20\u00a0 Ninajirachi \u2013 I Love My Computer<\/strong><\/p>\n\n\n\n I often end up using this spot to celebrate an artist who\u2019s been around a long time and releases something solid but doesn\u2019t get lasting comeback cred out of it.\u00a0In consideration for the \u201cwelcome back!\u201d spot in 2025 were artists like Suzanne Vega, Cymande, Clipse<\/em>,and even Pink Floyd<\/em>, who finally made a physical copy of \u2018Live at Pompeii\u2019 available to the public this year.\u00a0But no, this 25 year-old Aussie squeezed \u2019em all out with a compelling debut. \u2018I Love My Computer\u2019 got me going back to my old Crystal Castles <\/em>albums, and reminded me how much I loved all that Ed Banger label stuff a decade or so ago.\u00a0Ninajirachi <\/em>makes music that sounds like it was programmed on a laptop, but in this case, that\u2019s a compliment.<\/p>\n\n\n\n 19\u00a0 Conductor Williams and Rome Streetz \u2013 Trainspotting<\/strong><\/p>\n\n\n\n Anything I\u2019ve been able to read about this album seems to have it backwards.\u00a0 The popular take seems to be that while people really like this record, they\u2019re all hyped up about Rome Streets<\/em>\u2019 rhyming, while simply putting up with Conductor Williams<\/em>\u2019 production.\u00a0I\u2019ve heard Rome Streets <\/em>before, and I still think he\u2019s a passable emcee, I\u2019m just not struck by anything particularly innovative or new this time around.\u00a0He\u2019s got a good ear for distinctive flows, he\u2019s lyrically proficient and original, and he offers an original voice and the occasional clever parallel.\u00a0But the real star here, for me, is the Conductor <\/em>contribution. Williams <\/em>is manipulating samples and soundbites in ways we don\u2019t usually hear.\u00a0Maybe he\u2019s trying to obscure his sources to avoid the costs of sample clearance, or maybe he just likes the way a musical sample sounds when it\u2019s slowed down and pitch-shifted WAY beyond the point of a chopped-and-screwed style.\u00a0Hearing his tracks is like hearing a sample get so bent out of shape that it feels like its musicality is going to collapse entirely, yet somehow it never totally does.<\/p>\n\n\n\n 18\u00a0 Little Simz – Lotus<\/strong><\/p>\n\n\n\n \u2018Lotus\u2019 came out in the midst of a messy lawsuit against Little Simz\u2019 <\/em>longtime producer Inflo<\/em>, right when it seemed her career was really hitting new heights.\u00a0She is suing him for millions of dollars of unpaid loans, and \u2018Lotus\u2019 marks the first time in years she\u2019s released something without his name on it.\u00a0Instead, she\u2019s started working with producer Miles Clinton James \u2013 he also produces music by London jazz troupe Kokoroko<\/em>, a group whose music sounds to me like a family of artists using longtime affiliations to create soulful, positive music.<\/p>\n\n\n\n Even if we listened to \u2018Lotus\u2019 without knowing anything about these splits, we would know something was up.\u00a0 The album begins with \u2018Thief\u2019, a business-breakup diss track if ever there was one, where Simz <\/em>addresses a cycle of lies, abuses and betrayed trust.\u00a0 This track acts as a springboard for a record full of self-empowerment and rejection of victimhood.\u00a0The album is full of voices that can be heard all over London\u2019s R\u2019n\u2019B\/jazz scene, like Obongjayar<\/em>\u2019s chorus on \u2018Lion\u2019, or on the title track, where Michael Kiwanuka <\/em>and Yussef Dayes <\/em>both appear.\u00a0This is one of the most compelling traits of \u2018Lotus\u2019 \u2013 that it sounds like the product of a community when it was made amidst a separation.\u00a0<\/p>\n\n\n\n 17 Lamp of Murmur \u2013 The Dreaming Prince in Ecstasy<\/strong><\/p>\n\n\n\n Lamp of Murmur <\/em>is a prolific, one-man California black metal project, fronted by a costumed and face-painted metallion known only by the name, \u201cM\u201d. Four years ago, his music was mostly black metal purity in the most Norwegian sense: horror-inducing vocals, razor-wire guitars, music that sounds like it was made to hurt us.