where she is now is testament to her strength and belief. She could have faded away – people would see the video and wonder what happened to that bad ass guitar playing homeless girl and probably determined that her talent had been subsumed by drugs and drink. But she became more than that. More than a cliché. She rose above. She inspires.
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23. Conflict: This Much Remains
(Mortarhate/Cadiz)
There is no doubting how important Conflict were in the past, influencing and inspiring others to stand up and fight back or adopt direct action tactics. Musically, they were one of many bands pushing the anarcho-punk genre in a heavier direction (“Crass meets Motorhead” as one reviewer said of their 1985 This Is Not Enough single). They were arguably the band who pushed animal liberation in the punk counterculture the most. A genuine anger made Conflict both relatable and exciting. This is the best record Conflict have released since The Ungovernable Force.
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22. Zero Again: Ever Changing Is The Art Of Death
(Sanctus Propaganda)
Zero Again’s second album builds on the aesthetic set out on their debut. Hardcore punk with a hint of Killing Joke and Rudimentary Peni. A thumpingly good record that manages to balance heavy pounding power, breakneck sprints and atmosphere without any of it sounding out of character. A well-rounded effort from a crack team with a lot to get off their chest. The picture Zero Again paint is recognisable. We are in effect a Media-Ocracy wherein the rich dictate policy and twist behaviours. Hatred is diverted away from the real culprits. Zero Again want people to wise up.
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21. The Cords: The Cords
(Skep Wax)
Teens that would have been listening to John Peel religiously, pouring each week over the NME, Melody Maker and occasionally Sounds… the teen sisters have come to this themselves, the Sarah Records DIY aesthetic, with fold-around sleeve and inserts whilst soaking up their parents’ record collections (The Cure, BMX Bandits and Nirvana I believe). What they’ve done to date hasn’t been cynically calculated or done as marketing, it’s been a pure love for a scene/movement or, as they put it they’re just, ‘A Scottish, jangle, DIY indie pop sister duo who channel classic C86 straight from the heart’. The Cords have taken familiar ingredients from what’s gone before and created something utterly fresh. Older indie fans may hear echoes of The Shop Assistants and Tiger Trap but will hear something else too: a yearning, dreamy melodic power that takes the songs into darker, stranger places.
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20. Upchuck: I’m Nice Now
(Domino)
Atlanta’s Upchuck distil all their rage and fury into a pointed, aimed, and razor-sharp critique of the world we are navigating. The political is personal. When you scratch past the rage that permeates many of the songs, there is a realisation that I’m Nice Now is an album of real depth. It should, and does, speak to anyone who is tired of feeling like pawns lined up for societal sacrifice. In a world where freedoms are crossed out with each passing day, where simply showing up in support of the downtrodden and, well, massacred strikes such fear into the heart of the ruling classes that we are locked up in handcuffs, where simply existing can be treated as reason for being snatched from the streets, words like those of Upchuck’s should ring out loud.
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19. LA Witch: Doggod
(Suicide Squeeze)
Emerging from the Southern California underground in a mist of dry ice and kick-ass tunes, L.A. Witch released their eponymous album in 2017. They are the bastard offspring of an alternative California where Hope Sandoval took too many drugs, joined The Fuzztones then jumped ship to form an English early 80’s goth band. They create a psychedelic, post-punk, drugged-out drone blues that has become refined to scuzzy psych perfection on third album DOGGOD. It’s a wistful, dreamy minimalist sound with gritty goth guitars. The album was recorded at Motorbass studios in Paris, and the city has clearly seeped into the pores of the band and the grooves of the record, with its gothic art and ghosts of the cafes and avenues. It plays as a soundtrack to draping oneself across Jim Morrison’s grave in Père-Lachaise.
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18. Wet Leg: Moisturizer
(Domino)
Moisturizer sees Wet Leg doubling down on their strengths, delivering a breezy, confident statement of female sexuality that takes no nonsense from upstarts of any gender. All packaged up in their mid-paced, loose-limbed neo-grunge, while Teasdale voices depth-charge quips in her breathy style that delays, without blunting, their ferocious impact. A brave record that wears its heart on its sleeve, Moisturizer has a confessional tone that lends authenticity to its lyrics. Musically, too, the album pulls no punches, thanks to a thundering triple-guitar attack and an assured rhythm section. Wet Leg are in the big league now – and on this evidence, they have everything it takes to stay there.
