We're kicking this list off with potentially a 'you had to have been there' moment. In addition to being a Twitch streamer, Simply has been putting in a lot of work on music this year, releasing numerous singles in 2025. Sometimes he would make an honest effort to create a song general audiences would agree to be at least decent. Other times he would make music that purely catered to his chat's terminally online sense of humour. Jaheesh would end up being the alias for which he could release these more reputation-ruining tracks. On Uber Eats, Simply asks for clemency after committing a streamer's most egregious sin; ordering food delivery. Tangled up in this cloudy instrumental with glassy pianos are references to various meal kit services (who often sponsor streamers), favoured restaurant menu items, and esoteric stream memes. It's all auto-crooned in a stream of consciousness manner which reflects the very impulsive, on-stream manner in which it was created. Unless you regularly tune in to Simply's sermons, this track may have absolutely no appeal to you. However, leaving this off my list when it was among my most listened songs of the year would be terribly disingenuous.
at rock bottom i was a piss girl
Emma Goldman
Emma Goldman is responsible for releasing some of the most fiery screamo music of the year. While I had some issues with the guitar tones and some of the songwriting, preventing me from loving all you are is we overall, I have to shout out the opening track for being an unrelenting gut punch. The track opens with this imperceptible, jangly guitar riff, and before you have the time to parse out what is going on, Victoria Brindise delivers a burning line that launches the band into a thunderous passage with grindcore-esque drum blasts. The band eventually lands on a straightforward, driving groove while the vocal duo of Brindise and Felix Ruiz de la Orden get to work on developing your headache. The constant presence of the rumbling bass underneath feels like being caught in a minefield as explosions surround you. The band eventually breaks things down into a sasscore bridge propelled by a tom groove, only to build it back towards the sinister, crushing, dual-vocal assault for the finale. If you're itching for a classic skramz sound that is unrelenting, then Emma Goldman is a band you want to look out for.
Done Me Wrong
Daron Malakian & Scars On Broadway
I know we're all wishing that the members of System of a Down can come to an agreement and make new music, but in the meantime Daron Malakian's Scars On Broadway project is doing its best to fill that void. This standout from 2025's Addicted to the Violence has a guitar riff and tone that you can instantly attribute to Malakian. Malakian's voice also hasn't aged all that much, still possessing that piercing eccentricity that commands your attention. While Done Me Wrong sounds like classic System, there's something new and fresh about this particular cut, namely thanks to the organs in the chorus and the more progressive rock elements that are woven later into the track. Orbel Babayan has a whirlwind of a keyboard solo in the song's bridge, and continues on to play these crazy lines in the final chorus. It reminds me of Boston's Foreplay which hopefully should give you a picture of how electrifying this moment is. Sure, this track is missing the vocal chemistry with Serj Tankian, and it's hard to emulate the power of System's rhythm section without Shavo Odajian and John Dolmayan. However, so much of System's songwriting and sonic identity is within Malakian, such that, on his own, he can still come up with a great song that will scratch that same itch. I think Done Me Wrong is a great example of that.
Bound2U
Frost Children
While the duo's recent return to hyperpop and EDM didn't feel quite as cutting edge as previous works, this Sister cut did stick with me throughout the year. Bound2U initially catches you off-guard with a quaint opening passage that has a soft bedroom pop drum sound and percussive string hits that sound like they could come from an upright piano that may need a tuning. The song unexpectedly bursts into this pounding four-on-the-floor beat that is accompanied with very resonant rave synths that glide up a semitone. The use of side-chain compression is fairly heavy handed, ensuring that you feel the knock of those kick drums in your core. It's enough to make the hair stand on end. There's another really cool breakdown moment where the beat drops out, leaving behind the rave synths, and these obscured, echoing vocal screeches. It's a really neat sound. I think Frost Children were going for a main stage, dance festival banger on this one, and I think they knocked it out of the park.
Harked
Snooze
Snooze depicts dealing with severe mental health struggles on this single from I KNOW HOW YOU WILL DIE. Our protagonist, as depicted by the cleanly sung vocal passages, grows tired of finding themselves; finding the root cause of their mental anguish. Meanwhile, harsh vocals invite the protagonist to make that final decision with the promise of warmth, light, and peace on the other side. This mental back and forth is scored by a multi-phased rock epic that includes visceral metal blasts with blindingly bright organs, and rhythmically dense, djenty passages that have math rock's playfulness. Harked a wild and tumultuous voyage through the mind of someone who is sadly at the end of their rope.
Million Dollars
Algernon Cadwallader
I could have gone with noitanitsarcorP for having the best riff on the Algernon Cadwallader comeback record, or What's Mine for its cozy folk vibes and sweeping progression. But I ended up going with the track that I thought had the sharpest writing and was probably the band's most focused example of tackling social issues. Of course I'm talking about Million Dollars, a track that sheds light on the practice of hostile architecture. Using satirist humour, the band conveys how silly the concept is; spending money to make various urban places inaccessible to the homeless rather than improving their living conditions. I've seen instances of hostile architecture cropping up more frequently, but prior to hearing this song, I can't say I've really considered its implications. Now, listening to the song genuinely makes me upset; that our tax dollars are spent so callously, and that there are people responsible, or even taking pleasure, in making the lives of the homeless more of a struggle than it already is. This is the kind of writing that can inspire, galvanize a community, and spur action. For that reason alone, I think Million Dollars is deserving of a spot on this list.
Tower of Memories
ivri
For a time, I felt like I couldn't escape this song on TikTok. I can't exactly remember the trend scored by clean, angsty guitars and witchy synths, but the algorithm must've thought I was into it with how frequently clips of that nature were pushed. Nostalgia for White Pony-era Deftones compelled me to track the song down and give it a full listen. It's not wholly original with its ethereal, shoegaze quality, but ivri's delicate vocals and the more pronounced electronic textures did put enough of a fresh spin on the sound. It felt like a collaboration between Deftones and yeule, and given the latter's somewhat disappointing foray into rock-tinged dream pop as of recent, Tower of Memories came across as a much more respectable attempt. It also helps to have a really well written tune backed up by some great rock performances. I sampled the rest of the record and found it to be a little all over the place stylistically. However, if ivri wants to continue exploring this specific sound, perhaps find a bit more of a unique spin on it, I would be very interested in hearing it.