\u00a0Since 2021, \u201cM\u201d has stopped releasing albums at a one-every-few-months pace, and the music has become more layered and textured.\u00a0\u2018Saturnian Bloodstorm\u2019 in 2023 lifted Lamp of Murmur <\/em>to a level of black metal perfection. It is a truly frightening listen with an abundance of acidic riffs and plenty of vocal range that still fits the classic black metal mode. \u2018The Dreaming Prince in Ecstasy\u2019 is something else entirely.\u00a0Pianos, horror-free vocals, and moments of mellowness in the production make this a risky, but rewarding venture for \u201cM\u201d, who has already proved his worth within the rigid black metal framework. Purists will likely hate this album, but someone like me who enjoys black metal but owes no allegiance to its rules can find this an exciting and surprising listen.<\/p>\n\n\n\n 16 Don Was and the Pan-Detroit Ensemble \u2013 Groove in the Face of Adversity<\/strong><\/p>\n\n\n\n Do you remember Don Was? In the 80s, he had a band called Was (Not Was) <\/em>whose album \u2018What Up, Dog?\u2019 scored some hits.\u00a0One of those hits was called \u2018Walk the Dinosaur\u2019 and I am sorry for reminding you about it.\u00a0I always remembered that band because the B-side of the other single (\u2018Spy in the House of Love\u2019) was a really funny skit\/song called, \u2018Hi, Dad, I\u2019m in Jail\u2019, and it was one of my favorite random soundbites to use as a wrench to throw into the midst of a mixtape.<\/p>\n\n\n\n This year, Don Was assembled an excellent group of vintage jazz\/funk musicians with Detroit connections to perform and record this six-track live album.\u00a0This group plays funk music that\u2019s a little \u201ccleaner\u201d than what I usually go for.\u00a0In fact, if not for the historical\/political lyrical content on some songs, this music could almost be considered mainstream.\u00a0Through the end of 2025 though, I found myself going back to it again and again, just to get that raw-energy funk flavor that only comes from a live show played by great veteran musicians.<\/p>\n\n\n\n 15\u00a0 McKinley Dixon – Magic, Alive!<\/strong><\/p>\n\n\n\n This album gave me a new surprise every time I heard it this year.\u00a0I came to it first in June because I\u2019d heard it was a jazz-fueled rap album, which, thanks to groups I loved when I was younger, (Tribe, Digable Planets<\/em>) always appeals to me.\u00a0\u2018Magic, Alive!\u2019 does sound like it could be performed in a jazz club (even a speakeasy) but there\u2019s way more than that to its appeal.\u00a0It\u2019s packed with guest vocalists that are very smoothly blended into the groove, while McKinley\u2019s complex, narrative lyrics provide the bedrock.\u00a0Plus, even just the instrumental tracks of this record would be a great listen, full of energetic horn blasts, slick, sleepy drum beats and the odd wail of an electric guitar.\u00a0I need to take some time to chase down all the great performers that contributed to \u2018Magic, Alive!\u2019 as either vocalists or musicians, including the past work of Dixon himself.<\/p>\n\n\n\n 14\u00a0 Greg Foat – Opening Time<\/strong><\/p>\n\n\n\n As a pianist, synth player and composer, I guess Greg Foat is supposed to be a pretty big deal, but I never heard him until this year when he did this album as part of a trio with Jihad Darwish on bass and Moses Boyd on drums.\u00a0Boyd is one of my favorite drummers, so I followed him here without knowing that Greg Foat is an accomplished and revered musician with an interesting catalogue.\u00a0Seems like I should’ve bumped into him before now.<\/p>\n\n\n\n ‘Opening Time’ was one of 2025’s most satisfying mellow listens. It’s cool hearing a drummer as good as Moses Boyd playing through eight tracks where the rhythm never races, still sounding groovy at a very slow tempo.\u00a0Foat’s piano playing presents itself in sequences of simple little evolving phrases, often wrapping up in a light glissando while Darwish’s bass lies there like a low-end cushion for the melodies to rest on.