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17. Public Enemy: Black Sky Over the Projects: Apartment 2025
(Enemy Records)
Black Sky Over The Projects feels like standing on a high-rise balcony, staring out over a neighbourhood that’s been through it all — and is still refusing to die quietly. What makes it so compelling is the balance of raw urgency with a surprising amount of reflection. The production is heavy, almost cinematic—thick bass, tense drum patterns, and those signature Public Enemy siren-like textures that make everything feel like breaking news. It doesn’t sound dated or stuck in nostalgia; it hits like a modernised evolution of their classic sound, sharpened and re-aimed at today’s world. Powerful, timely, and deeply engaging, it proves that Public Enemy can still sound vital, burning with the same fire that made them iconic in the first place.
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16. Wolf Alice: The Clearing
Wolf Alice’s The Clearing felt like the moment the fog finally lifted after years of stormy weather: calmer on the surface, but with so much going on in the air if you actually stop and listen. The guitars are softer around the edges, the drums sit deep and warm, and there’s a gentle glow to the strings that keeps popping up across the tracklist. Seemingly focused on growing up, and trading chaos for control, the themes are reflected in the musical development of the band. Less whiplash tempo changes, more paused and considered, although the Wolf Alice weirdness is never fully sanded off by the more polished production. The band have grown in stature and emit the kind of presence that turns anticipation into ignition. They wear their songs like armour, radiating a self-belief; an assurance that every note will land exactly where it should. They elevate the stage, charged with the knowledge that they no longer need to prove their worth.
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15. Pulp: More
(Rough Trade)
Pulp always were the most Continental band of their generation, joining the dots between seedy Sheffield spiel and Gallic torch song. Left to his own devices as a solo artist, Jarvis has enjoyed mixed fortunes over the past two decades. Now, though, he is back in his natural habitat, still channelling Jacques Brel by way of Mike Leigh and Alan Bennett. More is an eloquent re-statement of all the qualities that made Pulp great in the first place. While some of their contemporaries seem content to trade on nostalgia, they are still scaling new artistic peaks. And at a time when the Britpop era is undergoing a critical reevaluation, it reaffirms their place in the musical firmament.
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14. Self-Esteem: A Complicated Woman
(Polydor)
A Complicated Woman is a very honest album, for now (at least) completing the trilogy started with 2019’s Compliments Please, from an artist who isn’t afraid of being outspoken or shining a light on topics which may be uncomfortable for some. That said, it’s not ‘woe is me’ – the album, as with the last two, is one of both exploration and empowerment, a journey and a celebration, which closes with the Taylor apparently where she is at present and ready to take on the world. Throughout A Complicated Woman, Taylor is accompanied by her choir, her squad, her gang who add integral uplifting elements to the album, enhancing the experience, with guests Moonchild Sanelly, Nadine Shah and Julie Hesmondhalgh also playing significant roles.
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13. Your Heterosexual Violence – Some People Have Too Much To Say
(Trapped Animal)
The Band That Time Forgot / The Band That Forgot the Time… and went to the pub for 40 years. Debut album by Punk/Post-Punk band who formed in the 1980s and have finally got their shit together thanks to the inspirational Jemma Freeman – It’s a remarkably fresh, funny, strange, sonically & lyrically brilliant album. Every song is different – apart from two that start with exactly the same jagged riff. Life, death, love, mental health, alienation, existentialism are all covered in the songs, yet they are comic, tragic, full of pathos and a life-affirming energy, individualism and self-belief. It’s an album that spans decades, an album that is the Past, Present & Future combined – and a day in the life/life in a day of songwriters Brian O’Brien and David Dodd (and their comrades) and their untapped heterosexual violence eradicated and turned into fabulous artistic expression.
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12. House Of All: House Of All Souls
(Tiny Global)
House Of All Souls is an album which you will get more and more from with each listen. I could go on (and on), but that would waste valuable listening time and immersion into what is a beautiful journey of an album into a mystical realm of imagined futures and pasts. Martin Bramah’s lyrics are the heart of House of All. Swiftian, I called them before. I’m always interested in the archaic vocabulary he uses: Aynebite and Darksome on the first album, murmuration and ‘step we gaily’ on the second. I was thinking how to sum up and describe his writing, which he refuses to publish, either as lyric sheets with the album or a book and somehow it came to me in a flash of inspiration: Bramah’s songs are bildungsromantic.
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11. Billy Nomates: Metal Horse
(Invada)
Softening her sound without sacrificing her edge, Billy Nomates takes a great artistic leap forward on her third and best album to date. Metalhorse is presented as a concept album, based in a dilapidated funfair. The title track evokes a merry-go-round, while The Test takes us into a hall of mirrors. However, aside from those references and the odd rinky-dink keyboard flourish, the idea doesn’t really get in the way. The ambition and scope of this record will take many by surprise. Fierce humour was her initial trademark, but times have indeed changed: these days, a wider emotional range is required. When they bring the curtain down on 2025, expect Billy Nomates to stand tall among this year’s winners.
