Elijah’s top 20:

Alcázares, Impureza (Season of Mist). The French death metal outfit returns after an eight year gap between albums, sounding as unique as ever with their juxtaposition of modern Spanish flamenco arrangements against lyrical themes of colonial Spain’s atrocities within the framework of a classic progressive death metal sound.

Ascension, Mirar (self-released). What happens when you merge baroque and dubstep and insist it be played by a metal band? This right here. Let your mind be bent.

Där Skogen Sjunger Under Evighetens Granar, Vildhjarta (Century Media). The godfathers of “thall” may have plenty of worthy competition (see Ascension above), but the Swedish OGs prove they have plenty of envelope to push, exploring new emotional and atmospheric depth in a genre centered around disjointed, disorienting rhythmic and melodic fragments.

Desolation Manifest, Execrari (self-released). From the obscure expanse of the Midwestern USA comes a debut by primary musician “Voice of the Nexus”. What would otherwise be a mountain of metal clichés is so expertly arranged and sincerely delivered here that they rise above virtually every other release that has ever given so much as a passing nod to those same clichés.

Doga, Juana Molina (Sonamos). Another stellar release on this list following an eight year wait, the Argentinian producer/singer/multi-instrumentalist proves that, even well into her 60’s, she makes the best freaky, dark electronica that will undoubtedly inspire you to boogie. Albeit a strange, hypnotic boogie…

Even in Arcadia, Sleep Token (RCA). The polarizing, mostly anonymous UK project has outdone themselves. Where their previous releases were consistently tight and focused in song arrangements, Sleep Token’s fourth album stretches out its instrumental ideas and moods, and is all the better for it, proving they are more than just talented arrangers of pop-adjacent music.

The Future is Here and Everything Needs to Be Destroyed, The Armed (Sargent House). Another ostensibly anonymous project, the eclectic rock project takes a hard lean back towards its noisier hardcore roots while maintaining some of the pop sensibilities gained on the last couple of releases. One of the few bands I’ve heard that really communicates the energy of their live performances on a studio album. Electric!

A Hole Beneath the Home We Shared, Low Before the Breeze (Terminus Hate City). It sounds exactly like its title. What if you were stuck immediately below everything you knew and probably loved? The crushing, untamable helplessness of being trapped in the dark, knowing what you need is so close, but impossible to reach. (If that sounds like an appealing listen, then you and I are gonna get along just fine.)

I Don’t Want to See You in Heaven, The Callous Daoboys (MNRK Heavy). A masterclass in artistic, somewhat conceptual music that can still be accessible. Catchy, chaotic, tongue-in-cheek, plus a great big Björk quote in the middle of the last track. What’s not to love?

I Know How You Will Die, Snooze (self-released). These Chicago-based virtuosos are going to be ones to watch. They’ve built a math rock masterpiece that covers the entire genre’s swath between aggression, gentility, melody, and madness.

Kiniata, Kin’Gongolo Kiniata (Helico). With their arsenal of homemade instruments, this new Congolese ensemble constructs relentless, heavy grooves for the ages. Carried by impeccably produced low end, the emotional breadth of the vocals demand attention to every syllable, across group chants, joyful melodies, and emphatic growling.

Lonely People With Power, Deafheaven (Roadrunner). The biggest name in “happy black metal,” these SF underground darlings return from their shoegaze outing with the most precise statement of emotive aggression to date. Intense and expansive, but never overstated in its expression.

Mama Killa, Ava Mendoza/Gabby Fluke-Mogul/Carolina Pérez (Burning Ambulance). A collaboration of venerable musicians that perfectly intersects electric and acoustic instrumentation, with all three players given plenty of room to breathe and make meaningful statements on their instrument. If you’ve never heard a trio of guitar, violin, and drums playing avant-death metal, may as well start (and possibly end) right here.

Motherfucker, I Am Both: “Amen” and “Hallelujah”…, Shearling (Mishap). Built around the unrecorded material of Sprain, two of the members’ former band, the newly-born Shearling debut with an audacious one-track, hour-long album. Gripping from start to finish, you’re never quite sure where you’re going to go on this sonic odyssey, but you know you’re going somewhere.

Noble and Godlike in Ruin, Deerhoof (Joyful Noise). The legends of truly strange indie rock bend back into their wild roots, creating the latest of their protests against America’s societal norms. It’s not every year a 30-year old band releases their 20th album and it’s as much, if not more, of a banger than most of their previous work, but here we are.

