Hoff’s Favorite Albums of 2025

Foreword

This year I wanted to make a bit of an organizational change to the ol’ blog. I really wanted to highlight the cream of the crop, so I decided to give you the top 25 right off the bat. Afterward, you can read my favorites by genre which is designed to help you find a next-listen more easily. As always, I’ve provided a playlist with a track from each of these albums to follow along with. It includes all 54 albums I talked about here, ranked by my enjoyment, so if you want to follow along with the Top 25, find my #25 pick in the playlist, and work your way to the end. Otherwise, just let it ride. Let me know what you like and let me know what I missed!

Nick’s Top Albums of 2025 – Spotify Playlist

Top 25

25-21

20-16

15-10

10-1

10. Men I Trust – Equus Caballas/Equus Asinus – Entrancing, Slightly Western?, Indie Rock

I’d like to take this opportunity to put some long overdue shine on Canadian three-piece Men I Trust. Rarely does a band have such a profound effect on me. I am allergic to repeating songs or albums – I avoid listening to the same song twice in a day – but Men I Trust is my antihistamine. Maybe it is placebo, but I feel physically calmer when their music is on. They have a distinct, soothing formula that is not overly predictable but sticks to some core principles pretty tightly. Their DNA is steady tempos, simple melodies, easy-to-follow licks, and lead singer Emma Proulx’s trademark whisper. In fact, there are more trademarks; soft, dry percussion, guitars which have a consistent rhythm which often contrasts and complements the drum kit, lo-fi (bordering on cheesy) synth textures, a chord progression which uses pop techniques but also jazz chords to soften it up, and finally, favoring harmony over countermelody. All this technique to say, there is always something familiar about a Men I Trust song, but it is surprising how many different variations they are able to milk out of it. Throughout a song, they intentionally leave just one line for the listener to follow for clarity and ease.

This year, they came out with two records which accompany each other (no B-sides here). Some may wonder why they didn’t leave the weaker tracks on the cutting room floor and consolidate the winners on a single Equus album, but you can’t cut the losers if you can’t lose. As far as departures go, this is only a minor shift from their recent work. “I Come With Mud” establishes acoustic guitar and slide guitar as primary instruments, signaling a bit of a country western pastiche. This is echoed in a later track “Girl (2025).” They’ve added some tools to their toolkit too, like including a few ballads that omit the rhythm section entirely. These feature more melancholic progressions and place greater emphasis on the vocals. “Purple Box” is a great example, with an extremely tasteful slowdown during the climaxes of the refrain. The Equus albums are an improvement on 2021s “Untourable Album” which was great but lost steam towards the latter half of the album. Especially with Equus Caballus, they maintain energy through the end of the record, despite having many, many, MANY, chill out moments. The songwriting continues to improve too. No one song stands above the rest but just listen to the bridge of “I Don’t Like Music”, the chorus of “Carried Away,” or the entirety of “Billie Toppy (2025).” It’s material that couldn’t have come earlier in their discography.

Yes, you can peg the Men I Trust sound fairly easily, but the more you listen, the more you can enjoy the little details that make the songs the little masterpieces they are.

9. Baths – Gut – Personal, Longing, Electronic Pop

Baths is Will Wiesenfeld, a lone singer/songwriter/producer who exploded onto the Indie scene with 2010’s “Cerulean”. Then, you might have heard them on early playlists and mix CDs with the likes of Alt-J, Tycho, and Sylvan Esso. Cerulean was a colorful project which featured flashy instrumentals and sonic textures that created atmospheres. Whenever Will’s voice joined in, it felt like another instrument rather than the focus. Everything was obscured, blended, and indirect. In contrast, “Gut” is clear, clean, and direct. Will’s voice is front and center telling personal tales of relationship highs and lows, letting the listener in to his precise thoughts and impulses. A slight departure from his 2010s albums, traditional rock instruments feature more than keys and synths including live drums on most tracks. The result is refreshing, exuberant, and balanced like a perfectly poured cocktail on a rooftop bar.