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10. Erotic Secrets of Pompeii: Pitchfork Libra
There really isn’t another band around quite like Erotic Secrets of Pompeii.They are Biblical! They are Supernatural! They are a more like a living, breathing Fantasy or Graphic Novel come to life than a rock and roll band. Or a brilliant, inventive, cinematic movie or mini-series about an alternative universe. Or an imposing work of art/architecture that dominates the skyline of your imagination. They are Mystery, Literature, History, Fantasy, Imagination, Theatre, (After)Life… condensed into the rock band format for serious-fun and art-kicks.
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9. CMAT: Euro-Country
(AWAL)
Sometimes the stars align and – usually after years of hard-work – an artist escapes the increasingly leg-grasping swamp of the social-media age and breaks through the algorithmic barriers to achieve wider-recognition at precisely the right moment. This feels like CMAT’s moment. The world, finally, seems ready to embrace the majesty, madness and magnificence that Ciara Mary-Alice Thompson has been bringing to the party since her first songs caused an Irish You-Tube storm during lockdown.For all the controversy over Bob Vylan at Glastonbury, and the debates over the headline efficacy of 1975 and Neil Young etc, there was one act that everyone seemed to be able to agree to love (and whose closing chant of ‘Free, Free Palestine’ has remained on the iPlayer to be heard by far more people than some of the ‘edgier’ acts): CMAT and her ‘Incredibly Sexy CMAT Band’ were rightly the toast of the town, and this third album is the perfect record to cement that place in the public’s affections for evermore.
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8. [slab]: Taut
(Self-release)
Catching the attention of our John Robb here last year [slab] introduce a cracking debut full of twists and turns without trying to slide into any genre, judging by these nine tracks of ambitious power post punk that flirt between instrumentals and vocal led punk psych blasts. I’ll say it again, this group are doing something no one else outside of Scotland are releasing at the moment and it’s a sonic ride into a talented trio with a debut they should be proud of. A trip into the dark side of the Manchester music scene that can’t be matched this year. Taut, produced by Simon ‘Ding’ Archer, is a lesson in cinematic moody music that soars with a shoegaze punk bite with nods to the early sound of Sonic Youth packed in a tight little bag that bursts through with their clever use of ‘sonic’ noise that thrills.
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7. TV Face: Wolf Rents Bark
(Cracked Ankles)
TV FACE mean it, man. Trailblazing their way through the Lancastrian streets like fellow psych punksters The Lovely Eggs, they are stamping their authority on a dirty (filthy) landscape courtesy of excellent independent label Cracked Ankles, who can’t do anything wrong, releasing some of the best music around in these exciting times. Straight off the back of a headline set at Rebellion on the RIS stage they present us with a nine-tune blast of ferocious energy that needs to be heard. A blistering piece of noise that has hints of Future Of The Left and Fatima Mansions camping out with Idles. Ringing unhinged guitars, thundering drums and bass. “You’d better book yourself a sideshow Bob” twisting a Simpsons character into a swirl of powerful sound. It’s all about the swamp of noise that batters the senses and keeps you hooked wanting more, especially with the machine gun drums complementing sTeVe’s and brigit’s lyrical sermons.
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6. Swans: Birthing
(Mute)
Swans 17th album (and final LP in this incarnation), Birthing is a monolithic, crushing behemoth of a farewell disc. It’s huge. Intimidating. Just seven songs span the duration. To add ice and a slice of demand to proceedings, Swans are not a band you can just simply dip into for five minutes via a single song or snatched moment. They’re old-school. They are a wonderful investment, insisting on your attention and designed for focus. For becoming overwhelmed by the power, the repetition, the mantra, the ritual. Swans are all or nothing. They want to exhaust you in every way. They want you to spend time with them. It’s what makes them special, and it is definitely a contributing factor to the immediate kinship that is felt between members of their dedicated fan-base. Swans are a lifestyle, a genre, an immaculate Pillar of Salt. A cult. You are an acolyte. A child of god.