Mercy Mercy
Silverstein
The opening track to Silverstein's Antibloom is sure to get the circle pits going. The band tune's down to the lowest I've ever heard them tune before and spits out a nasty fight riff that compels you to run in circles. They surprise again just a few moments later, switching to a half-time breakdown with a sinister riff that descends further into madness right before arriving to the chorus. The tension is broken for a moment as Shane Told's familiar clean singing, yet it's still pretty heavy with the Killswitch Engage-styled riff that supports him. The band runs through the circuit one more time before settling with one more breakdown at the end. Although, this time they play at a sluggish pace as guitars drone away creating a truly hellish scene. Only once everything is burnt to the ground do they let up as high-pitched feedback rings through your ears. I've known Silverstein for their sweet and sour, overly sentimental brand of post-hardcore. Never would I have thought they could make a transition to metalcore and come out of the gate this punishing. Colour me surprised.
C U LATER
THOT SQUAD
THOT SQUAD is another up and coming artist that felt oddly present throughout 2025. I first came across her 2023 track Pound Cake on TikTok, and given the Kelis-level screams set to an absolutely bombastic beat, it certainly made an impression. We crossed paths again through the episodic superhero video game Dispatch, where in addition to lending the aforementioned song to the soundtrack, THOT SQUAD lent her voice to one of the reformed villains that rounded out a ragtag crew of do-gooders. Her performance was hilarious and really endeared me to her personality. Thus, I went back and listened to more of her singles. This year's C U LATER was among them and it's another really fun track. It has a super simple beat with sparse electric piano chords and heavy bass hits. Her vocal approach is far more laissez-faire, putting on an ignorant inflection that sounds effortlessly cool. Looking at the span of tracks I checked out this year, it's clear that THOT SQUAD has versatility and can consistently release fun tracks. I'm hoping this can materialize into a full-length project at some point because THOT SQUAD has the capacity to be great.
Paperweight
quannnic
Before I try to solidify my list, I do a little bit of last minute snooping; seeing what has caught the attention of other music fans this year. quannnic happened to be one of those artists I looked into as the consensus appeared to be fairly positive, and transition from digicore to shoegaze seemed like a fairly interesting evolution. Skimming through the album, I didn't personally find anything that interested me all that much, but the track Paperweight was an exception. It's dripping in longing melancholy, and there's a constant wash of instrumentation in the background that is smothering, but in the best way possible. I love the chorus, for one, because of all the swirling guitar melodies that swirl around aimlessly creating this beautiful cacophony. Although, I also love quannnic's vocal melody as well. The gentle glide between his chest and head voice perfectly meshes with the vibe of the track, and is inviting to sing along to. Paperweight is a great track to throw on when you want to feel nothing except for being overcome with sound.
WHIPLASH
Four Year Strong
Inspired by the acquisition of a baritone guitar, Dan O'Connor and Alan Day conceived this killer downtempo groove that was satisfyingly thick and sludgy. However, all the ideas they came up with to try and expand the idea into a full song didn't seem to mesh. The idea was eventually shelved. With a little bit of time off and an upcoming tour with nothing new to promote, the band decided to enter the studio to see what they could hammer out. They decided to revisit this baritone riff, but with a different strategy. Realizing that deviating too far from the original idea wasn't working, they opted to make the riff and groove a constant throughout the track. To build a sense of progression, they would bring in (or take out) various guitar motifs in addition to employing the tried and true soft verse, loud chorus. With that, Four Year Strong cracked the code. The verse drips with trippy, stoner rock details like the cartoony bends, the melting dive bombs, or the descending angular melody that is treated with warped chorus and waterlogged time effects. In the chorus, the guitars create a thick wall of sound as Day and O'Connor holler aggressively. There's just enough variation to mask the sensation of hearing the same foundational groove for the duration of the track. Whiplash's story is a fantastic lesson in patient songwriting.
Moon Over
Mason Lindahl
Those who are familiar with Mason Lindahl know that he is a very talented, one-of-a-kind guitar player. His finger-picking style is very unique which leads to some very intricate and mesmerizing compositions. In addition to his technical prowess, Lindahl is also a very emotive player, a trait that is prominently displayed on his most recent work. On what I think is his most standout track in 2025, Moon Over is caught in a cycle of dark contemplation despite moments of brave self-assuredness. Lindahl spends most of the track gently sweeping through a series of frenzied notes that are tied down in the guitar's lower register. Occasionally, we escape from the stifling darkness with more languid phrases that make full use of the guitar's range, and digging in harder when striking the strings. The power in his plucking hand, especially when Lindahl gets caught on a single note, sends strong reverberations throughout the stereo field. However, like the volatility of our minds, the composition will continually retreat back into the dark recesses of our thoughts. For a solo, instrumental guitar track, you can't get much more emotional than this.
Winona
Deafheaven
Listening to Lonely People With Power for the first time, I was noticing a surprising amount of sinister metal and shoegazy post-punk tracks. I was worried there would be no representation of the triumphant brand of black metal that initially hooked me on to their sound. Of course, the band was just saving it for the very end. You eventually make it to Winona and are blessed with beautiful layers of chiming, swelling clean guitars. The gentle roll of a snares and hi-hats hint that we're almost ready for lift-off. Then the track propels into the stratosphere with overwhelmingly warm and welcoming blankets of distorted guitar. Daniel Tracy is let loose, performing an intense, agile drum performance that is truly mesmerizing. The burst ends before you want it to, leaving behind a single clean guitar that echoes in the void. Then a signature drum fill launches into the song for real. It's incredibly intense, yet supremely uplifting, and the fact that we have not heard a passage like this up until this point makes this moment all the more impactful. The band proceeds to take you on a rollercoaster ride through a series of passages with varying paces and melodic moods. It's a stunning, monolithic track that sounds like classic Deafheaven, and also has one of the best intros to any rock song ever. And that's a statement I'll stand on.
Chains of Love
Charli XCX
Charli XCX has teased two songs from her forthcoming record inspired by Emerald Fennell's adaptation of Wuthering Heights. One was a very experimental and avant-garde track that prominently featured John Cale (The Velvet Underground). The other was this track, Chains of Love, a dramatic pop number with 80s, gated reverb percussion, piercing strings, and fat bass. Charli delivers a sultry performance as she lists the terrible fates she would rather suffer instead of turning away from a love she later characterizes as torturous. Say what you will about the quality of her singing or her use of auto-tune, but the fact is Charli consistently brings fantastic earworm melodies. The example here occurs right after the chorus where she employs a mix of head and chest voice in an absolutely stunning descending vocal line. I was under the impression that post-BRAT, Charli would want to take a break from music. Therefore I'm surprised that she is back so soon with another project. Knowing this, and judging off the quality of these teasers, I'm excited to find out what had her so inspired.
Lifeworld
Oneohtrix Point Never
Daniel Lopatin was really on his world building game for this Tranquilizer cut. Right at the outset I'm enamoured by the streaming sounds that slice through the stereo field, as well as the gurgling sounds that bubble up from the depths. Add in the bongos providing some gentle propulsion, and I feel like I'm traversing through tropical rain forests, a vast system of tunnels, or perhaps an active volcano. As the song progresses, we are introduced to this recurring motif where weeping violins play long, drawn out notes in between jarring jolts of piano. The sense of wonder continues to climb as the track goes off on various detours, my favourite of which incorporates the sound of a pan flute. After every detour, Lifeworld returns to that main motif, but Lopatin will interject with random samples. Discovering all the hidden details has made this track worth revisiting many times over.
infinite source
Deftones
Deftones reminisce about the past on this private music highlight. The main riff (perhaps the only real catchy guitar riff on the record) is fittingly nostalgic with its ascending harmonics played between open, palm-muted chugs. The song's energy comes in waves as the main riff alternates with blaring walls of guitar that are accompanied with crashing drums. For the chorus, we are fully submerged in a warm bath of distorted guitars as Chino Moreno drifts longingly over top. Lyrically, infinite source may give pause to fans of the enduring alternative metal band. There's a great sense of finality, the notion that things are coming to a close, expressed in Moreno's words. Is the band hanging it up, or is Moreno envisioning himself in the (hopefully not so distant) future? Is he implying that there may be changes to the band's personnel soon, or is he eulogizing a former member? It's unclear exactly what is being said in this song, but regardless, the general theme of 'all good things must come to an end' only amplifies the bittersweet sentiment that embodies this track.
FRIENDLY FIRE
PARTYOF2
Rap beefs and diss tracks are just a nature of the sport, and if there's one thing we learned from the relatively recent bout between Drake and Kendrick Lamar, it's that an event like this can capture the world and get everyone talking. PARTYOF2 invoke that phenomena (to a scaled degree) by starting a little rap beef of their own and going toe-to-toe on FRIENDLY FIRE. This isn't the playful, 'honour among band mates', battle you'd come to expect as SWIM and Jadagrace spar without kid gloves. To set the tone in the first pair of verses, the duo reference the infamous, and violent war between the East and West coasts. "Biggie, JAY-Z, Nas, the legacy I derive, it was written in the blueprint, I hope you ready to die," SWIM opens as he name drops New York's most iconic rap exports followed by a line that amalgamates the titles of their works. Jadagrace counters by flipping the iconic opening bar from 2Pac's Hit Em Up.
In the second round, the duo argues over who carries the most weight. SWIM reveals that he has ghostwritten Jada's bars in the past -- a cardinal sin in hip-hop -- while Jada's rebuttal is to call SWIM a dime-a-dozen rapper who is overshadowed by a multi-threat talent. Things get personal in the third and final round as SWIM mocks Jadagrace's mental health struggles, and accuses her of being selfish in relation to being present for her family. In response, Jada hits him in the wallet, insinuating that all the money it takes to sustain him and his image has been on her dime. This is how you know PARTYOF2 is authentic. They could have traded cute little jabs, but the duo understands the culture and the institution of the diss record. To be true to the art form, they had to be ruthless, and they succeeded all while keeping it fun.
Badly
Sleigh Bells
This deep cut from Sleigh Bells' recent record is such a fun, energetic track. It's a no-brainer why they've been opening their shows with it throughout their tour supporting Bunky Becky Birthday Boy. Badly has some pretty campy 80s hair metal guitars and the chorus gives cheerleader vibes. While that may sound terrible in theory, in practice the result is kind of undeniable. The verses go over well too, prominently featuring a chorused bass sound that sounds great, and a little synth lick that reminds me of soundtracks to quirky retro games like Glover. The song breaks down towards the end where we get sharply edited power chords that ping pong from left to right. It's goofy nature may cause some to overlook this cut, but I think it's a sleeper hit.
Kingbreaker
The Armed
The second single for The Armed's THE FUTURE IS HERE... was the teaser that really got me excited for this record. It comes in immediately with so much energy: guitars that just mash away, a growling bass tone, and a drum beat that is driving, yet surprisingly sophisticated with all the ghost notes on the snare. I love the slacker rock approach to the verses. Tony Wolski sounds like he's phoning it in, delivering this very stiff melody in a nonchalant fashion that contrasts really nicely with the intensity of the instrumentation that almost swallows him. It also sets up Meghan O'Neil (ex-Punch) perfectly as she follows Wolski with some feral screamed passages. There's other elements that help raise the heart rate. Patrick Shiroishi supplies some crazy saxophone freakouts, as well as some unflattering squawks that transition between sections. Kingbreaker is a very short, two-minute teaser, but within that short span of time, The Armed pack this song with so much energy. It's practically tearing at the seams.
Itty Bitty
Ashnikko
The best way to get over heartbreak is to find a new fling; this is advice Ashnikko lives by. Itty Bitty depicts a post-breakup night of debauchery and inhibition at the club set to a thumping dance beat and tinny hyperpop synthesizers. Ashnikko raps and talk-sings through a series of raunchy lines without wavering. Despite being at a romantic low point, the confidence is off the charts, and it comes across very empowering. Keeping things fresh throughout the duration of the track, Ashnikko will switch things up with her vocals. We get chipmunked refrains, a very cutesy sung verse, and we also get a very unexpected screech that is teeming with punk enthusiasm. It's a super fun track, total club banger, and there's queer representation. By the rule of three, this song is very deserving of a spot on the list.
Three Foxes Chasing Each Other
Djrum
Three Foxes Chasing Each Other is easily the most playful and magical cut on Djrum's recent record. The track starts with some spellbinding melodies played on a thumb piano and some gentle piano chords. Rustling vegetation and buzzing cicadas place you at the centre of a beautiful rainforest. A cozy beat eventually materializes with skittering hi-hats, resonant kicks, bongos, and echoed claps. Then all of a sudden, the percussion starts going off; kicks, bongos, hi-hats, everything is spammed all at once. We eventually emerge out of percussive chaos with an accelerated and much more energetic reprisal of the intro. For the remainder of the track, Djrum takes us on a dance odyssey through the jungle, featuring multiple thrilling drum breaks in the process. There's a primal nature to this track that compels you to follow your most base instincts. Or in other words, it really just makes you want to dance.
Eyewall
Baths
The opening track to Baths' excellent Gut is a tender indie pop cut that details love on the rocks. The emotional intimacy is fading, and communication is starting to break down. The verses are timid, made up of gentle electric piano, softly strummed acoustic guitar, and Will Wiesenfeld's dejected spoken word that occasionally has ghostly artifacts echoing in the background. In the chorus, our protagonist pleads for his partner to listen, not just to respond, but to understand; to repair a once deep connection that has long been neglected. Frustrations sometimes boil over as Wiesenfeld will let out these alarming, fried screams that emphasize the word 'patience.' Despite the incongruencies that have evolved in the relationship, the parting words do leave us feeling hopeful. The protagonist isn't ready to give up, and it's also revealed that the physical attraction they continue to feel towards each other may be a lifeline. With that, we are launched into an extended outro that has a steadier, more self-assured rhythm. Over time, instrumental layers are introduced, eventually building towards a euphoric wall of sound before the track comes to close. It's a really beautiful song that depicts a couple's resilience in a real, authentic way.
+ två vackra svanar +
vildhjarta
vildhjarta's new record is so densely packed with disorienting grooves, odd melodic phrases, and obscene guitar sounds, that I found the album difficult to truly lock into. There were standout moments here and there, but + två vackra svanar + was the only track that was able to string them together into one banger of a song. The fun begins around the thirty second mark when the band establishes an ethereal atmosphere that is very typical of their work. They then proceed to bludgeon it with a brutal, slow-moving breakdown where weeping pitch bends and speedy little licks poke out between weighty chugs. In the next phase, the band seamlessly pumps up the tempo and the melodic lines teased in the previous section are expanded into this devastating slide riff. vildhjarta cools off once again with another ethereal soundscape before dropping into an uncharacteristically triumphant section that reminds me a lot of one of the best moments on their previous record (the epic final moments of paaradiso). This span of time that lasts roughly three and a half minutes is some of the best material the band has ever written and it all happens to be sequenced together beautifully.
The May
Cardiacs
There are so many amazing tracks on the very lengthy LSD, but the more punk-leaning The May ranks among the highest. This quirky tune has a peppy drum beat, a fantastical chord progression, and a dry vocal delivery which, on their own, form the basis for a really fun track. The band doesn't stop there of course, littering the track with all sorts of prog embellishments. We've got guitars, saxophones, and synthesizers trilling wildly in the background at random moments, and there's operatic vocal accompaniment that is super epic. This track also has a very melodic, very winding guitar solo that is pretty mesmerizing, especially when the band repeats it over and over towards the end of the track. It's not the most neatly arranged or sonically lush track, but there's something about the band's blend of punk spirit with these outlandish prog ideas that turn this song into pure magic.
Schäfer
Honningbarna
After a fairly ominous, spoken word introductory track, the first real taste of Soft Spot wastes no time getting the blood pumping. We have a monstrous, growling bass tone, a thumping tom grove with an incessant, percussive popcorn sound, and Edvard Valberg hollering in his local Norwegian dialect. It's a lot to process up front. Then razor sharp guitars come in playing ascending power chords that are slightly offset from the previously established rhythm. It shares a lot of characteristics with the work of Refused. Along with the entrance of the guitars, Valberg's hollers evolve into manic screams that are quite chilling. Listening to the tone of voice, you'd expect the subject matter to be painful, desperate, or dire, and yet Valberg vows to always strive for a better life. The intensity of his pursuit, as depicted in the lyrics, combined with the intense nature of the music make this feel like I'm taking part in a revolution. The energy continues to ramp up with a passage that has these exhilarating crescendos in which Valberg is screaming into the void, followed by an insane finish that sees the band giving everything they have in order to make the most cacophonous, and aggressive arrangement possible. Then it all stops on a dime which makes it seem like even when things seem to be falling off the rails, Honningbarna are in complete control. Schäfer was the first piece of music I heard from this band, and it made an impression that will stick with me for a long time to come.
Berried Alive
Berried Alive
Historically, I have not been a very big fan of Berried Alive. Charles Caswell's approach to guitar is nothing short of revolutionary, but I found the vocals and the lyrics to severely detract from his unreal guitar talents. Out of respect for the skill and creativity, I follow Berried Alive on TikTok and am continually amazed whenever one of his videos comes across my feed. To usher in the new year, Caswell dropped a playthrough video of a brief little instrumental track. A video where even after watching every move his picking and fretting hands make, seeing the abuse both the whammy bar and killswitch button takes, and watching him ride the expression pedal on his giant multi-effects unit, I still cannot understand how he creates the sounds he does on the guitar. From what I gather, a combination of whammy-ed pitch and imperceptibly fast rate tremolo effects are used to create this mash-up of brostep and Nintendocore that is absolutely mental. The sound of the guitar aside, the melody of this track is just as impressive. It's obviously very shred-heavy, but it sounds very tuneful and is incredibly catchy. It may be frustrating that the one Berried Alive song I can praise is a one-minute instrumental throwaway, but this just happens to be the one I will gladly spin over and over again.
BLK XMAS (Ft. Bruiser Wolf)
billy woods
On this cut from billy woods' terrifyingly accurate portrayal of the black experience, he and his guest, Bruiser Wolf, specifically address the implications of living in poverty and destitution. This track really helped me understand the appeal of Bruiser Wolf, whose goofy inflection always puzzled me. Here, he outlines the social implications of impoverished living, impressively touching upon many different layers while injecting a number of Halloween/horror references to match the album's overall theme. The verse was so well constructed, and his unorthodox flow had me hanging on every word. I would call myself a fan now. As for woods, he takes a more storytelling approach, depicting a neighbouring family that is kicked out of their home right before Christmas. woods' character is conflicted; recognizing that a great injustice has just transpired, but also that he's not much better off. So he joins others in scraping through the evicted family's belongings and has to wrestle with the shame upon encountering them again near a homeless encampment. Set this to a grimy, film-noir piano loop, and you have one hell of a harrowing hip-hop track.
Jelly Meadow Bright (Ft. Fire-Toolz)
No Joy
Fire-Toolz served as the producer for No Joy's Bugland, but on the closer, the two collaborated a little more formally. The results are fairly epic. The first section is a hodge-podge of guitars and Jasamine White-Gluz's vocals. Every layer has its own distinct sound: midi, acoustic, clean and distorted electric guitars swirl around, creating a surreal soundscape for White-Gluz to aimlessly croon over. The first phase begins to wind down, gradually deconstructing the track layer by layer until a relatively blank canvas remains. Then, with a metallic crash, the next phase has begun. Cybernetic glitches hint that we are now in Fire-Toolz's territory, and it's later confirmed when we get the dirge of extended range guitars in addition to her distorted death metal growls. However, true to Fire-Toolz's style, the metal elements are contrasted with bright, shimmering instrumentation that includes a smooth, jazzy, saxophone solo. Only Fire-Toolz can pair weighty guitar chugs and a saxophone together and have it make sense. Jelly Meadow Bright is a musical funhouse, a conclusion to No Joy's record that couldn't be any more captivating.
Ferry Lady
Panda Bear
More than twenty-five years into his career, Noah Lennox (known professionally as Panda Bear) released some of his catchiest and most immediate solo material to date with Sinister Grift. All it took was a very retro approach, merging his hypnotic and repetitive style of psychedelia with the vocal stylings of 50s pop. There's very little that goes into the instrumental, but everything is impactful. You've got an effortlessly cool bassline that has somewhat of an animated swagger, and acoustic guitars that are treated with all sorts of modulated delays. The only sense of percussive propulsion is provided by the pronounced string attack on an acoustic guitar strum. With all of that swirling in the background, Lennox croons rather seductively, further adding to the track's sedative effect. The real magic of Ferry Lady lies within Lennox's melody writing and vocal abilities. All throughout the track, he's making full use of his range, spanning a floaty falsetto, sultry bass notes, and everything in between. It's easily his most technically impressive vocal performance I think I've come across.
BIRDS
Turnstile
NEVER ENOUGH was severely lacking in uptempo hardcore punk ragers, but at least we got BIRDS. After an intro with a droning, phased synth and a freestyled drum arrangement, the song finally launches into a blistering tear. The chord progression is thrashy especially when it gets to that half-step climb, Brandon Yates is animatedly shouting, Daniel Fang is hitting those syncopated cymbal crashes; this is what I imagine Turnstile fans want to hear. Unable to maintain that level of intensity, the band eventually breaks things down to a more sustainable pace. The chord progression is nasty; overflowing with menacing attitude. It's one of those guitar riffs where you can just loop it endlessly and meditate on the groove. I think this track shares a lot of parallels to T.L.C. (Turnstile Love Connection), but BIRDS feels like an improvement on that formula. NEVER ENOUGH desperately needed more material like this.
ict
Oklou
Oklou's ict is an enchanting synth-pop tune that emulates a chance encounter with an ice cream truck on a hot summer's day. The instrumentation begins sparse, distant, and filtered through a narrow frequency band. Woodwind synths emit soft pulses as a majestic trumpet sounds off in the background. As the anticipation builds, the production begins to fill out with more present instrumentation; a percussive click, a synth bass line, and Oklou's whispered vocals. By the time we're in full pursuit, we find ourselves in a whirlwind of bright instrumentation. The frenzied lyrics are delivered in an agile, acrobatic fashion, aided by a sweet harmonizer effect. Just as quickly as our excitement manifests, so too does it fade as the ice cream truck drives out of ear shot. It's a slow burn of a track, but no other song this year captured that sense of childlike wonder quite like ict did.
Dodger
clipping.
On this standout from clipping.'s cyberpunk concept album, Daveed Diggs spins an epic tale of an emerging rebellion who carry out acts of technical disruption; not only sowing fear and chaos within this tech-dependent society, but also impeding the government's overreach on its people. The song's protagonist is a government employee who's tasked to monitor the network. As notifications start to come in of all these disruptions to the system, she contemplates sounding the alarm. There's a streak of dissent to her character -- as evidenced by the occasional demonstration of indifference in the network being brought down, as well as displaying a hyper awareness as it relates to the government's propaganda campaigns -- that is fueling her inaction, but there's nothing to suggest that she is firmly planted on either side. In the last verse, it is revealed that she is romantically linked to someone she knows to be a 'Dodger,' a member of the rebellious group responsible for these cyber attacks. In the end, it's the rebel's admiral morals and the realization that she will be seen as guilty by association that eventually leads her to side against the government she swore to uphold.
The writing is impressively deep, with one of my favourite moments being the bridge where Diggs crafts a brilliant piece of propaganda. "Be the citizen you need to be if innocence is in your future, you are either in the net or you against the wall;" essentially making a 'rock and a hard place' reference where 'net' is a clever double entendre that means both connection to the network as well as a trapping object. In addition to the stellar writing, Diggs puts on a rapping clinic, as per usual, employing so many different rhythmic flows at varying speeds. Then you have Jonathan Snipes and William Hutson's production of course, which comprises an accelerated beat, dark, cavernous ambiance, and glitchy artifacts. The robotic gurgling during the refrain is killer, and the addition of dramatic synth pads in the final verse really plays into the potentially life-altering, contemplative thoughts of our main character. From top to bottom, Dodger is an expertly assembled track from the trio of experimental hip-hop artists.
To Ruin and the World's Ending
Full of Hell
Full of Hell can really do it all. Name a branch on the extreme metal tree and Full of Hell can probably pull it off. Although for me, there's something special about the way they approach a doom metal track that always attracts me. Dylan Walker's very distorted scream always sounds amazing, but the way his voice rings out over these slower tracks is metal bliss. Dave Bland's drumming is also really impressive at grindcore speeds, but on the doomier cuts, he exhibits a great deal of patience. The flams are super crisp and he also incorporates triplet phrases into his drum fills that add a nice pinch of spice. Then of course you have the wonderful droning quality of the distorted and fuzzy guitars, a sound that I'm a sucker for regardless of the context. The final track on Broken Sword, Rotten Shield showcases all of this, which is why I love it so much. Toss in an epic finale where the band strikes up these thunderous crescendos as Walker screams into an endless void, and you have one of the best doom metal tracks of the year.
maybe (Ft. pritty)
Simply
As I said before, Twitch streamer Simply didn't just make brain rot for his chat, there were some serious attempts mixed in there as well, like this collaboration with pritty. maybe opens with a heavenly acoustic guitar sample propped up by new age synth pads. The sense of serenity doesn't stay for long though; once the beat drops, you're introduced to overblown, bubblegum bass 808s. Suddenly you're unsure whether to continue vibing or go nuts and rage. Creating a stark contrast between instrumental elements is one of my favourite ways to generate interest and intrigue. 46haris' production accomplishes this beautifully. Simply and pritty take cues from the more sublime instrumentation, laying down some auto-crooned verses as opposed opting for a more aggressive delivery. The vocal melodies are repetitive and they're not saying anything of substance, but they both sound really good and accentuate the vibe of the track. When it comes to Simply's more serious output, this was certainly the best track he released in 2025.
Your Days Are Numbered (Ft. Mat Kerekes)
Motion City Soundtrack
Slower, more ballad-type tracks typically don't wind up being some of my favourite tracks, but this cut from Motion City Soundtrack's comeback record stopped me in my tracks. While they are by no means similar in structure or melody, I find this track reminds me a lot of Weezer's classic Blue Album track Only In Dreams. They share the same dejected sense of longing, and also employ the tried and true soft verse/loud chorus strategy. The chorus specifically really connects me to Weezer with those driving, distorted power chords played at a steady eighth note rhythm. The band's own personality comes in the form of Justin Pierre's very distinct vocals, and a great synth lead melody that adds some much needed levity to the track. Mat Kerekes also makes an appearance on the last chorus, where his gruff hollers help the song reach a new emotional high. So in addition to tapping into my sense of nostalgia, Your Days Are Numbered also happens to be a very well written, dynamically structured tune.
Hell Is Earth
Slow Mass
Shoegaze music typically isn't very insistent with its slow tempos and unbothered attitude. Some alternative forms of metal have borrowed shoegaze aesthetics, but it's their speed and intensity that transforms that sound into something else. On Hell Is Earth, Slow Mass attempts to craft your fairly standard shoegaze track, although with a little more urgency and pep. You've got the warm blanket of fuzzy guitars, and the whisper-soft vocals from Dave Collis providing the shoegaze foundation. However, Sean Hallock's approach to the drums borrows from the metal playbook; a blast beat of sorts that really propels the track. This isn't the only thing the band does to inject a little more excitement into this sound. For one, we've got these mathy little interjections with very impressive, super tight drumming, and shimmering guitar textures that rain down. This track also features my personal guitar hero, Nick Reinhart (Tera Melos, Disheveled Cuss) who adds his distinct brand of wobbling surf textures in the second verse, as well as an angular, bizarrely bent guitar solo that finishes the track off in perfect style. All these ideas are brought together to create one of the most unique shoegaze tracks I've ever heard, and that's why Slow Mass is well deserving of a spot on this list.
Brotherly Hate
Hayley Williams
Brotherly Hate was the Hayley Williams tune that attracted me the most this past year. The choruses have this sweet lullaby quality, and the verses have a cutesy, lumbering cadence that is quite animated. Williams' vocals are very expressive on this cut, switching between legato and sharp staccato deliveries. There's also a section of a verse where Williams shouts with punk enthusiasm. Everything this track does sonically just hits for me. Lyrically, it may not contain buzzworthy lines, like sneak disses towards amoral country stars turned Nashville establishment owners, sweeping condemnations of hypocritical persons of faith, or relationship fodder that will keep parasocial fans speculating endlessly, but I personally found the sentiment of this track rather touching. Williams observes the dysfunction between two 'brothers,' and grows frustrated at their inability to put aside their differences to strengthen the family unit. It's a fairly common phenomena that is rarely explored in song, and I think Williams tackles it with concern, love, and just a little bit of humour.
Throw Me Away
Militarie Gun
The third single from Militarie Gun's recent record was the only track, in my opinion, that made use of the winning formula the band uncovered on their full-length debut. We have very simple production that has your typical rock instrumentation. The vocal melodies are elementary and easily repeatable. When performed in Ian Shelton's weathered yell-sung hybrid, you've got a combination that is rooted in pop foundation with a dash of punk spirit. The half-step intervals in the pre-chorus and chorus chord progressions add a touch of chromaticism to make them stand out. And lastly, we have soaring guitar leads in the chorus that sound off like gentle sirens. Everything here clicks to create a perfect power pop track. More than just the sound, what also makes this track work is how the vibe interacts with the lyrical themes. Many tracks on God Save the Gun deal in themes of self-loathing and desperately wanting to change personal behaviours in order to save relationships; especially dark subject matter that is made all the more gloomy when the vibe matches. Like the best cuts from their previous record, Throw Me Away is a little more peppy and bright, adding an element of humour that wonderfully breaks the tension during Shelton's emotional spirals. To me, this is Militarie Gun's defining sound, and if they leverage it, they will have a hit every time.
Hairdryer
Touchdown Jesus
If there's a black midi-sized void in your life, then you owe it to yourself to check out this track from Touchdown Jesus. Hairdryer borrows a lot of things: the tightly performed, intricate drumming, angular riffs, tension fueling tri-tones, odd little guitar noise interjections, and irreverent talk-singing. All of these zany elements are packed into this dry setting which ingeniously pulls your attention to the strong groove. The band doesn't stay in this dry climate the entire time though. There's another section that offers a more expansive, dreamier counterpoint with long-ringing guitar chords, more melodic vocals that are treated with time effects in order to give it a multi-dimensional quality, and some very smooth saxophone runs. Arriving at these sections feels transcendent. Getting towards the end, the band delivers a mathy little freakout that really gets the blood pumping before finishing with some rather epic crescendos. It's a fantastic track with some really impressive musicianship and has an impeccable flow throughout the progression of the song. This is a must listen for anyone who's enjoyed black midi's brand of progressive post-punk.
Lookin' For a Fight/Done Lookin'
Destiny Bond
On this speedy and energetic cut off of Destiny Bond's fantastic new record, Cloe Madonna encourages LGBTQ+-identifying persons to exercise restraint, patience, and compassion when interacting with well-meaning folks who may not understand why we are the way we are. Our tendencies to go on the attack when we perceive a challenge can kill the productivity of a conversation long before we're able to reach a mutual understanding. This message is propped up by a textbook punk drum beat and rock 'n' roll guitar leads that ascend rather sweetly. Although, this is only half of the story as the band suddenly switches to a meaner and nastier hardcore demeanour for the second part of this double-billed tune. Kicks and snares violently alternate as Madonna rallies with her aggressive screams. Lyrically, Done Lookin' boldly drives a flag into the ground, laying claim to a space where we can finally belong and prosper as a community. These two pieces together communicate the delicate tightrope we collectively walk. We need to meet ignorance with grace and kindness, but our self-respect should not allow us to shrink ourselves, endlessly explain, or apologize for simply existing.
ecdysis
Deftones
Initially, I thought infinite source was the clear standout from private music with its instantly gratifying guitar riff and emotional lyrics. But ecdysis eventually crept into the top spot. It has the My Own Summer-type of riff in the verse, first played on a rumbling bass by Fred Sablan before Stephen Carpenter mirrors it on guitar. The chorus is also killer with the dotted guitar rhythm counteracting Abe Cunningham's straightforward groove. The guitars are dead simple, but there's something about the half-step intervals that make for a satisfying resolution. Chino Moreno also delivers a fantastic Jekyll and Hyde performance during the chorus, switching between heated shouts and sung lines that have his signature ethereal quality. ecdysis is also one of those tracks where Frank Delgado's contributions are prominently featured, which isn't always the case. The industrial textures that open the track, the occasional sonar ping, and the melodic synth pads in the chorus, among other things, add a great deal to the character of the track. This track was a team effort in which everyone pulled their weight, and that chemistry definitely translated into one of the best rock tracks of the year.
Purity Drag
The Armed
There's a lot of aggressive, noise rock ragers on the recent record from The Armed, but Purity Drag might be my favourite. It comes bursting in with so much energy thanks to the open hi-hat, dance-punk beat, guitars that create more of a commotion than melody, and Tony Wolski's unhinged, distorted vocals. The chorus maintains the intensity with a series of explosive crescendos, but with sweet clean vocals overlaying the layers of desperate screams, and watery pianos cascading in the background, I'm oddly filled with a sense of elation. It's just one of the many examples of the wild balancing act the band pulls off; delivering a track that an overwhelming proportion of the audience would find too chaotic and abrasive, yet they're able to sneak in all of these really sweet, melodic hooks to take a little bit of the edge off.
Whatever, Alright
vianova
German metalcore quartet vianova have had quite the breakout year. Since the tail end of 2024, they've been steadily dropping one mind-bending, genre-blending single after the next. Their wild spontaneity, eclectic references, and zany videos certainly got metal communities talking, to the extent that when the band finally dropped their debut album in September, audiences were hotly anticipating it. For me personally, many of their singles didn't make sense to me. I respected the ambition, but I failed to catch the flow or see how all the wild ideas summed to an irresistible song. To a certain extent I felt that way about the dark R&B, djenty fusion of Whatever, Alright. I liked the dim verses with the dangerously alluring vocals from Alexander Kerski, as well as the supremely heavy, thall-styled breakdown sections. However, what stole the show was the last fifty seconds. Kerski finally drops the seductive inflection in favour of a monstrous scream; foreshadowing that the floor is about to fall out from under us. Although, with a blood curdling scream, the band unexpectedly launches into a frenzied blast beat that later resolves into the crushing breakdown we initially thought was coming. It was a brilliant bait and switch. The only question was whether the wait was worth it. At first I would've answered no, but the more I listened, the more I picked up on subtle details. The weird guitar noises, the different feels of the first two breakdown sections, the overblown, distorted bass in bridge; all of these helped convince me that, yeah, the wait actually is worth it.
Blasted Shadow
Sleigh Bells
Taking the prize for my favourite pop song of the year is this cut from the recent Sleigh Bells album. This track has this nostalgic 80s synth-pop sound that is very cute and endearing. The chorus is what really sells the track for thanks to the persistent lead synth melody that plays call and response with the metal guitars. It's boldly pronounced in the mix and really demands your attention. Then in the second part of the chorus we have these very 80s, icy synths that play sharp chords that lock you into the groove. Alexis Krauss also delivers one of her best performances on the record, providing not only a great melody, but a soaring performance to go along with it. Blasted Shadow also has a great bridge section where all elements are used for it's rhythmic purposes: finger snaps, percussion blocks, stuttering bass synths, and the return of those sharp, icy synths all work together to create an irresistibly danceable groove. This track is just a super fun, expertly produced pop track that is never skipped when it comes on.
Distracted By the Mona Lisa
The Callous Daoboys
I know I could've picked a more chaotic track; something a little more symbolic of the band's sound. But it was this more pop-structured cut that captured me right from the first listen. It's very reminiscent of early 2000s emo and post-hardcore that incorporates both ethereal textures and glitchy edits. The sound design is incredible, where violins manipulated to sound like whale calls and what sounds like aquatic navigation instruments sputtering away are among my favourites. The best part of the track, the reason why I come back to it time and time again, is the bridge where things reach an unbelievable climax. We're teased initially with a thinned out version of an incredibly catchy guitar riff. It makes rather large interval leaps in addition to employing some neat stutter effects. Things begin to derail as the backbeat drops in and out, losing sync with the guitar. Then after an ear-splitting stutter and a screamed call out from Carson Pace, the breakdown is ushered in with a sonic boom and we finally get to hear everything without cuts to the frequency spectrum. It's one of the best breakdowns I've heard since we collectively agreed that they were a little played out, probably. Altogether, it's just a well written track with great production, a dynamic progression, and supremely catchy riffs.
Revelator
Deafheaven
Any notion that Deafheaven has gone soft is swiftly crushed with this unrelenting black metal cut from Lonely People With Power. The typical delay and reverbs that are applied to create their signature dreamy aesthetics are nowhere to be found here, and George Clarke's snarling growls are uncharacteristically in front of the mix. As a listener, we are forced to confront the sinister scene that plays out before us head on. The band begins with your typical black metal fare, but theirs almost a militaristic precision in the performances. The rapid chugs between frightening minor triads are incredibly tight, and the way Daniel Tracy attacks his ride during the blasts provide a sharper bell tone rather than cymbal wash. Only once the band breaks things down to a crawl do the additional layers of guitars appear, creating a hellish wall of sound aided by the ominous ring of tubular bells. Deafheaven eventually offers a short reprieve where a lone guitar strums some cleaner guitar chords, but fans of Deafheaven will easily pick up on the foreboding tone. The band unexpectedly launches into its final, furious phase where between the evil guitar melodies and Clarke's increasingly demented performances, you feel like you are being dragged down to the depths of Hell. It may be the tightest and most exciting six minutes the band has ever crafted.
Volob
Cardiacs
There are so many incredible tracks on Cardiacs' swan song, but I had to go with the noble, synth-pop-tinged Volob as my favourite track. The track immediately throws you off with a curious groove where guitars and organs rapidly alternate over the shuffle of a snare drum and shaker. The organ always sends little jolts on the off-beat, lending to the groove's heavily syncopated feel. The track becomes even less predictable when it suddenly launches into the chorus right in the middle of vocalist Rose-Ellen Kemp's vocal phrase. We seamlessly transition to a grand series of crashing crescendos where everyone plays in unison, much to my joy. These are essentially the song's main components, but details like instrumental piano breaks, majestic horn sections, or soaring guitar leads all add a great deal to the progression of the track. On a personal note, it's the third verse where I start to draw parallels to one of my favourite artful pop-prog bands, Cats In Paris. Kemp's vocal inflection when she switches to her falsetto, the brief interruption for a bass guitar fill, and the timbre of those organs instantly scratches that same itch. The song comes to close with an extended round of focused crescendos, and honestly, it could go on for ever. I find myself so swept up in the beautiful storm and I don't want it to end.
Eden
Baths
I've never really heard Will Wiesenfeld's (Baths) music before, but after properlybeing introducted by way of Gut's second single, I was alerted that I had to check out this album when it eventually dropped. It's such a euphoric piece of beat music that features a warped string loop and bubbling, percussive fills. The track is fairly repetitive, but Wiesenfeld does an excellent job of maintaining interest all throughout. He'll catch you off-guard with jarring transitions; unexpectedly cutting all instrumentation on the second beat of a measure before ushering everything back in with a sharp scrap of a violin bow for example. To counteract the very digital aesthetic, he also includes very organic string arrangements that grow more persistent as the track progresses. There's also a great sense of progression in the lyrics as well as his vocal delivery. I imagine Wiesenfeld on the dancefloor, beckoning someone on the balcony to come join him with an alluring jumble of syllables. What follows is very sensual imagery; personifying himself as the water that will quench this other party's thirst. I love the line "slip into my ellipsis," as it reflects the wordless communication that often goes on in these settings. The intent is clear, this other party just needs to follow his lead. Baths' Eden is a masterclass in seduction in which every element works to ensnare you.
Taxes
Geese
On a video breaking down the construction of a Ski Mask instrumental, Kenny Beats explains how he uses stereo width, radio band equalizers, or reverbs to tease listeners before opening up the instrumental in a grand, unexpected way. 'It creates tension and release,' he rationalizes. I agree, it's certainly effective in that regard. It's so effective, in fact, that Kenny Beats will apply it in non hip-hop/electronic contexts; like on Geese's Taxes. For the first minute and a half, Taxes is presented in muted colours. There's hardly any harmonic content aside from the steady plucking of a high bass note that creates a barely noticeable pedal tone. There's an acoustic guitar and perhaps a vocal synth pad, but they are so faint in the background. Even the percussion, while not stiff, is fairly meditative. The only animated element is Cameron Winter's dejected vocals that portray someone who's trying to shake atonement. Just as Kenny Beats (or is it Kenneth Blume III in this context?) anticipated, the audience is hanging on the edge trying to figure out where this is heading. The song suddenly blossoms with layers of heavenly guitar leads that beautifully cascade, and the rhythm section establishes their driving groove. For the remainder of the track, we continue to reach new heights: the drums become busier, Winter begins pleading desperately, and we reach an even greater climax once a higher guitar harmony is introduced in the final moments. The instrumentation and the organization of the events is so immaculate that by the end, I feel like I've left my body.
MP5
Honningbarna
This Soft Spot single somewhat reads like a PSA on the detrimental effects of loneliness and deprioritizing your mental health. The band uses Norwegian entertainer Kristian Valen as an example of how people, even those seemingly living their best life, may be suffering behind closed doors. Honningbarna references Valen's odd, militaristic behaviour, which has led to numerous run-ins with law enforcement, as evidence that a fast and loose lifestyle can have ill effects. The vehicle for this message, supported by obscure Norwegian lore, is easily the most dynamic and nightmarish tune I've heard this year. The verses have a menacing, booming drum beat, and the unnerving, jangly guitar riff has these syncopated accents that are one shade away from a panic chord. Edvard Valberg isn't really singing or screaming, more like talk-shouting rather passionately. Then the chorus quite literally explodes. A blaring guitar lead directly pierces your ear drums while Valberg's doubled screams send chills down your spine.
The band runs through the cycle again, but the drumming on the second verse has to be commended for all the little details Nils Nilsen adds. While maintaining a steady, powerful groove, he'll find ways to slip in a sneaky rack tom hit or a couple China cymbal accents to demonstrate that he's got impeccable feel too. Having already heard it, we feel prepared for the shock of the chorus. However, when transitioning into it for the second time, all the instrumentation is cut leaving a very off-kilter drum fill and Valberg's alarming screams. The band catches us off-guard once again and is able to make the chorus land with the same amount of intensity as the first time; just an example of brilliant performances and songwriting. MP5 isn't the most structurally complex track, nor is the production super elaborate with all these different sounds. What makes this one of the best songs of the year is the unparallelled energy that comes from every band member riding the same wavelength.