There are many surprises to be discovered throughout the track list. One of which comes early on “Peacocking” where the key is stretched a half step up at the 0:19 mark. It moves between these two keys until the chorus when it curiously and suddenly modulates up a minor third, which is a major third above the original and a decidedly strange choice. In effect, it is a cathartic release of tension while taking us somewhere new. There’s even a bit at the end that teases a fourth key change but resolves and concludes appropriately. It’s one example of many that shows the exuberance and boldness of Baths. Another creative moment comes at the 0:52 mark of “Homosexuals,” when the drums drop out and an echoey percussive motif enters to add some interesting texture that you won’t hear anywhere else on the album or off of it. The song is still backed by warm electric guitar and solid live drumming.

It all makes for an alt-pop odyssey that calls back to the scrappiness of the prior decade’s indie electronica but is digestible, modern, and danceable too.

8. Uhlmann Johnson Wilkes – Uhlmann Johnson Wilkes – Impressionistic, Textural, Experimental Jazz

When you think of a jazz trio, the tradition is to feature a pianist and throw an upright bassist and drummer with them. The pianist might map out a tune before taking a solo or two and the drummer and bassist oblige. This album features a jazz trio exclusively in the sense that there is three of them and the music may loosely be considered jazz. Saxophonist Josh Johnson and electric bassist Sam Wilkes join guitarist Gregory Uhlmann on a journey through a series of experiments. Wilkes at times plays the part of drummer, his clipped bass notes sounding more like a percussion instrument than a stringed one. At times though, he employs techniques used in his solo work. The snappy and jittery “Hoe Down” features both quick picking and harmonics but also sustain and multi-pedal effects towards the end. Johnson wears many hats too, occasionally playing straight ahead but often using a harmonizer or implementing some effect that obscures the saxophone timbre entirely. By doing this, he gives himself more freedom to paint different scenes. On “Arpy,” Johnson’s saxophone darts in and out of the reeds as Uhlmann and Wilkes play a lullaby, while on “Unsure,” his saxophone eventually melts into the background, and you begin to forget which instrument is playing which part. At any point could these artists play any role in each piece. For Uhlmann’s part though, he is typically heard picking some ostinato that underlines the whole tune. In “Fields,” his collaboration with Wilkes to create an interlocking rhythm is infectious and an album highlight.

The album seems almost completely seamless despite the recordings coming from two different live sessions and a single home studio session. This continuity unifies the similarities between the tracks and makes it feel like one cohesive project. In fact, cohesion is the key term here. All three members are heavy collaborators in the LA music scene and have been playing together or in the vicinity of each other for years and it shows.

The crown jewel is their cover of Paul McCartney’s “The Fool on the Hill.” Once you’ve been steeped in their instrumental palette for a full album, it begins “normally,” though Johnson’s saxophone echoes in a funny way, and Uhlmann’s guitar has a squiggly tone on it. From there, they take many liberties adapting the tune with a spirit of curiosity.

7. Pino Palladino & Blake Mills – That Wasn’t a Dream – Unique, Tonally Diverse, Chamber Jazz

When I wrote about Pino Palladino & Blake Mills in 2021, I thought that it may have been a one-off project, a spark of magic, a dream journal to capture a fleeting moment. To my delight, that wasn’t a dream. We have a new batch of tracks to sit with and dive into. Moreso than the other albums on this list, this is a proper sit-and-listen-and-do-nothing-else while Pino and Blake demonstrate their craft. I’ll be honest, this took me a few listens to get into. It is less flashy than “Notes With Attachments” which had precise arrangements, took less liberties, and included guest appearances from tone-artist and saxophonist Sam Gendel. For a genre already demanding patience, “That Wasn’t A Dream” asks for open-mindedness and mental investment as well. For example, “Heat Sink” clocks in at just under fourteen minutes of which most is a Mills guitar solo akin to a mad scientist tinkering in the laboratory. In fact, the playing calls out to Josh Johnson’s misty playing in the above album.

