ADVERTISEMENTWe’re past the halfway mark of 2025, and we’re taking a break from listening to Doechii’s ‘Anxiety’ on repeat and chanting along to Lady Gaga’s ‘Abracadabra’ like it’s an incantation for the start of a dancefloor-set pagan ceremony to take a look back at the music highlights that have captured our ears (and hearts) this year.
There’s been so much to enjoy, from French pop discoveries to UK hip-hop mastery via panic attack inducing hyper-electro-punk… So whittling our list down to 15 entries hasn’t been easy.
Still, we did our best. Without further ado, here is our countdown to the best album of the year so far.
15) Doves – Constellations For The Lonely
Celebrating 25 years since the release of your first album can be a tricky thing, as British indie rockers Doves know all too well. Released a quarter of a century since 2000’s ‘Lost Souls’, ‘Constellations For The Lonely’ is a darker effort compared to the band’s previous offerings, reflecting not only the volatile (and frequently horrible) times we live in, but also strife that befell the trio. Singer/bassist Jimi Goodwin sought treatment for mental health and substance abuse issues following 2020’s ‘The Universal Want’, and is still off their touring roster. Still, the band prevails, as their sixth album is a claustrophobic yet emotionally rich listen, which packs a punch and shows that no matter the hardship, there’s beauty in survival. DM
14) Bartees Strange – Horror
For his third album after the indie rock goodness of his breakout ‘Live Forever’ and the more experimental pop sounds of ‘Farm To Table’, British-American artist Bartees Strange has chosen to explore the concept of fear. Quite apt considering its title, but ‘Horror’ isn’t the bleak odyssey it could’ve been. Instead, Strange weaves between genres – the up-tempo ‘Wants/Needs’ makes way for some funky hip-hop in ‘Hit It Quit It’, gentler folk with ‘Baltimore’ and some anthemic rock in ‘Backseat Banton’ – to better explore the things that overwhelm and oppress us in daily life. Bolstered by Jack Antonoff’s polished production, ‘Horror’ is a terrific blend of different sounds that somehow coalesce into one potent whole. DM
13) HAIM – I Quit
In ‘I Quit’, HAIM are all about healing and leaving. As the album opener ‘Gone’ announces: “I’ll do whatever I want / I’ll see who I wanna see / I’ll fuck off whenever I want / I’ll be whatever I need.” From sensual album standout ‘Relationships’ to the mellow catharsis of ‘Down To Be Wrong’, sisters Danielle, Este and Alana deliver their signature smart melodies to embrace empowerment. Even if some of the lyrics can come off as a bit thin when it comes to the complexities of heartbreak and breakups, they manage to create a cohesive ode to being unbound. ‘I Quit’ may not have the immediacy of their debut ‘Days Are Gone’ (still their best to date) or boast the richness of arrangements heard on their previous album ‘Women in Music Pt. III’, but it remains a compelling LP about fresh starts. DM
12) Oklou – Choke Enough
French artist Marylou Mayniel, aka: Oklou, released her first full-length record this year, following the waves she made five years ago with her ‘Galore’ mixtape. Merging dreamlike trance with Y2K nostalgia and a healthy appreciation for Enya, Oklou signs an immersive collection of textured and polyphonic ambient pop that feels at odds with the more direct dancefloor bangers dominating the airwaves. From opener ‘Endless’ to singles ‘Blade Bird’, ‘Take Me By The Hand’ (featuring Swedish rapper Bladee) and album standout ‘ict’, this intimate set shows you don’t need brash urgency to be anthemic. DM
11) Swans – Birthing
Swans return with ‘Birthing’, a nearly two-hour experimental, post-rock odyssey that ranks among the most expansive and immersive works in their decades-long career – a record that feels both apocalyptic and spiritually transcendent. Lead singer Michael Gira still bellows like a man possessed, anchoring tracks that often drift from ambient murmur to towering, at times overwhelming noise. The 22-minute long title track ‘Birthing’ encapsulates this dynamic perfectly: it begins with shimmering, celestial synths before eventually building to a seismic collapse of percussive fury and shrieking guitar. The album is intense. It’s long. It’s certainly not for everyone. But for those patient enough and willing to submit, it’s near-religious in its power. TF
10) aya – hexed!
UK artist aya’s sophomore album is a tough one to recommend outright as it’s the musical equivalent of a panic attack. All you need to do is cast your eyes on the album cover, featuring earthworms writhing about in her mouth, and you have some idea of the unrelenting sensory overload that awaits you. The experimental tracks howl, corrode, clang and suffocate, grabbing you by the throat and refusing to loosen their noise-dance grip. It may not sound like a particularly pleasant listening experience, but behind abrasive first impressions are enticing themes of addiction and identity that make ‘hexed!’ a confident album worth your time. Even with six more months to go in 2025, you’ll have a hard time finding a stranger and more unique album this year. DM
9) Ichiko Aoba – Luminescent Creatures
With ‘Luminescent Creatures’, Ichiko Aoba invites listeners into a sonic fairy tale – a delicate dreamscape woven from angelic vocals, enchanting orchestral melodies, and the soft whispers of nature. Here, the 35-year-old Japanese singer-songwriter continues to refine her signature sound – one that would feel perfectly at home in a Studio Ghibli film. Inspired by the glowing sea life she discovered while diving in Japan’s Ryukyu Islands, her eighth studio album explores the border between life and death, light and darkness. And in a time of relentless noise and global unrest, this project offers a gentle, much-needed escape from the chaos. TF
8) Kali Uchis – Sincerely
This is the third year in a row that prolific Columbian-American songwriter Kali Uchis makes our Best Of lists, following 2023’s glorious ‘Red Moon In Venus‘ and last year’s ‘Orquídeas‘. And for good reason: she doesn’t stop flooring us. This year, she delivered an album inspired not only by the death of her mother, but also by the birth of her first child. According to Uchis, ‘Sincerely’ is about trying to “find joy in life despite the world” and appreciating “every moment and not take life for granted.” Sounds ambitious, but she makes it work. Led by singles ‘Sunshine & Rain…’ and ‘All I Can Say’, this neo-soul-pop album deals with love, loss, insecurities and rebirth, all with the reminder of the transient nature of both the good and bad. And even if we’re used to having Uchis around, we’re still not taking her for granted. Neither should you. DM
7) FKA twigs – Eusexua
If Charli XCX’s ‘Brat‘ was a wild, cocaine-fueled hyperpop dance party, FKA twigs’ ‘Eusexua’ is its darker, more experimental, and sensual counterpart. Returning three years after ‘Caprisongs’, twigs plunges her listeners into the shadowy underworld of rave culture. Built with Koreless’s innovative production, the album conjures early-2000s dance floors via trance, UKG, drum and bass, IDM, and trip hop – all bound by twigs’ ethereal voice, a commanding force of nature. Echoes of Björk, Kate Bush, and Aphex Twin swirl into something unmistakably hers: sensual, cerebral, and otherworldly. At an easily digestible 42 minutes, ‘Eusexua’ reasserts FKA twigs’ status as one of contemporary music’s most innovative and exciting talents. TF
6) Bad Bunny – DeBÍ TiRAR MáS FOToS
Following up the wildly successful ‘Un Verano Sin Ti’, ‘DeBÍ TiRAR MáS FOToS’ is Bad Bunny’s most ambitious project to date – a sprawling, vibrant tribute to Puerto Rican musical heritage. While still rooted in the modern reggaetón which made the 31-year-old artist a global superstar, the album pushes far beyond expectations, weaving in salsa horns, bolero melodies, and the layered rhythms of traditional plena. Nowhere is this fusion more thrilling than on ‘BAILE INoLVIDABLE’, which opens with sleek modern synths before bursting into full-blown live salsa. ‘DtMF’, a late-album standout, also exemplifies the record’s spirit – closing with laughter and group vocals. It’s an instant summer essential – joyous, infectious, and made to be played very loud. TF
5) Pulp – More
Out in time for the 30th anniversary of their most celebrated album, 1995’s ‘Different Class’, the reluctant figureheads of Britpop are back after a 24-year absence. While ‘More’ doesn’t reinvent the wheel and won’t necessarily convert those who aren’t already fans of Jarvis Cocker and his merry lot, this terrific comeback is one worth treasuring. Groovy, anthemic, boasting stunning strings and delving into themes of aging and self-delusion, Pulp deliver an LP that is everything you’d want a Pulp album to be. More than that, it surpasses expectations, showing that even now they’re all fully grown, they’re still in a class of their own. Hopefully we won’t have to wait another quarter of a century for more. DM
4) Jane Remover – Revengeseekerz
At the tender age of 21, Jane Remover has already made a name for themselves as a producer, songwriter, multi-instrumentalist and rapper with a canny habit of genre hopping. To the extent their previous album, 2023’s ‘Census Designated’, was a noise pop-rock album that sounds like it was made by a completely different artist. For ‘Revengeseekerz’, Remover has plunged headfirst into an explosive blend of rap, emo, digicore and even EDM spliced with glitchy video-game sounds – all with potent pop hooks. If that sounds whiplash inducing, that’s because it is. But it’s a bold, at times overwhelmingly anarchic, and completely addictive soundtrack to a really wild night out. To use the parlance of our times: it slaps. Hard. DM
3) Annahstasia – Tether
Los-Angeles singer-songwriter Annahstasia stepped into the music industry at 17, quickly encountering executives eager to steer her away from the folk music she truly wanted to make. Now 30, after years of navigating that pressure, she’s released her long-awaited debut album, ‘Tether’. The result is a raw, beautiful and deeply captivating project, carried by her mesmerising voice – which evokes the soul of Nina Simone and Tracy Chapman. Across 11 stunning tracks, she offers candid reflections on love, desire, identity and self-doubt, over gorgeously minimalist and elegant instrumentals. Highlights include ‘Villain’, a powerful anthem of breaking free from toxicity, and ‘Slow’, a tender duet with Nigerian artist Obongjayar that stands out as one of the album’s most touching moments. TF
2) Little Simz – Lotus
On ‘Lotus’, her sixth album, Little Simz turns legal turmoil and personal fallout into creative firepower. After parting ways with longtime collaborator and childhood friend Inflo due to a bitter legal dispute, she teams up with producer Miles Clinton James to create a record that glides across moods and genres with ease. There’s the venom-laced opener ‘Thief’, aimed squarely at Inflo; the afro-funk swagger of ‘Lion’; and the breezy bossa nova of ‘Only’. Guest appearances from Sampha, Wretch 32, Yussef Dayes and Michael Kiwanuka add colour to the palette, but the spotlight is never taken from Simz. It’s a statement album – and a reminder that she’s in a league of her own. TF
1) Kelela – In The Blue Light
Two years ago, American singer-songwriter Kelela released ‘Raven’, one of our favourite albums of 2023. It was an ambient dance record that transported the listener back to the 90s club scene and enveloped them in an intoxicating set of songs. Two years later comes ‘In The Blue Light’, a live recording from two gigs Kelela held at the legendary Blue Note Jazz Club in New York. And the mood is very different this time. It jettisons the electronics, strips her songs back and reappropriates them with a soft and soulful ambience befitting the location. As for Kelela’s vocal performance here, the jazz club suits her well, as her celestial delivery will send tingles to every one of your happy places. An absolute triumph of an album. DM
There we have it.
What did we miss and what were your music highlights of the year?
In case you think we’ve lost our minds, here are some of our honorable mentions, which nearly made the cut: Japanese Breakfast – ‘For Melancholy Brunettes’; Ethel Cain – ‘Perverts’; Bon Iver – ‘SABLE, fABLE‘; Mogwai – ‘The Bad Fire‘; Lambrini Girls – ‘Who Let The Dogs Out’; Sharon Van Etten & The Attachment Theory – ‘Sharon Van Etten & The Attachment Theory’; Julien Baker and Torres – ‘Send A Prayer My Way’; The Mars Volta – ‘Lucro Sucio; Los Ojos Del Vacio’.
We’re already looking ahead to the next half of the year, with a new EP from the ever-wonderful Nilüfer Yanya, a new LP from the legendary Cate Le Bon and The Divine Comedy’s 13th studio album. Without forgetting the eagerly anticipated second album from Wet Leg, the sooner-than-expected (and already controversy-courting) new album from Sabrina Carpenter, and the return of Wolf Alice.
Stay tuned to Euronews Culture to find out how many of our halfway mark picks make it to the End of Year Best Albums list. And make sure to check out our Best Movies of 2025 So Far ranking next week.
Happy listening!