\u00a0Don’t listen to this with any notions of genre or category in mind.\u00a0Ignore whatever your streamer tells you about what “kind” of music this is.\u00a0Just put it on when you want to hear something relaxing.\u00a0Whatever ideas you have about categorizing this music will have melted away by the time it is over anyway.\u00a0<\/p>\n\n\n\n 13\u00a0 Geese \u2013 Getting Killed<\/strong><\/p>\n\n\n\n One of the most lovable things about this album is the hope it\u2019s inspired for the music industry in general.\u00a0In a year where musical popularity likely had more to do with conforming to industry standards than at any other time since the 1950s, we got \u2018Getting Killed\u2019, a weird, shambling, out-of-control record that became incredibly popular and launched new satellites of potential into the rock band orbit.<\/p>\n\n\n\n And hey, it sounds excellent too!\u00a0It\u2019s ragged, abrasive and delicately imperfect (as rock music should be) and it has made Cameron Winter into a 23 year-old rock star. While his voice reminds me of Jason Molinas\u2019 tortured troubadour persona sometimes, I really don\u2019t want to compare his style to any predecessors; part of his appeal is that he\u2019s doing something we haven\u2019t heard before.<\/p>\n\n\n\n 12\u00a0 Ty Segall \u2013 Possession<\/strong><\/p>\n\n\n\n I get that there\u2019s a certain malaise attached to artists like Ty <\/em>who are so prolific, it\u2019s nearly impossible to engage with all their work with any depth.\u00a0I also get that you may have already picked your favorite Ty <\/em>albums and decided not to dig any further.\u00a0And, as he mentions in the lyrics of one of the songs on \u2018Possession\u2019, maybe we\u2019re starting to see him as a 2010s wunderkind whose peak has passed.\u00a0This record came out very early in 2025, so I\u2019ve had lots of time to go back to it, and while it seems to have slipped through the critical cracks, I think that\u2019s a mistake and a shame.\u00a0Here, Segall is foregoing a lot of the psychedelic swirl and volume of his usual style, putting more emphasis on his vocal harmonies and lyrics.<\/p>\n\n\n\n 11\u00a0 Melody\u2019s Echo Chamber \u2013 Unclouded<\/strong><\/p>\n\n\n\n Melody Prochet\u2019s French dream pop project has cracked this list before. This year she did it with her usual irresistible vocals and by assembling a great group of musicians to play with.\u00a0Reine Fisk of Stockholm\u2019s mighty Dungen <\/em>plays guitar on this record.\u00a0Malcolm Catto (a guy who\u2019s been enlisted to play percussion for both Madlib <\/em>and DJ Shadow<\/em>) is behind the kit throughout \u2018Unclouded\u2019, really pushing Prochet\u2019s songs to another level. The whole thing rips with hooks and beats while still being an album you could close your eyes and take a nap to.\u00a0It\u2019s like if Julee Cruise had Robbie Krieger and Shiela E on tour with her, and I love it.<\/p>\n\n\n\n 10\u00a0 Rochelle Jordan \u2013 Through the Wall<\/strong><\/p>\n\n\n\n I am loath to repeat the fact that in a lot of online comments about this record, people are praising it because they say it reminds them of Crystal Waters. You remember her.\u00a0 She had that song, \u2018Gypsy Woman\u2019 in the 90s with that, \u201cla da dee, la da dah\u201d bit in the chorus.\u00a0I never liked that song, so I hate to admit that the comparison makes sense.\u00a0Sort of.<\/p>\n\n\n\n Rochelle Jordan is <\/em>mastering the kind of R\u2019n\u2019B that made hits in the 80s and 90s, and the first full track, \u2018ladida\u2019 does <\/em>have a refrain that sounds a little like \u2018Gypsy Woman\u2019, but \u2018Through the Wall\u2019 is so much more than the catchy disco-pop she\u2019s been compared to. Jordan brings a slightly older woman\u2019s perspective and range to the kinds of hits we used to hear from people like Paula Abdul, Janet Jackson, even Whitney Houston on her bubblier numbers.