While “Heat Sink” shows what would happen if you just kept the tape running, other tracks are more considered. My favorite is “Taka,” which moves through different phases. It is electric, fascinating, and whip smart. It has a funky groove in three beats, but the pulse is disguised by some syncopated percussion and other opposing motifs. After all the hand-on-chin thinking from the listener’s perspective, it’s a nice feeling to finally get your head moving with the groove. “Contour” is beautiful and more serene than many of their other tracks. You can hear the new instrument developed for Mills on this one and the curious “I Laugh in the Mouth of the Lion” which sounds to me to be influenced by Brazilian Jazz. “Somnambulista” is equally eyebrow raising with its five over three entrance and stumbling motifs which topple over tonal centers, never quite landing in any one place. This surrealness is a mark of “That Wasn’t a Dream.” Maybe it reflects on the uncertainty in the world today, waking up seeing a reality that can’t be real but somehow is. The title track and closer is interesting because it begins with a half-resolved chord which opens up possibilities for the rest of the track. I like the inclusion of Mills’ voice here which lends tenderness and softness to a melancholic kind of tango.

Honestly, I prefer their other works to this album, as this can occasionally overstay its welcome; however, the quality of the players is unmatched, and you get a flavor of jazz fusion you simply cannot get anywhere else. The placement on this list should be a testament to that.

6. Oklou – Choke Enough – Mouselike, Obscure, Electronic Pop

Have you heard music with such fine grain that it slips through your fingers? That’s the appeal of French producer Oklou’s new project which is her first full-length release despite years of activity. The first few tracks give you a good picture of what you are in for.

“Endless” begins with a whisper. The background clicks are so quiet that it’s not immediately apparent that they are a part of the song. The rumbling synths hum but maintain only a minimum presence. It’s a supremely understated entrance which sets the tone for the whole album. It is pop music designed to fit in a fish tank rather than an arena. Eventually the song fills out, making the original quietness feel more natural. If you focus on any one element, it seems to evaporate, leaving you to wonder how the experience feels substantive in the first place. To achieve some body, Oklou uses layering techniques to lend more energy than the individual parts, and the quick tempo keeps things from dragging on. “Thank you for recording” is playful and cheerful despite the lonely lyrics. Again in this song, Oklou opts not to drop the bass or go all out with the production, save some vocal manipulation. She creates grooves out of nothing. In this case she takes a synth line and staggers it to the effect of percussion without having to use any drums or drum machines to create a light, floating effect.

The beginning to “family and friends” is emblematic of the strengths of the album. A plucky synth pattern intertwines with Oklou’s petite melodies to create this icy, crystalline, miniature world which is a bit foreign but certainly immersive. I absolutely love the synth bass pattern in the chorus which skips downwards and downwards until it finally resolves. Along with the jittery clicks, the repetitive motifs, and the ethereal vocal layers, the track is so dynamic and striking. “Obvious” has a non-trivial beat which includes harmonic and melodic quirks that could not fit on anyone else’s album. “ict” starts with the same approach but eventually grows into a club-ready track. The lyrics can occasionally be very colorful: “Strawberry dancer, vanilla summer, driver pull over, ice cream truck” I couldn’t help of thinking about “Strawberry Dancer” for months after first hearing this song. “choke enough” also has a killer loop and catchy hook. It bucks the traditional verse, pre-chorus, chorus, hook structure, and hits something in between pop music, EDM, and ambient music. It makes the music unpredictable but doesn’t make it inaccessible. After an album full of quiet building only to turn into snowflakes, finally Oklou gives us some sort of drop to bop to (listen at 2:55). Once the beat comes back, each element finally comes together and creates a head-bobbing release which totally sells me on the entire project. Don’t blink, this section ends in about 20 seconds, leaving you wondering if it was just a dream.

Oklou doubles and triples down on this approach of making pop music that doesn’t reveal itself easily. The effect is extremely memorable and surprisingly sticky. I am surprised about the popularity of this album though. The appeal is clear, but I didn’t think it was as broad as some. Still, each track has well over a million listens on Spotify. That signals that pop music might move in this direction a bit for the future. It’s pop music for the terminally online generation or for a friend group who enjoys dancing but prefers to just vibe.

The second half of the album also has some memorable sections which you should discover for yourself, but overall, this release had me questioning what I wanted in my pop music and what I wanted in an album listening experience. Each piece is sort of like sculpted glass in that it is wondrous to admire, yet it might be closer to a high-quality breath mint which dissolves on your tongue but leaves a lasting coolness that makes you want to consume a second.

5. Madison Cunningham – Ace – Intentional, Harmonious, Singer/Songwriter

The guitar is a surprising instrument to me because despite only having six strings, there is a massive amount of room for self-expression. Surely this is the case for every instrument, but for one reason or another, the guitar has found its way to the heart of contemporary American music, and for this reason there has been plenty of time for experimentation. Grammy-award-winning guitarist, singer, and songwriter Madison Cunningham has used this instrument to invent her own style: A style that both echoes past greats like Stevie Nicks and Joni Mitchell but also contains elements of folk, modern rock, and chamber music. Cunningham’s guitar playing tends to emphasize both rhythm and melody and is complementary to her strong voice which she commands confidently. “Revealer,” her energetic 2022 album, was my favorite record of that year, the pillar of which was her creative guitar licks. The acoustic guitar would introduce the song, and the electric guitar might support it with solos, riffs, or other harmonic insulation.

On “Ace”, in contrast, the lynchpin is… bass clarinet. That’s right, the instrument that brought you the lick in Dance of the Sugar Plum Fairy is the most important instrument on the album. In most songs on Ace, the clarinets take the place of guitar, creating quieter, more natural moments. Clarinet highlights include “Goodwill” and “Take Two,” where the rich, deep tone lends a sweetness at times and an edge at others. Also joining the party are flutes and violins, but they are secondary to the clarinets. But the primary instrument is Madison’s guitar, except when it’s Madison’s piano. Some of the most tender moments are due to keystrokes rather than strums. She announces this right at the start of the album, where “Shore” is a standout ballad. The piano is used for its range, giving daintiness at times but intensity too. The explosion in the middle of Take Two is so visceral, so unavoidable, the motif that starts as a cry becomes a wail.

Other numbers are more classic Cunningham jams like the playful “Skeletree” or the rocking “Break the Jaw.” The stunning collaboration with Fleet Foxes, “Wake,” is a must-listen for fans of Nickel Creek or two-part harmony in general. Lyrically, this is a sad one. If you dig into the lyrical content, you will find the disappointment, heartbreak, and frustration really drive the album and give the music a cloudy overtone. I warmed up to this record the more I listened. The songs aren’t always straightforward, and it lacks the power that “Revealer” had. However, what it may lack in power at times, it makes up for with creativity, range, and detail. In other words, the clarinets sold me.

4. Rochelle Jordan – Through the Wall – Pulsating, Sensual, Deep House

I don’t have that much to say about this album except that whenever I hear some of it, I want to let the album run to the end. It is sophisticated, smooth, and craveable. Admittedly, I am not a person who you are likely to see at the club, but after listening to this I am wondering why not. “Through the Wall” features familiar four-on-the-floor beats, memorable hooks and unstoppable grooves. Jordan’s vocal lines carry every track in a way that is not outright flaunting her talent; she flexes just the right amount. At times she performs raps or non-melodic phrases, but mostly she creates melodies to make the song stand out. Also, there are some very satisfying surprises and nooks spread throughout the hour of runtime. Specifically, I’m thinking of “Never Enough,” where the minor ninth chord jumps around and Jordan catches it as it moves around the horn.

The chord textures underneath it all reminds me of 90’s or 00’s R&B, sometimes giving me Destiny’s Child or Aaliyah flashbacks. The hooks pair with that too and you may find yourself singing along subconsciously a bit. “Doing it Too,” “The Boy,” and “Close 2 Me” all do it for me. The weakest tracks on here are still substantial and cohere tightly with the album as a whole to where I was never reaching for the skip button. It is effortless and chic front to back, and that made it my favorite dance album all year.