Sleep Paralysis, Sleep Paralysis (I, Voidhanger). The latest project from multi-instrumentalist Stephen Knapp, the fusion of extreme metal with whimsical sound effects and cartoonish piano lines seems almost tongue-in-cheek, but comes together so powerfully that it transforms from novelty to ingenuity. A surprising but welcome addition to the niche world of “Satanic circus music.”

Spiritual Sound, Agriculture (The Flenser). While Deafheaven sharpens and hones the post-black metal trend they kicked off 12 years ago, Agriculture takes the same sound and puts it through a blender filled with barbed wire. More aggressive and more ragged while still dredging up the deepest pits of joy, rage, melancholy; you name it and they will make you feel it, intensely and maybe even uncomfortably.

Subnormal Dives, Byonoisegenerator (Transcending Obscurity). When I was sent this album on bandcamp and read the tags, I said I wanted that list of genres on my tombstone, and I stand by it. Avantgardebrutaldeathmetalgrindcorejazzmathcorenoise is where it’s at and I won’t be told otherwise, and Byonoisegenerator sounds exactly as promised. Just listen to the dang thing.

Tsunami Sea, Spiritbox (Pale Chord/Rise). The second full length release by the rising stars of American pop metal prove they deserve every accolade they’ve received since the last album. You can have accessible melodies and be emotionally compelling, you can also keep your mainstream appeal while putting out songs with solely vicious, demonic vocals, and you can even make complicated music catchy. Watch out for Spiritbox, they’re moving fast towards world domination.

Uulliata Digir, Uulliata Digir (self-released). Another wildly unique debut, this time from a Polish sextet at the seldom-frequented crossroads of chamber music and black metal. The dual vocalist and trumpet-led sound of the project explore a breadth of timbres and moods that, while at times challenging, are rewarding to parse and revisit to parse again.

Adriane’s top 20:

Amasia: Anamibia Sessions 2, Melvin Gibbs (self-released). Bassist and composer Melvin Gibbs has worked with the best, from mentors Ornette Coleman and Gil Evans to his time in the Rollins Band. There’s no questioning what he’s learned as he guides his listeners on this avant-jazz odyssey that he frames as work to “recenter the ancestral Afrocentric view of transhumanism.” This is meant for total immersion.

Another Place, Pachyman (ATO). As a producer, Pachy Garcia is a true dub devotee, and this is his most exciting demonstration of his philosophies to date. With many moods and many textures, Another Place understands a wide spectrum of dubby possibilities rooted in anti-establishment histories and brings them all to the forefront with care and finely honed aesthetic sensibilities.

A.O.E.I.U. (An Ordinary Exercise in Unity), Florence Adooni (Philophon). After years of backing and collaborating with Philophon acts, Frafra singer Florence Adooni takes the spotlight and fills it with ease. Her plugged-in, brassy pop takes many forms, each one warm from start to finish.

Bronze Claw Iso, Iglooghost (LUCKYME). Bristolian producer Iglooghost makes hard-hitting industrial breakbeats. They land hard and with dystopian vigor from start to finish, sometimes fast, sometimes slow, and always simmering. My personal rage pick of the fall.

Dakan, Orchestra Gold (self-released). The tried-and-true combination of Malian folk, psych rock, and West African funk takes fresh form in the hands of Oakland-based Orchestra Gold. Their new album Dakan is the best of all the worlds they have a foot in, blasts of color and sound and fuzz swirling around in bold combinations.

Dracones, Hüma Utku (Editions Mego). Sound artist Hüma Utku ponders chaos through the existential lens of motherhood and finds herself in freeform shadows on Dracones. She puts us in the depths of something otherworldly, distorted, cosmic, frightening: creation. Utku embraces the shadows and dissonance instead of fighting them, and it’s not for the faint of heart.

Ei meistä pelasta kukaan, Uhrisavu (Parva Mentes). Tampere, Finland-based darkwave group Uhrisavu gives us sharp beats and liquid currents on their full-length debut. It’s a tight seven tracks that come together with a neon glow that lights up the noir vibes that are the hallmark of the genre. Gloom with a sardonic levity.

I remember, I forget بنسى وبتذكر, Yasmine Hamdan (Hamdanistan/Crammed Discs). Beirut’s trip-hop queen returns with a poignant new album based in careful interpretations of classic tarab themes. Her voice compels, as always; moments of dub blend with rock and art music in gorgeous new ways. It’s always worth the wait for a new Yasmine Hamdan release.

In Between, Elana Sasson (PKMusik). I don’t normally find “beautiful” to be a useful descriptor for music, but in the case of singer and composer Elana Sasson’s new release, it’s absolutely accurate. Drawing on her Persian and Kurdish roots and jazz training, she makes captivating voice-forward music. The accompaniment is sparkling and subtle; the vocals and sentiments are irresistible.