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5. Viagra Boys: viagr aboys
(Shrimptech)
Swedish punk superstars and occasional humourists’ fourth album is one of subtle excellence and forward-facing boisterousness. A single point of light and a knowing smile is a common thread with Viagra Boys, who, despite taking a more punk-based approach to their singular endeavour, sound pin-sharp and laser-focused on their goal, whatever that happens to be. What they have to say may be veiled in allegory and buried beneath sarcasm and piss-taking, but it still isn’t that difficult to find. Be it a dissection of masculinity and its various social standings through spiked, aggressive riffs or a piano-led closer on the ease of love, this collection of unreconstructed, deconstructed, and reconstructed punk-funk wonder is as good as modernism gets. Unremarkable men in tracksuits they may be, but on this album, there’s more funk than a cowshed’s guttering and enough great titles alone to earn them kudos.
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4. Florence + The Machine: Everybody Scream
(Polydor)
Everybody Scream bears the hallmarks of the life-changing event that struck its protagonist in 2023. After suffering an ectopic pregnancy that nearly killed her, it’s natural that Florence Welch should have become preoccupied with her place in the universe, both as an artist and as a woman. She has always put herself on the line. But she seems to have found a deeper connection with her inner feelings here, a new way to let it all out. If you approached their previous album expecting some lost-in-music mirrorball-fest, you couldn’t have been more wrong: as the track Choreomania made explicit, the dance in question was a dance of death. And the same themes of love, mortality and cosmic transgression predominate once again on this new collection of songs. As the darkness of Winter draws in, this album cuts deep. By surrendering to the scream inside, Florence + The Machine have produced possibly their finest work yet.
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3. Benefits: Constant Noise
(Invada)
Constant Noise finds Kingsley Hall and electronic wizard Robbie Major continuing to challenge audience and artistic impulse alike by pushing their sound into inspired new territory. The signs were there from the start with the release of the album’s first single, Land of the Tyrants. Walls of harsh noise, blast beats and bludgeoning crescendos were now replaced by brooding electronic textures. Benefits have never been averse to taking a step into a new sonic space; it’s that sense of openness that makes them such an exciting prospect. Whether it’s via the lyrics or their increasingly eclectic music, Benefits are finding new avenues of expression and innovation with every single release. The fact that this drive for change is driven by artistic curiosity – that it all feels so natural – makes it all the more effective. As politicians continue to offer change that never comes, Middlesbrough’s finest plough on into the future.
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2. Suede: Antidepressants
(BMG)
This chapter of Suede is the group going from strength to strength, you can’t see them getting any better. They’re in their own realm at creating beautiful songs that soar and get into your heart like not many groups can. It sees Brett at his most majestic backed by the veteran sound of Gilbert, Osman, Codling and Oakes. Early single Disintegrate is as massive as ever until you get into Dancing With The Europeans. The title track, a dark gothic number, features a foreboding Osman bass line and Anderson combining spoken word with his trademark vocals and meaningful words that hark back to the sound of Teardrop Explodes and even a bit of The Horrors with a great drum beat crashing around with Oakes’ jangling guitars. Sweet Kid is classic Suede that pulls punches with every note. Melodic and moody with a crisp drum sound and a trademark chorus from the masters. a glorious bag of songs that take your breath away. Does it do what Autofiction did? We say so. Another great album by one of the best groups around.
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1. Dead Pioneers: Po$t American
(Hassle)
Po$t American could not be more relevant in the Trumpian States of Amerikkka where ICE are pulling American Citizens and people with Visas off the streets and imprisoning or deporting them, and any notion of levelling up through DEI (diversity, equality and inclusion i.e. fairness for non-whites who face systemic disadvantage) is being scrapped. This is despite the album being recorded in July last year and written the previous February, which means it’s not just Trump. The problems were already there and will be in the future. Now it is amplified and more patently obvious to everyone who cares to look, Dead Pioneers would be well within their rights to say “We told you so”. The band know that the band name Dead Pioneers and the phrase Dead Pioneers are powerful, and to some people are offensive. The band are putting themselves in the same position the Sex Pistols stumbled into when Bill Grundy said “Say something outrageous.” They are on the same turf as the Dead Kennedys, whose name was a slap in the face of America. “The only good pioneer is a dead pioneer”. What a way to end an album.
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Listen to Iain Key’s interview with Dead Pioneers’ Greg Deal here.

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The Top 100 was compiled by our album review editors Nathan Whittle, Wayne Carey, Ged Babey, and Iain Key, with votes from John Robb, Nigel Carr, Melanie Smith, Naomi Dryden-Smith, Neil Crud, Mark Ray, Adam Brady, Sean Millard, Christopher Lloyd, Andy Brown, Keith Goldhanger, Robert Plummer, Claire Glover, Phil Newall, Nathan Brown, Robin Boardman, Ian Corbridge, Gareth Allen, Gus Ironside, Neil Chapman, Banjo, James Kilkenny, Jimmy-Jazz Hodge, and Mark Muldoon.