3. Lonely Pirate Committee – I Love Life – Detailed, Surprisingly Sentimental, Experimental Rock

There’s something wrong about our media ecosystem. Our supposed meritocracy should ostensibly reward those who take creative risks and push an art form forward. Yet LA DIYers Lonely Pirate Committee still have not been picked up by media outlets despite all of the great music they’ve put out this decade. However, they have a loyal fan base of dozens of fans which spans the globe, which I’m going to refer to as the “Committee Members” and of which I’d like to be the chair. What the Committee Members know is that Lonely Pirate Committee makes rock music their own way. The album begins with a wolf howl and later includes record scratches that sound like dogs woofing. The drums switch between live drums and electronic and are at times blown out and at times raw. “Only Just Kidding” for example features swinging rock drumming with a very tight snare and expressive playing. It’s a great song all around. The bass is really twangy and punchy towards the beginning, and the guitar plays a lick that barely makes sense but works in their new vernacular. Once the refrain comes in, the band is set free and the singer floats over the sighing guitars. This song has everything the Committee Members have come to like about LPC: It completely abandons formula in favor of creative freedom, it features variety from top to bottom, it includes sudden bursts of new sounds like the horn hit and guitar embellishments, and it is all over this emo-rock color palette. It is a success in experimentation that doesn’t overstay its welcome or veer out of accessibility. The band favors painting with electronics and production choices, using synth riffs over guitar solos, and occasionally replacing guitars with a similar synth counterpart. This gives the album an unnatural characteristic in terms of timbre, but it doesn’t sacrifice momentum. “One Million Dollars” is subdued but still grooves with electric guitar strums co-mingling with the synth licks and drum machines.

In retrospect, this album shares more of the spirit of the Baths record than any of the rock records on my list due to its willingness to be itself and push the boundaries of each song while keeping its integrity. I really can’t say enough good things about this record, and I hope they get some more recognition for their music, that is, if they’re looking for it.

2. Honningbarna – Soft Spot – Aggressive, Fast, Norwegian Post-Hardcore

Growing up, I listened to a lot of what I called the “Rock Slash Pop” genre. That genre included your Fall Out Boys, Green Days, OK GOs, Panic! at the Discos, etc. All stuff which was heard on the radio and any listener would classify reliably under the “Rock” umbrella. Later on, towards high school, I began to experiment with bands like Underoath, Scary Kids Scaring Kids, and The Mars Volta – what I now know is called “post-hardcore” (disclaimer: I’m not one to ask about genre definitions, but it can be fun to learn about them). This sound was a bit harsher, included more dissonance and screamed vocals, and was above all, louder. Importantly, it tended to shirk pop song structures, opting to create unique sections rather than repeating familiar ones. At the time, this sound was exciting, new, and a good outlet for teenage angst (whatever that looked like for me). Since, I’ve mostly left the sound behind. The memories of listening to those bands have been mixed in my memory with similar pop-punk bands in a sub-genre I saw on the internet called “Mall Screamo,” undoubtedly a product of Hot Topic culture. Meanwhile, innovators in this space were pushing this music forward all the while, and finally, I’ve caught back up with them.

Honningbarna is a Norwegian act that has been active since 2010. Soft Spot is their seventh studio album, and it is my favorite “Rock” album of the year, by some distance. It is intense, interesting, and unrelenting. Edvard Valberg’s voice is deadly serious. He gets increasingly more agitated on “Schäfer” and absolutely freaks out on “MP5.” The tight drumming on “Amor Fati” makes it feel like they are flying. I love how blown out the mix is at time, especially during the drum fills. The mix feels full, similar to those old records I remember, but includes more depth and detail. There are lulls to give the listener a small breather. Though, if you are listening to this, you probably aren’t looking for many. Luckily, Honningbarna mostly obliges.

They are far from a one-trick band. “Festem som aldri stopper” reminds me of an angrier The Strokes by using a light treble-heavy guitar tone while “God Gutt” reminds me of the dance punks Model/Actriz with their use of electronics and excessive use of the hi-hat. At times they explode into furious colors. “Hvilke Splinter” is a pure catharsis, a brilliant build to an emotional flurry of blast beats and harmonic guitars. I can see this being a crowd favorite at live shows. Despite lacking familiar pop structures to follow and fluency in Norwegian, I find myself singing along at my favorite parts. For me, it’s now a record I can no longer imagine living without.

Album of the Year

1. Eliot Krimsky – I Made My House – Tender, Surreal, Honest, Ambient/Experimental Singer/Songwriter

Have you ever wanted to be a fly on the wall? When I listen to pianist and composer Eliot Krimsky’s “I Made My House,” I feel like I’m the fly. I feel like I’m watching him walk up to his childhood piano, then I fly inside it and sit on the strings, looking out at him. Then he starts to play and suddenly we’re in dreamland. It’s just me and him, traveling in zero gravity through his thoughts. The piano he plays sounds modified, as if he’s muted all of the strings. He recorded it from three floors above, but it sounds like you are mere inches away. You can hear his fingers hit the keys, you can hear the hammers hit the strings, and occasionally you can hear the overtones, clicks, or other idiosyncrasies with the instrument. He plays in this extremely legato fashion which is almost entirely made of arpeggios and strongly favors the pentatonic scale. He swirls in and out of time, creating a fantastical blur, not quite real not quite imagined.

“Feel I’m Getting Closer” sets the tone for the album and is a fantastic stand-alone piece. It begins the way many of the pieces begin, with a major sixth arpeggio on the piano and some improvisation. Then, Krimsky’s distinct voice reflects on a clear question. “How do I want to live? How do I want to be? How do I want to live this life in front of me?” His recording session takes place in his childhood home after his father passed away in 2022. The music then takes the shape of grief, existentialism, wandering, and hope. A saxophone joins the mix, both instruments fluttering away like two birds around a birdbath. The half-step modulation to follow is then so tender and pure and the minor five chord he plays when he sings “I feel I’m getting closer to who I am” is simply delightful. Krimsky uses many techniques to imbue a one-of-a-kind quality to “I Made My House.” The signature is the use and modification of an old recording made of him and his father when he was two years old. It is introduced in the first track and appears all over the album but is stretched to oblivion in “Time Waves,” a piece of ambient music that would work in an independent sci-fi film about space. This technique also appears in “Chasing My Shadow” which phases in and out peculiarly before settling into a repetitive figure. Here a trumpet joins the saxophone to create layers of texture before Krimsky’s voice returns to imitate the phase pattern. The album carries on with these ideas and more, patiently weaving a tale of sweet sorrow and serenity.

The album’s final act is a cover of George Harrison’s “Be Here Now.” It is incredibly delicate and precious and moves like a ghost over its changes. Aerial East provides vocal harmony, the first time another voice appears on the record, perhaps signaling the way forward out of grief. It sounds like the spaceship making its final descent, the subject waking up from the dream. It ends beautifully, riffing on the major tonic before ending simultaneously on the tonic and dominant. In these scenarios, it’s as much closure as one can get.

It is really rewarding to listen to the album end to end to hear the throughline of the home recordings and to hear Eliot’s footsteps leave the house the way they entered. Krimsky’s beautiful compositions are intimate, spacy, and fully formed yet open ended. This record was my companion this year for lots of long walks, quiet moments, and presently, a winter storm. Like a good companion, it gives you comfort, peace, and is perfect to meditate with.

More Recommendations Loosely by Genre

Jazzy

1. Pino Palladino & Blake Mills – That Wasn’t a Dream – Unique, Tonally Diverse, Chamber Jazz
2. Sullivan Fortner – Southern Nights – Virtuosic, Dynamic, Jazz
   — My favorite “Straight-ahead” jazz record of the year. It’s a standard jazz trio playing contemporary blues and bebop, but the recording quality is stellar, and all three players bring lots of energy.
3. Artemis – Arboresque – Crisp, Considered, Modern Jazz
   — The arrangements for this five-piece are memorable and unique, similarly to their debut self-titled album.
4. Out of/Into – Motion II – Cool, Driving, Modern Jazz
5. Brandee Younger – Gadabout Season – Fresh, Percussive, Jazz featuring Harp
6. Butcher Brown – Letters from the Atlantic – Fun, Swingin, Jazz Fusion
   — (RVA alert) This is a Richmond group which blends hip-hop, jazz, funk, and more to create a smooth aural experience and whom I recommend to all music listeners.

Hip-Hop

1. Quadeca – Vanisher, Horizon Scrapper – Ambitious, Lonely, Monstrous, Multi-Genre
   — I don’t know what this is. It’s very cloudy in mood and vibe but sonically rich and technically impressive. A must listen for fans of anything out of left field.
2. Danny Brown – Stardust – Hit-maker, Introspective, Hyperpop/Hip-Hop
3. Tyler, The Creator – Don’t Tap the Glass – Danceable, Sweet & Spicy, Hip-Pop
   — Each track was equally good even if it was a little short. They always say leave ’em wanting more. It succeeded on that front.
4. McKinley Dixon – Magic, Alive – Creative, Cohesive, Jazz Rap
   — (RVA alert) Clever and commanding, the raps are as brilliant as the jazzy beats. It gets better on each listen as you find more.
5. JID – God Does Like Ugly – Engaging, Masterful, Hip-Hop
6. Little Simz – Lotus – Jaded, Blue, Hip-Hop/Soul
7. Joey Valence & Brae – Hyperyouth – Brings the Party, Hip-Hop, Dance
8. Navy Blue – The Sword & The Soaring – Ghostly, Thoughtful, Conscious Hip-Hop
9. Fly Anakin – (The) Forever Dream – Hazy, Catchy, Hip-Hop
   — (RVA Alert) Caught him at Plan 9 with Quelle Chris the producer/rapper (who I adore) this year for the album release. I’m so fond of the posse cuts.

Rock (Loud Guitar Music)

1. Honningbarna – Soft Spot – Aggressive, Fast, Norwegian Post-Hardcore
2. Lonely Pirate Committee – I Love Life – Detailed, Surprisingly Sentimental, Experimental Rock
3. King Gizzard & the Lizard Wizard – Phantom Island – Classic, Free, Retro Rock
   — You’ll have to go to Bandcamp for this legendary band’s discography now since they took their music off Spotify. I wish I had come back to this way more often this year because it seems to float from top to bottom.
4. Psychedelic Porn Crumpets – Carpe Diem, Moonman – Sunglasses-on, Baked, Rock
5. Lambrini Girls – Who Let The Dogs Out – Pissed the Fuck off, Vulgar, Punk
   — I read that they were inspired by Bikini Kill, which certainly tracks. I laughed, I cried, I bobbed my head.
6. Machine Girl – PsychoWarrior: MG Ultra X – Digital, Mad, Hardcore
7. Hotspit – (Red Wind) – Nostalgic, Angsty, Grungy, Rock
   — (RVA Alert) This project has a sound that brings me back to the 2000s with chunky guitars and tender emo-like vocals. The production is quite good for a local act.
8. Viagra Boys – Viagr Aboys – Cheeky, Gross, Rock
   — Shout out to Austin for getting me into these degenerates.
9. Maruja – Pain to Power – Epic, Tense, Post-Rock
10. Guerilla Toss – You’re Weird Now – Oddball, Bold, Goof Rock
    — Don’t listen to this one. I can’t tell if it’s good or bad, and I think that’s the point.

Rock (Soft Guitar Music)

1. Madison Cunningham – Ace – Intentional, Harmonious, Singer/Songwriter
2. Men I Trust – Equus Caballas/Equus Asinus – Entrancing, Slightly Western?, Indie Rock
3. Japanese Breakfast – For Melancholy Brunettes (& sad women) – Delectable, Hopeful, Singer/Songwriter
   — You can tell Blake Mills produced this by the rich, stable sound of the low-end and the one-of-a-kind guitar embellishments. The songs are great too.
4. The Beths – Straight Line Was a Lie – Pastel, Straightforward (Ironic), Indie Rock
   — To record good songs, just write good songs.
5. Black Country, New Road – Forever Howlong – Earnest, Impressive, Art Rock
   — Those following the band might lament the departure of the previous lead singer. I personally favor this new look for the band. They are now more colorful and considered.

Experimental, Ambient & Electronic

1. Eliot Krimsky – I Made My House – Tender, Surreal, Honest, Ambient/Experimental Singer/Songwriter
2. Uhlmann Johnson Wilkes – Uhlmann Johnson Wilkes – Impressionistic, Textural, Experimental Jazz
3. Cole Pulice – Land’s End Eternal – Exploratory, Breezy/Windy/Stormy, Ambient
4. Aya – Hexed! – Intense, Absolutely Cracked, Electronic
   !! This one is loud and heavy. Listener beware. If you’re into it, you’re in for a treat.
5. Loris S. Sarid – Ambient $ – Misty, Mysterious, Ambient
   — Some of the most compelling ambient music I’ve heard in a while. It features these really creepy poems in a few moments that are sort of nightmare fuel. Here’s a line. “And we are going to eat beans. We are going to eat them wearing white t-shirts.” …You have to be there…
6. Purelink – Faith – Headphone music, Undulating, Ambient
   — I kept going back to this one while I worked.
7. Nate Mercereau, Josh Johnson, Carlos Niño – Openness Trio – Spontaneous, Evolving, Experimental Jazz
8. Oneohtrix Point Never – Tranquilizer – Expansive, World-Building, Ambient Electronic

Pop & Dance

1. Rochelle Jordan – Through the Wall – Pulsating, Sensual, Deep House
2. Oklou – Choke Enough – Mouselike, Obscure, Electronic Pop
3. Baths – Gut – Personal, Longing, Electronic Pop
4. PinkPantheress – Fancy That – Gen Z, Bouncy, Dance Pop
   — Songs of the summer for me: Illegal, Tonight, Stateside
5. FKA Twigs – Eusexua Afterglow – Sexy, After-Party Chic, Electronic
   — I actually prefer this follow-up to her other 2025 release, Eusexua. In comparison, it is a little moodier, a little bouncier, and a better end-to-end listen.
6. Ninajirachi – I Love My Computer – Caffeinated, Bright, Electronic Dance Music
7. Saya Gray – Saya – Young, Vocal-Centered, Singer/Songwriter
8. Bad Bunny – Debí Tirar Más Fotos – Celebratory, Multitude-containing, Pop
   — Although it wasn’t my absolute favorite record of the year, it’s a must-listen, especially in advance of the Super Bowl this year. The first half of this album is stellar.

Folk & Singer/Songwriter

1. Anna B. Savage – You & i Are Earth – Cradling, Loving, Singer/Songwriter
   — So incredibly warm and motherly
2. Sylvana Estrada – Vendrán Suaves Lluvias – Romantic, Reverent, Singer/Songwriter
   — “Good Luck, Good Night” is my song of the year and “El Alma Mia” makes me cry every time I listen. SO sweet.
3. Perfume Genius – Glory – Emotional, Expressive, Singer-Songwriter
4. Ichiko Aoba – Luminescent Creatures – Rich, Placid, Singer/Songwriter
   — “Tower” is one of my favorite songs of the year and especially my favorite piano piece.
5. Jason Isbell – Foxes in the Snow – Simple, Honest, Folk

R&B and Soul

1. Eddie Chacon – Lay Low – Smooth, Cavernous, Soul
   –Everything in this section is easy listening, and I mean that as a massive compliment.
2. СОЮЗ (Soyuz) – Krok – Intimate, Jazz Fusion, Singer-Songwriter
3. Sessa – Pequena Vertigem de Amor – Brazilian, Laid-back, Soul / MPB

Thanks for reading

Hey thanks for reading this! I’m going to spend these next few weeks listening to podcasts and stuff I missed over the past 5 years and beyond. If you’re new here, you can check out my posts from prior years.

Hoff’s Favorite Albums of 2024

Hoff’s Favorite Albums of 2023. Nice!

Hoff’s Favorite Albums of 2022

Hoff’s Favorite Albums of 2021

For Your Consumption: Albums from 2020