\u00a0Having grown up with this sound as the source of so many popular songs, I love hearing it done to perfection all these years later. Jordan has the gift of being able to sing a line of lyric that\u2019s pretty simple with enough conviction to make it deep and catchy.\u00a0 Hearing her team up on tracks with fellow Torontonian Kaytranada <\/em>is exciting too \u2013 they\u2019re like a powerhouse of Canadian dance and soul music.<\/p>\n\n\n\n 9\u00a0 Theon Cross \u2013 Affirmations<\/strong><\/p>\n\n\n\n I used to think it was crazy that school age kids would choose the tuba out of all the instruments they could learn in the school band.\u00a0The case is huge, it\u2019s one of the heavier instruments, and no one ever really gets to play a fun melody or solo on the tuba; it usually just plods along with a simple bassline. Theon Cross could make a lot of solid counter points to my anti-tuba leanings.\u00a0On this set of live recordings, he and a well-equipped band use an under-appreciated instrument to accent and lead a series of great performances.\u00a0Cross can play this brass instrument like it has strings.\u00a0He punches out notes like he\u2019s plucking them, bending them, extending them to places the human mouth and throat should not be capable of.\u00a0He evolves his instrument beyond the realms of jazz and classical music, embracing the ways a tuba could play reggae, grime, funk, and ambient music.\u00a0He also shows a knack for putting a great band together, much like Brandee Younger does when showcasing her harp skills in a quartet or quintet.\u00a0The other musicians playing this set with Theon Cross are just as good as he is, even though their instruments might sound more familiar and traditional in terms of how they\u2019re being played.<\/p>\n\n\n\n 8\u00a0 Ela Minus \u2013 Dia<\/strong><\/p>\n\n\n\n I don\u2019t want to make this sound like a make-up call, but that might be what it is.\u00a0I have spent the last five years completely in love with an EDM record called \u2018Acts of Rebellion\u2019 that this Columbian\/Canadian one-woman artist made in 2020.\u00a0\u2018Acts of Rebellion\u2019 was a glaring omission from my Best Albums of 2020 list because I didn’t hear it until 2021. This stuff happens sometimes \u2013 it\u2019s an unfortunate side-effect of my buy-in to the insanity of calendar culture.<\/p>\n\n\n\n Anyway, \u2018Dia\u2019 is more great EDM from an artist with a great ear for texture. Before \u2018Dia\u2019 dropped this year, Ela Minus<\/em> had only released a smattering of singles, collaborations and remixes in a four-plus year interim, which led to a lot of anticipation for another full-length.\u00a0Her sound is picking up where it left off, leaning on her skills as a builder of grooves, and showcasing some of her burgeoning pop sensibilities. \u2018Dia\u2019 takes us through walls of synthy performance, knowing when to drop a beat, a bassline, even a poppy chorus.\u00a0If mentioning this here leads people back to \u2018Acts of Rebellion\u2019, I feel like that would be positively restorative.<\/p>\n\n\n\n 7\u00a0 Deafheaven – Lonely People With Power<\/strong><\/p>\n\n\n\n Returning to form with a heavier, more aggressive approach, Deafheaven <\/em>gave us more of what we loved about them in the first place in 2025.\u00a0Back in the early 2010s, this group, basically a black metal band with some penchant for lush, introspective touches, deservedly became critical darlings and released two great albums, \u2018Sunbather\u2019 and \u2018New Bermuda\u2019.\u00a0This stint put Deafheaven <\/em>on the map in a way that allowed them to consider their band as a kind of permanent entity, where next moves and stylistic choices suddenly seemed weighty. So when they entered into a stage of \u201creinvention\u201d in 2021, and made \u2018Infinite Granite\u2019, which smoothed over all their acidic aggression, it was disappointing, but totally understandable.\u00a0Blending beauty into blackness was what made them great in the first place, so it made sense that they\u2019d want to see what pulling back the blackness might do for their sound.\u00a0Just because it didn\u2019t work doesn\u2019t mean that they shouldn\u2019t have tried it.<\/p>\n\n\n\n \u2018Lonely People With Power\u2019 sounds more like those groundbreaking early albums than anything they\u2019ve done since, a return to form, I guess.\u00a0 George Clarke\u2019s pained, screamed vocals are back.\u00a0Kerry McCoy\u2019s irresistible riffing and droned speed-strums are back. The blast-beat drums of Daniel Tracy are back, running this whole outfit like an engine from a machine that portends doom. \u2018Lonely People With Power\u2019 has the feel of a great band rediscovering itself with a sound that\u2019s been absent for just long enough to make us realize what we were missing while it was gone.<\/p>\n\n\n\n 6 \u00a0Femi Kuti – Journey Through Life<\/strong><\/p>\n\n\n\n Femi Kuti is the son of Nigerian musical and political legend Fela Kuti, and he’s been releasing his own music since the late 80s.\u00a0While he may not be as fierce or funky as his dad, he does sound a little like him, and shares one of his father’s most important talents: the ability to put together a band.\u00a0 \u2018Journey Through Life\u2019 is full of drums, bass, horns and chanted background vocals that gel with a tightness that comes through live and on record.\u00a0You can hear about a dozen contributors playing together on all these tracks, never giving anyone a solo or a spotlight, just putting it together with feeling and an unmistakable grounding in Nigerian funk\/rock.\u00a0\u00a0<\/p>\n\n\n\n 5\u00a0 Cory Hanson \u2013 I Love People<\/strong><\/p>\n\n\n\n Even when Cory Hanson was fronting his band Wand<\/em>, he was a bit of a shapeshifter, switching from heavy psych to whimsical folk to syrupy pop with ease.\u00a0I didn\u2019t always love these shifts of tone, but when two of your favorite bands are The Cure <\/em>and Ween, <\/em>you learn not to disrespect an artist\u2019s need to break out of expectations.\u00a0Now on his own, Hanson is putting most of his emphasis on his ability as a guitar player and songwriter, presenting tunes that could\u2019ve come from Blitzen Trapper <\/em>or Gram Parsons.\u00a0This is a very American album in a time when that label could mean a lot of things, but as Hanson finds his place in that spectrum, he does some great work and shows that he still has some surprises up his sleeve.<\/p>\n\n\n\n 4\u00a0 Aesop Rock – I heard it\u2019s a Mess There Too<\/strong><\/p>\n\n\n\n I know, like Ty Segall<\/em>, this guy\u2019s back catalogue is intimidating, and maybe I won\u2019t be able to convince you to binge the whole thing, but one of hip hop\u2019s most verbose, prolific emcees had a great year in 2025. Along with his first LP of the year, (\u2018Black Hole Superette\u2019) Aes got busy this year, and \u2018I heard it\u2019s a Mess There Too\u2019 was a really slick style shift for a rapper\/producer who\u2019s put out plenty of product in the 2020s.\u00a0This time around, Aes doesn\u2019t mess with any fancy production \u2013 quite the opposite.\u00a0Using what sounds like a simple drum machine and a toy piano, he strips everything back to basic, catchy, funky, spooky tracks and performs his usual quirked-out lyricism overtop.\u00a0 The style is so elementary that when he does include something like a vocal sample or a bassline, it hits twice as hard.\u00a0<\/p>\n\n\n\n 3\u00a0 The Hidden Cameras \u2013 Bronto<\/strong><\/p>\n\n\n\n The gay clubs always played the best dance music. That was what always struck me most when I was a hetero guy in my 20s following friends to whichever hot spots they wanted to go to on any given night, sometimes ending up in places I’d never been.\u00a0In my 30s, when house and jungle had fully become part of the mainstream, I’d sometimes think about how ahead of the game some of those queer DJs were when they were trying to give people something to dance to, keeping the pulses up, keeping the good feeling vibes going.<\/p>\n\n\n\n The Hidden Cameras<\/em> feel like part of that same legacy that groups like The Pet Shop Boys<\/em>, Frankie Goes to Hollywood<\/em>, Bronski Beat<\/em>, and especially Hercules and Love Affair<\/em> have forged.\u00a0Homosexuality isn’t really an essential part of the sound of any of these bands, but it is a part of the overall identity, especially when one accepts the corollary that gay = clever about dance music.\u00a0Hailing from Toronto, but well versed in European club scenes, The Hidden Cameras<\/em> unearthed a gem in 2025.\u00a0 \u2018Bronto\u2019 has all the same pop sensibility of the aforementioned groups, and also their slick sense of EDM production.\u00a0This is a record that soothes as much as it pulses – it could be danced to or relaxed to, depending on the mood of the listener. The expertly handled pop\/dance songcraft on ‘You Can Call’ made it my favorite track of the year.<\/p>\n\n\n\n 2\u00a0\u00a0Darkside\u00a0 – Nothing<\/strong><\/p>\n\n\n\n This is a duo getting more and more comfortable making music together.\u00a0Nicolas Jaar and Dave Harrington have now done three albums together and they’re all great, easy to go back to, and difficult to categorize.\u00a0While it’s easy to sort them into the “Electronic” category, it fits even less on ‘Nothing’ than it has in the past.\u00a0 Harrington plays plenty of different instruments, and can use all of them to insert a hook into one of Jaar’s ambient backdrops.\u00a0Darkside seem to be playing more with different vocal distortions, different editing and programming, and different inspirations this time.\u00a0At times, the genres switch up so suddenly without detracting from the overall flow of the album that it can feel a little like listening to the best work of some sample-happy artists like The Avalanches<\/em>.\u00a0I sometimes wonder while listening to \u2018Nothing\u2019 if this might\u2019ve been the kind of path that fellow genre-defiers Ween <\/em>might\u2019ve found themselves on if they\u2019d kept making music together through the 2020s.\u00a0Don’t miss this one if you’ve liked this duo before, and don’t let them slip past you if you’ve never heard them.\u00a0<\/p>\n\n\n\n 1 S.G. Goodman – Planting by the Signs<\/strong><\/p>\n\n\n\n There\u2019s a lot of livin\u2019 in this set of songs by Kentucky singer\/songwriter S.G. Goodman.\u00a0The slightly strained vocals Goodman always delivers carry a certain pain and truth that I sometimes balk at going back to simply because I know it will be an emotional ride.\u00a0A heavy ride, if you will.\u00a0 \u2018Snapping Turtle\u2019 will likely always be the centerpiece of this record for me, mostly because it encapsulates exactly the reasons why I keep going back to Goodman\u2019s music even though I know they will probably make me wipe my eyes on my sleeves at times.\u00a0When she begins by singing, \u201cWhen you\u2019re a farm kid in a small town \/ you drive before the legal age,\u201d I know I\u2019m listening to a song that has been fully lived.\u00a0I know this even more clearly when Goodman recounts an experience that she\u2019s proud and ashamed of at the same time, a violent and heroic encounter that\u2019s too nuanced to be fictional, intercut with lines about becoming a young mother and questioning whether life\u2019s lessons could really be taught by some kind of god.\u00a0<\/p>\n\n\n\n The search for meaning surrounds the songs on \u2018Planting by the Signs\u2019, which is one of the things that makes it so wise and sad.\u00a0Goodman looks through her family\u2019s past, the history of her home state, the pets she\u2019s had and the vehicles she\u2019s driven, all with a folksy, Southern American bluntness. Listening to her music, you get a sense of her character and past that no wiki page could ever hope to provide.\u00a0No one will ever need to write a biography of this person because it\u2019s already all there in her songs, and I hope there\u2019ll be many more to come.<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Every new year, I throw down the best and worst movies of the previous year and my friend and frequent collaborator, Dave Scaddan, writes his Top 20 Albums. 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