Live in the Khaleej!, Ghazi x Boom.Diwan with Arturo O’Farrill (self-released). Ethnomusicologist and musician Ghazi al-Mulaifi pays homage to his grandfather, one of the last pearl divers of Kuwait before oil took hold of the economy, on Live in the Khaleej! With ensemble Boom.Diwan and Afro Latin Jazz Orchestra director Arturo O’Farrill, he blends jazz and traditional Kuwaiti sounds on five stirring tracks worth deep listening.

Luminescent Creatures, Ichiko Aoba (hermine/Psychic Hotline). Multi-instrumentalist Ichiko Aoba cites Studio Ghibli music as one of her key influences, and on Luminescent Creatures, that is abundantly clear. Magic and wonder abound as Aoba offers an enchanted viewpoint on the natural world with a delicate touch.

Mulatu Plays Mulatu, Mulatu Astatke (Strut). Now in his 80s, Ethio-jazz founder Mulatu Astatke’s retirement is imminent, to hear him tell it, making Mulatu Plays Mulatu a potential farewell. On it, Mulatu elegantly rearranges a selection of tracks from his prolific career with an emphasis on incorporating East African instrumentation. This is no nostalgia trip; Mulatu as an octogenarian is every bit as creative as ever, and Mulatu Plays Mulatu makes me selfishly want him to keep going forever.

Nilam, ganavya (LEITER). There is such intimacy in the sonic details of any given ganavya work, in the audible breaths that wreath each melody, in the contours of each melisma, that even the most spacious tracks command attention. Nilam is yet another treasure from a singer and composer who brings deep significance to every sound. It’s radiant but not garish, a solemnity tempering its serenity and maintaining the structural integrity of its emotional and philosophical truth.

<NOW>, SE SO NEON (AWAL). Led by the smoky vocal shades of singer and guitarist Hwang So-yoon, beloved Korean indie rock band SE SO NEON returns with more immaculate vibes on <NOW>. Though the group has been performing and releasing singles for almost ten years now (in different permutations; Hwang is now the act’s only member), this is their first studio album, and it’s refreshingly straightforward–just plain cool.

paris, Syd dePalma (Raso Estudio). On his latest release, Andalusian artist Syd dePalma makes angular art rock with his heart on his sleeve. Unapologetically poetic, laced with emotional moments of sonic dissonance, and dripping with yearning, paris is melancholy at its purest.

Rammana, Salin (self-released). Juno-nominated and Questlove-endorsed, drummer and producer Salin does fabulously funky work and simultaneously explores popular and folk styles of Northeast Thailand on Rammana. Neo-soul and jazz fusion feelings emerge throughout the album, which comes across as a kind of Isan iteration of Afrobeat in all the best ways.

Sunwise, Bríghde Chaimbeul (tak:til). The smallpipes have never before sounded quite like they do in the hands of young musician Bríghde Chaimbeul, whose reverence for tradition and skill for innovation are equally balanced on the revelatory Sunwise. Primally satisfying drones build into hypnotic melodies, all of it calling back to a time-honored repertoire.

Te Whare Tīwekaweka, Marlon Williams (self-released). Indie singer-songwriter Marlon Williams explores his Polynesian roots on his fourth solo album, singing entirely in te reo Māori and incorporating local histories and styles from his homeland of Aotearoa. Always poignant, Williams’ delivery takes on new depths as he embodies his ancestry on the level of the voice and charts a homecoming path.

Uncontrollable Thoughts, Anushka Chkheidze and Robert Lippok (Morr Music). Tbilisi-trained, Utrecht-based up-and-coming producer Anushka Chkheidze works with seasoned German artist Robert Lippok to make immersive electronic music on Uncontrollable Thoughts. Both musicians are heavily influenced by senses of space and place, and it’s easy to close your eyes and envision the kind of architecture and environment that this album might represent. In fact, I heartily recommend doing just that.

Yarın Yoksa, Derya Yıldırım & Grup Şimşek (Big Crown). Synthpop, Turkish rock and folk, and retro funk merge in a glorious expression of the cosmopolitan scenes of Hamburg on Yarın Yoksa. Frontwoman Derya Yıldırım has a powerful voice, and leads Grup Şimşek through throwbacks and innovations with conviction. “Direne Direne” must be one of the catchiest singles of 2025.

100 of Adriane‘s favorite tracks of 2025:

100 tracks from Elijah‘s favorite albums of 2025: