The 200 Best Songs of 2025

"Second Life" is just as wild, filthy, unpredictable, and exhilarating as anything from Lip Critic's awesome Hex Dealer — and, as those who are familiar with that project know, that's quite the accomplishment. — Jonah Krueger

Yes, it's pastiche (the reference points of Britney Spears, the Ying Yang Twins, et al are all earned and accurate), but the beat is so armored that McRae comes out the other side ready to transcend her influences. — Dan Caffrey

Hornet Disaster has no shortage of worthwhile cuts, but the manic, lo-fi "Angel" hasn't left our minds since it initially dropped as a single. — J. Krueger

Swift’s new album was pretty mid overall, but she hasn’t lost her sense of humor, as shown in her pre-marriage ode to Elizabeth Taylor, a woman who had eight weddings to seven different husbands. — Wren Graves

With the help of The War on Drugs' Adam Granduciel, Sam Fender uses his signature bellowing tenor and sharp, expressive lyricism to paint a portrait of drug abuse and small town malaise. — P. Ragusa

Not only is "Saoirse" the prettiest song on Maruja's debut album, Pain to Power, it's one of the prettiest songs of the year. — J. Krueger

If CMAT meant for this soaring (and unapologetically Irish) piece of indie pop to be an interrogation of her own irrational spite toward another celebrity, why did she have to make spite sound so goddamn fun (and funny)? — D. Caffrey

Channeling the spirit of mid-aughts landfill indie and a myriad of bangers from FIFA soundtracks over the years, Jim Legxacy shows he can hang with the best of the UK's alt-rock messiahs. — P. Ragusa

Yeah, we kinda hate how damn catchy this song is, too, but dammit that worm doth ear. — Ben Kaye

Gonna be honest, this one almost slipped by us, but Yanya's vocals will always bend an ear as it fills the space between such interesting production. — B. Kaye

Scowl's brand of hardcore can get heavy as hell at times, but singer Kat Moss and company are equally adept at churning out melodic alt-punk tunes like this one that evokes bands like Veruca Salt and Hüsker Dü. — Spencer Kaufman

Maintaining the creative spirit of Black Country, New Road 1.0 while completely altering the sonic approach makes 2.0 a different kind of intriuging. — B. Kaye

It's audacious, unsubtle, genuinely hilarious (Joey Valence barking "Who's over there with a BIG OL' BUTT" in the first verse will make you do a spit take), and a boat load of fun: Welcome to the delirious, ecstatic world of Joey Valence & Brae's HYPERYOUTH. — P. Ragusa

Stumbling out of the bar into the damp city evening with a heart full of desire and a head full of booze is exactly what Hamilton Leithauser's voice was made for. — B. Kaye

You could let your bad feelings haunt you — or you could stuff them down deep inside, as Beach Bunny suggests with remarkable pep. — Liz Shannon Miller

Few honor Springsteen's storytelling lineage as well as Finn, whose trademark wit gets amplified by Granduciel's production in this dramatic look at the beautiful hardships of partnership. — B. Kaye

Despite what you think you know about Anamanaguchi, "Magnet" sounds less like it was made on a Game Boy and more like it was made in the garage with Weezer or under the western freeway with Grandaddy. — Tyler Franklin

This dreamy cut from the duo's collaborative EP captures the stunning magic of their creative partnership.— S. Noor

Embodying the country sound of Send a Prayer My Way, Julien Baker and TORRES' tale of lost faith and an ill-fated romance ends with the self-sabotage of drowning one's sorrows in alcohol. — Eddie Fu

Between passages of wailing distorted guitars, dreamy moments of relief, and even sections of full-on static, Agriculture's "Bodhidharma" is a true black metal odyssey. — J. Krueger

On Phonetics On and On, Horsegirl distill their sound to its minimalist core and emerge with some intriguing, almost unexpected gems, like album highlight "Switch Over." — P. Ragusa

Motherfucker, I'm not crying, you're crying! — J. Krueger

Me and aquil listening to this great Open Mike Eagle track. — J. Krueger

When it comes to Joanne Robertson's ambient-leaning folk, there's nothing to doubt. — J. Krueger

KEY! — the underground Atlanta OG whose influence still hums through whole corners of hip-hop — taps ScHoolboy Q for a tucked-away guest verse built around the mission statement for rappers of a certain age: "Get money, not mentions." — Kiana Fitzgerald

One of the noisier cuts from Teethe's Magic of the Sale, "Holy Water" has a hook as heavenly as holy water itself. — J. Krueger

"The Pilot" is bound to be one of the loudest, loveliest songs you'll hear all year. — J. Krueger

Oh, you youngins with your iPhones and Starbucks and instant convenience — back in my day, everything was harder, so God forbid anything be easier for you! — P. Ragusa

Sometimes, there's no other way: You just gotta put on those headphones, load up some rejuvenating tunes, feel your feelings, accept the pain, and let the rain fall down. — P. Ragusa

Elizabeth Stokes's clear vocals draw tears from any child treading the gulf waters between themselves and their parents. — B. Kaye

A song all tangled up in the way we see ourselves, somehow simultaneously dreamy and rhythmic. — L.S. Miller

The unsettling, beautiful weight of complete cultural displacement channeled through jittery J-horror. — B. Kaye

With a more progressive, ambitious palette than prior efforts, Madison Cunningham spins a gorgeous web on "Skeletree." — P. Ragusa

Credit embrace a noticeable looseness beneath the linear structure and chugging, noisy performances of "Anywhere," giving the number a delicious, irresistible, off-kilter charm. — J. Krueger

You can practically hear him mugging in the booth, but the rattling beat behind "you" is so slick you'd forgive 2hollis for feeling himself a little. — P. Ragusa

It ain't just the sobering yet majestic lyrics about aging (Adrianne Lenker's lyrics always seem to be sobering and majestic), but everything underneath — the percussion rumbling like tiny earthquakes leaving wrinkles on our skin. — D. Caffrey

I mean, it's in the in the name, innit? — J. Krueger

Production duo Mike & Keys dives deep into its bag of '90s R&B, granting Tony Shhnow abundant, lush space to wax poetic about his unwavering dedication to being an authentic MC. — K. Fitzgerald

Ekko Astral go damn near noise/no wave on this one, and they sound fucking killer doing so. — J. Krueger

A synth-y comeback single about the compulsive need to come back despite the critical disinterest in you going away in the first place is so fucking Pulp. — B. Kaye

Sure beats Tony Robbins (and it's endlessly playable, too). — D. Caffrey

Hatchie specializes in widescreen dream pop, and "Lose It Again" is about as euphoric and memorable as she gets. — P. Ragusa

Through upbeat synth production and chanted vocals, Kilo Kish dissects modern romance, lamenting how dating app algorithms have replaced authentic human meet-cutes. — E. Fu

All of Shallowater's great God's Gonna Give You a Million Dollars is prime driving music — at least for us emotional cowboys and "dirtgazers" — and that goes double for the record's centerpiece, "Highway." — J. Krueger

Gosh, we hope these Floridian math rockers don't give into the road-weary tension of this song so they keep making music like this. — B. Kaye

Come for the dreamy guitars and get knocked on your ass by The Beaches' brutal honesty, vivid details, and Jordan Miller's high-stakes performance. — P. Ragusa

The very best thing about Disney's definitely necessary Tron: Ares was the soundtrack from Nine Inch Nails, led by this first single that defined how good a fit Reznor and Ross were for the game world. L.S. Miller

Even when it takes a turn towards the sweet and melodic in its verses, the (kinda) title track from Anxious' Bambi rushes forward with a captivating urgency. — J. Krueger

Catchy, witty, and almost painfully horny, “When Did You Get Hot?” is Carpenter at her drooling best. — W. Graves

Morgan Nagler plants a melodic seed in a garden of crackling, fuzzy guitar tones on "Cradle the Pain," out of which grows one of the catchiest indie rock jams of the year. — J. Krueger

The warm, undulating "Mine" sees the Nigerian alté artist continuing down her path of crafting love songs that could be equally suited for a physical partner or a higher power. — K. Fitzgerald

Florist's Emily Sprague has written more beautiful indie folk tunes than we can count, and even amongst all of that competition, "This Was a Gift" stands as one of their most moving compositions yet. — J. Krueger

A dancehall detour from Robb Bank$'s usual flavor of menacing South Florida rap, "Eyez Red" finds the MC slipping into Jamaican Patois, as well as literally woofing and growling about his status as a big dog in independent hip-hop. — K. Fitzgerald

Dretti Franks, a Texas rapper-producer with over a decade of experience, uses "Style Watching" to raise his concerns about the state of the game ("N***a, how does a producer need producers to produce?") and call out the copy cats who have unabashedly bitten his style. — K. Fitzgerald

Listen, I know that a 20-minute, wordless drone rock track isn't going to be everyone's cup of tea, but for those who enjoy locking into a groove that lasts longer than an episode of a network sitcom, "Reel 25" has the potential to be song of the year. — J. Krueger

After over a quarter century mastering the art of making people dance on the Saharan wedding circuit, Etran De L'Aïr finally released their most-requested song — an invitation to dance and a celebration of their hometown. — T. Franklin

The powerful title track to Lord Spikeheart’s most recent EP unites two notable figures in the global metal scene for a chaotic, boundary-pushing track. — S. Noor

The dance pop duo join forces with Quebecoise producer Marie Davidson for a fiery, sweaty, and hedonistic anthem that’ll keep you coming back for more. — S. Noor

Certainly not the first time Miley's made her Madonna bid (what white female pop star hasn't?), but of all her attempts, it's certainly the most sincere, effective, and catchy. — D. Caffrey

The title track to one of the year's best efforts perfectly sums up its operatic cyberpunk tension — confirming that SPELLLING undoubtedly belongs here. — B. Kaye

Steeped in the most carnal of desires, "do what i say" stands as East London songwriter-producer kwn's (pronounced kay-one) breakthrough single that grabbed the R&B world's attention. — K. Fitzgerald

Contemplations on mortality could only be this invigorating and catchy if approached with a gallows glee — and a lot of harmonica. — B. Kaye

From its shout-along chorus to its dreamy outro, "Another Second Chance" is a terrific demonstration of Rocket's dynamic rock sound. — P. Ragusa

It's quick, spiky, and surprisingly heavy: "catch these fists" is Wet Leg returning with a bang and reminding us how much fun they can be. — P. Ragusa

Houston singer-rapper Monaleo employs both of her skills as an artist to deliver a cinematic experience that unravels the irrevocable consequences of drunk driving: "We turning up, I hate to be a party pooper/ Don't you know that Death is on the prowl and he could scoop ya?" — K. Fitzgerald

Jim James and his band have reached a state of peace that's rare for a group this long-running, and "Time Waited" best captures the wordly understanding they present on is. — B. Kaye

On this gorgeous ode, Flyte explore the beauty and mythos of Los Angeles against a backdrop of climate-induced destruction. — P. Ragusa

Sardonic as all hell, the song “people person” is a riff-hitting jam, with droning, sludged-out guitars barreling forward as singer Andrew Falkous delivers a tirade in his unwavering deadpan delivery. — Jon Hadusek

Taylor Momsen and company hit us with their first single in four years, and it absolutely slaps, with a monster riff and an infectiously powerful chorus that sucks you in like vacuum cleaner. — S. Kaufman

If there was an award for the Best Bridge of 2025, "WHERE IS MY HUSBAND!" would absolutely win. — P. Ragusa

Justin Vernon's folktronica evolution reaches a peak with this radiant meditation on connection and love, aided by one of Danielle Haim's best verses. — B. Kaye

With its infectious energy, this cheeky song begs to be replayed until you can taste it. — S. Noor

The final track of Tropical Fuck Storm's excellent, insane Fairyland Codex, "Moscovium" is pure catharsis done the way only these Aussie psych-rock-freaks can pull off. — J. Krueger

Rico Nasty delivers a rowdy, high-octane banger with punk rock energy — a hype song from start to finish. — S. Noor

The Welsh musician and songwriter has a knack for crafting profoundly moving songs, and this track brims with emotional intensity. — S. Noor

On this surprisingly profound cut, Parcels strip their sound down to offer a clever, passive-aggressive message: "I'm sorry that it hurts to be loved." — P. Ragusa

I'm With Her could have been a fondly remembered one-off folk collaboration, but this track alone puts them in the supergroup pantheon. — B. Kaye

A tribute to Lamb of God’s home scene of Richmond VA, “Sepsis” is the band at its sludgiest, paced by slow, curdled riffs that tempt frontman Randy Blythe to reach to his deepest gutturals. — J. Hadusek

As one of indie rock's great chameleons, Alex G's tell is always his shambolicism, which suits his flirtations with country music (not to mention its imagery) even more so than other genres. — D. Caffrey

Painstakingly curated with nearly half a dozen songwriters, the club-lite schtick is never as authentically raw as it wants it to be, and therein lies the charm; the people need anthems that convince us we're trashy nightlife superheroes rather than the normies most of us probably are (Reneé Rapp included). — D. Caffrey

Mdou Moctar’s bandmates reintroduce themselves with this high-energy track that seamlessly fuses Tuareg music with punk rock. — S. Noor

Two of underground hip-hop's most idiosyncratic voices come together to deliver interweaved bars about what won't happen ("Bet you a n***a won't push me around!"), over bass so blown out that it sounds a hair distorted — but deliciously aggressive nonetheless. — K. Fitzgerald

Gentle and groovy, sure, but the borderline-militaristic drumming gives "How Does It Feel" an unease that makes the song perfect end-credits music exported straight from the Netherlands ("And the Oscar for Best International Feature Film goes to…"). — D. Caffrey

From the mini-MIDI orchestra of Your Blues to the coked-out soft rock of Kaputt, Dan Bejar has long been interested in mining sincerity from traditionally artificial-sounding sonic landscapes, so it's no surprise that he (yet again) makes fake-choral keyboards and cryptic non-sequiturs about decay sound like joyous poetry. — D. Caffrey

I'd go to a Cinderella-themed birthday party if this was on the playlist — J. Krueger

I'm a sucker for whatever the shoegaze-revival du jour is, and these contemplative upstarts manage to stand out via lyrics that revel in so much codependency and self-pity/flagellation that it's almost charming (sample lyric: "Crying baby in a buggy / Wet faced and ugly / Pick me up / Low-eyed and druggy / Now you can love me"). — D. Caffrey

Cast-off tracks are rarely this good, but what else would you expect from one of the top purveyors of twanged indie? — B. Kaye

Although Anna Shoemaker's ask here is simple (pleading for an ex-lover to take them back or at least out), "Back Again" builds a rich internal world for its narrator through an arrangement that's always shifting: simple fingerpicking transmuting to punchy power chords to electronic kick pedal and so on. — D. Caffrey

Hey, you got a little bit of your instrumental, finger-picked guitar composition in my sludge metal song vs. Hey, YOU got a little bit of your sludge metal song in MY instrumental, finger-picked guitar composition! — J. Krueger

Straight country — with shades of Strait Country — from one of the bigger characters in the genre’s bustling underground. — W. Graves

An absolute crushing track from the rising Canadian metal act, offering a few quiet moments in which Courtney LaPlante delivers hypnotic spoken-word passages. — S. Kaufman

The self-proclaimed "Best Feature on GNX," AZ Chike started 2025 at a sprint with the ultra-confident "Whatx2," closing it out with a boast delivered like a victory lap: "Ain't nobody screaming, 'Free me,' 'R.I.P. me.'" — K. Fitzgerald

"Elderberry Wine," a tune as sweet as its namesake, was fans' first taste of Wednesday's excellent Bleeds, and now, with the full context of the record, we love it even more. — J. Krueger

The poem and the gothic soundscape build to a jump-scare of a climax, as more and more terror seeps into the refrain, “I think I’m gonna die in this house.” — W. Graves

Sudan Archives swirls avant pop, R&B, hip-hop, and EDM together on "DEAD," a signal that she is very much alive and a reminder that her style is truly inimitable. — P. Ragusa

Deftly woven, craftily esoteric lyricism from The National frontman delivers disorienting intimacy that is begging for the full band treatment. — B. Kaye

Saya Gray's experimental impulses are a joy to follow, but "..THUS IS WHY" is a rewarding shift to a more accessible, anthemic sound. — P. Ragusa

"I can make a radio break," Haley Fohr sings on "Canopy of Eden," and with the brooding, darkwave instrumental, we believe her. — J. Krueger

For someone who is constantly on the edge of the avant garde, David Byrne sure can write a weirdly catchy ditty about how it "doesn't mean shit." — B. Kaye

The British quartet blasts its way through a song about toxic relationships, and how much it sucks to witness them happening from the outside — a relatable vibe turned addictive thanks to all those guitars. —L.S. Miller

Haunting and ethereal, Tara Nome Doyle's new track wants to draw out our true selves, because "those who matter won’t mind/ and those who mind don’t matter." L.S. Miller

Here is a song that knows true joy only comes from embracing the temporary nature of life, and thus we get two breathtaking vocal modes from frontman Louis Parsons: deadpan spoken word to convey apprehension, and an unbridled bark to convey acceptance, all surrounded by crescendos and canned wind effects that may as well be affirmations from a late-night friend. — D. Caffrey

Her voice is like medicine, the production unfathomably serene, the message of acceptance warm and universal: Erika de Casier just keeps outdoing herself. — P. Ragusa

In the hands of lesser MCs, horrorcore traffics exclusively in menace, but Kenny Segal's narcotic horns in "Misery" are an admission that evil is also seductive, even as billy woods drops in unnerving details about holes in his throat and a woman never seen without a turtleneck… — D. Caffrey

Not just a beautiful song, "The Prize" is the perfect track to play for your friend who really needs to dump that toxic jerk they're dating. L.S. Miller

Whether a tribute to the sometimes mystical nature of songwriting, an ode to some dingy rehearsal space, or a shameless solicitation for cash, it doesn't matter — these New York punk mainstays are more about energy than meaning, and "PO Box 96" finds them at their rawest and most charismatically paranoid. — D. Caffrey

Still Blank's "Ain't Quite Right" is a slow-burning gem that builds in dynamics until vocalist Jordy unravels into an agitated, cathartic belt. — P. Ragusa

"Firing Line" remains infectious by weirding up the proceedings — i.e. Charlie Fitzgerald's slightly unhinged delivery and a brain-burrowing guitar line and Jesus, why is this thing already stuck in my head again? — D. Caffrey

That repeated “come over” is pure hypnosis. — W. Graves

I'm still untangling the exact story and rock-opera ambition of The Scholars as an album, but fortunately (and in spite of the song's religious title), the pleasures of "Gethsemane" are narratively agnostic and indicative of Will Toledo at his best: rocking, sprawling, and packing obtuse-yet-emotionally-evocative observations into nearly every line. — D. Caffrey

MexikoDro is gruff and unassuming, but he's also vulnerable and a fighter on the BapeBrazy-produced, Jeezy/Gucci Mane-inspired "No Date": "Just a couple years ago, Dro life a mess/ I be going through it, but I still passed the test." — K. Fitzgerald

Sure, the music's a little hesitant and cybernetic, but that just makes the lyrics more complicated, and thus, relatable, creating a push and pull where frontwoman Ava Gore sounds unsure if she can live up to the mighty, elephant-riding promises of her words. — D. Caffrey

The lead single from caroline 2, Caroline's "Total euphoria" spotlights the English post-rock band's boundless creativity, compositional experimentation, and, above all, their emotional grace. — J. Krueger

It's an ideal alt-country tune from the rising singer-songwriter, made for cruising with the windows down and shades on. — S. Noor

Despite over a decade between albums, Algernon Cadwallader haven't missed a beat. — J. Krueger

Yet another banger from Revival Season, "8'3" finds Brandon "Bez" Evans channeling his mounting frustration into peace and positivity over Jonah Swilley's fusion of garage rock and Funkadelic influences. — E. Fu

Even though it's the first song on the album, Lorde achieves the transcendence she so desperately seeks throughout Virgin on "Hammer." — P. Ragusa

Musicians who have written incredible songs about pigs: Pink Floyd, James Taylor, and now TYGERMYLK, whose "Babe III" trumps every porcine melody that came before it with a yearning ethereality and a tearjerking third-act pivot where you realize the lyrics are also about their grandfather. — D. Caffrey

Brendan Yates' echoey vocals over an ethereal instrumental lull the listener into full relaxation mode until the song kicks in with grunge-like guitars and heavy drums, before it calms back down with a dreamy outro. — S. Kaufman

Michelle Zauner brings subtlety and warmth to this dreamy cut, showing off her dynamic range and enchanting sonic language. — P. Ragusa

The title track from the São Paolo artist's newest album is less of a carnival and more of a vibe, but the end result is still transformative. — L.S. Miller

Nine-plus minutes of linear, ferocious, conceptual noise rock? Count us in. — J. Krueger

Oh look, another power-pop banger from Liquid Mike. In other news, bears are still shitting in the woods, the sky is still blue, and we're even getting reports that the pope still wears a funny hat (and also loves deep dish???). — J. Krueger

A rousing tribute to the pop punk era that manages to rock entirely on its own merits. — L.S. Miller

Sometimes when I’m bored and I want to feel something I say “Takedown” is better than “Golden” just to piss off my nieces (8 and 6) and my oldest son (a literal demon). — W. Graves

The latest in an endless lineage of "I-had-a-kid-and-will-now-write-a-happy-song" subgenre, "It's Amazing to Be Young" might be as cheesy as its sungazing PR angle, if not for its sincerity and the fact that Fontaines D.C. can never fully extract the snarl from their unabashedly Irish post-punk (thank God). — D. Caffrey

Sonically, "Melodie Is a Wound" feels (or sounds) like a summation of Stereolab's history, or at least their aesthetic: fun if a little distant, quirky if a little sad, and a climax whose gradual escalation transcends any contradictions with retro bliss. — D. Caffrey

Whether born in a literal or metaphorical garage, so much scrappy indie punk can get real chintzy real fast, so good on Remember Sports for positing that maybe their moniker isn't just a cute name and writing a tune that's muscular in both its gnarly distortion and insectual (and very lovelorn) imagery. — D. Caffrey

The first sign of an era-defining effort was lit by tribal percussion, skewed coos, and an explosive mid-point swing — drawing you in with joy even as it crushes with weighty religious imagery. — B. Kaye

Davey Havok and company go full '80s new-wave goth on this track, making it feel like a song that's been around for 40 years, yet still sounding as fresh as the morning dew. — S. Kaufman

Double the Crutchfields for this song in praise of pushing pedal to the metal or slamming on the breaks, with nothing in-between. — W. Graves

With rhymes about cortisol, John Henry, and Michael Olowokandi, this reflection on two very specific rappers' very specific brands of success observes that victory is almost a physical sensation — and in the process ends up saying more in 90 seconds than most other MCs say across entire albums. — D. Caffrey

A fresh demonstration of genre agnosticism once more reveals the bold glory of one of modern indie's most tenacious creative spirits. — B. Kaye

Half-rapped, backed by an insane jazz-punk instrumental, and boasting lyrics about washing your dick in the sink and looking like George Clooney, "Jerskin Fendrix Freestyle" might hold the title for the most bananas track of 2025. — J. Krueger

A good alternate title for this lyrical confessional could be "Red Fucking Flags," given the way Blondshell describes the nameless gentlemen at its center. — L.S. Miller

Probably the best song of the year — and maybe the best song of all time — where you can actually hear a semi-colon. — W. Graves

With a more homespun sound than their debut boasted, Wishy make yearning as sweet as their usual fuzzed-out anthems. — P. Ragusa

Anglophones might not understand what Chilean art-rock band Hesse Kassel are talk-singing about on "Postparto," but with the riveting performances and dynamic songwriting, they don't need to for the song to hit like a tidal wave. — J. Krueger

"Relationships" is an infectious banger about intimacy, highlighted by a subtle, indelible chord change in the chorus that mirrors the song's central theme: relationships are never quite as simple as they seem. — P. Ragusa

Nation of Language offer an enchanting study on existential dread, futile pursuits, and the nostalgic ache of memory. — P. Ragusa

A nostalgic earworm that perfectly encapsulates what it was like being a teenager growing up on the internet in the 2010s. — S. Noor

Thanks to ferocious guitar lines and creative construction, Vundabar's "Spades" is an indie rock banger worth throwing on again and again. — J. Krueger

That voice! Cohen's instrument cuts through anything, and it shines and shimmers on this lovely cut from her new album Earthstar Mountain. — P. Ragusa

If, God forbid, you've ever been a 25-year-old man pursuing a 16-year-old girl (gross!), then let this song be a throttling reminder: "She doesn't know how to love you/ She doesn't know how to drive," she doesn't even have her driver's license, dude! — P. Ragusa

A noisy and arresting collaboration that harnesses the rage of being bystanders to the atrocities of war, bringing out the best in both post-punk supergroup Sumac and poet/musician Moor Mother. — S. Noor

Unsurprisingly, Danny Brown sounds absolutely fucking sick over hyperpop stylings. — J. Krueger

Hindsight is 20/20 on "Mother Wound," where Jensen McRae ignores the warning signs of an incompatible birth chart to move forward with a relationship anyway. — E. Fu

For all of the wonderful genre-bending and off-kilter grooves that define Water from Your Eyes, holy shit can they lay down some exhilarating guitar parts. — J. Krueger

Optimism quickly turns to darkness over a gospel-influenced beat, as McKinley Dixon realizes the deep repercussions of resurrecting his best friend, who is no longer the same person. — E. Fu

This toe-tapping track couldn't be more clear about what the singer/songwriter is looking for from her partner. Communication is important, y'all. — L.S. Miller

Go figure that one of the best (and most fun!) songs about authoritarianism in a decade that's been full of it wasn't inspired by Trump, but the overlord of a much smaller, landlocked country that feels more adjacent to the kaleidoscopic cartoonery of an actual cartoon band. — D. Caffrey

This empowering “bad bitch” anthem was made to be blasted on the way to the party. — S. Noor

It's a "HOT TO GO!" moment for the power-pop-meets-hardcore group, with vocalist Ian Shelton turning his bad decisions into shout-along triumphs. — P. Ragusa

Don't write off Stevie Wonder's somber piano notes or the John Legend chorus — this recollection of the back-to-back deaths of the Thornton brothers' parents goes as hard as any of their icy cocaine boasts (and is probably a little truer to life). — D. Caffrey

Attention fellow meatbags: This song really gets the meats going. — W. Graves

A love letter to longtime RKS fans worried that success has changed the band's sound, "Dang" is a simple, swiftly moving tune whose abrupt stops and starts create roller-coaster momentum. — T. Franklin

The best takedown on an album rife with killer takedowns is an odd, explicit, revealing earworm. — B. Kaye

The best movie of 2025 also featured some of the year's best music, including this mash-ups drawn directly from the Sinners soundtrack, drawing together past, present, and future for a song that truly transcends. — L.S. Miller

Backed by a swinging instrumental, Olivia Dean demands that her romantic interest stop playing games, delivering an unexpectedly strict ultimatum with radiant and soulful charm. — E. Fu

The skittering snare and gauzy atmosphere of Rochelle Jordan's "Bite the Bait" favorably brings to mind Timbaland's work with the late Aaliyah, but the song sparkles most when Jordan moves far beyond inspiration and into the territory of a confident, original diva. — K. Fitzgerald

A deeply personal story of identity is moving, but one of the best constructed bridge-chorus moments of the year is transcendent. — B. Kaye

Nostalgia is a drug, but zayALLCAPS knows how to make even the most throwback sounds feel current and unique. — P. Ragusa

"Heaven Song" is an Americana trip to heaven and back. — W. Graves

By far the best song ever with the word "bunghole" in its lyrics, but also a hypnotic track featuring captivating call-and-response vocals from Maynard James Keenan and Carina Round. — S. Kaufman

Dev Hynes paints a raw and honest portrait of grief, tracing its echoes through time and memory. — S. Noor

Featured on the F1: The Movie soundtrack, "No Room for a Saint" fully embodies one of the movie's biggest lessons: Slow is smooth and smooth is fast. This song plays like you're already doing 100 mph before heading into the curve. — L.S. Miller

As the opener of an album where the concept is more or less divorce gives way to solo troubadouring gives way to new romance, "Bury Me" is raw, naked, and knowingly a little full of shit — never a bad recipe for folk music. — D. Caffrey

The winding guitar riff that roots "Candle" burns as brightly as its namesake, with Hotline TNT painting a portrait of blazing desire in the process. — P. Ragusa

In a just world, every other club in the city would be blasting "WE WERE JUST HERE." — J. Krueger

"Prezzy" finds MIKE edging out of his long-held haze of grief while experimenting with Tony Seltzer and Clams Casino's unpredictable, tempo-shifting production, offering yet another glimpse into his hyper-aware inner world and cementing his place in hip-hop's most intriguing fringe. — K. Fitzgerald

Men I Trust, the great, underrated dream pop group, take a soulful trip on "Carried Away," with a groove so enchanting you can't help but get lost in it. — P. Ragusa

After seven years of false starts, Cardi B's big comeback finally happened in 2025. The strip club-ready "ErrTime" is the single that the Bronx rapper is betting big on, as evinced by separate and combined remixes with Atlanta's old- and new-school heavy hitters, Jeezy and Latto. — K. Fitzgerald

It's a freaking PUP song featuring Jeff Rosenstock called "Get Dumber" — did you really think it was going to be anything other than an absolute ripper?  — J. Krueger

The latest entry in the PinkPantheress Dance-Pop Hall of Fame is "Illegal," which spawned a life of its own on TikTok this year and anchors her great new album Fancy That. The song contains a near-instant dopamine rush (courtesy of an earworm sampling of Underworld's "Dark and Long (Dark Train)"), buoyed by a now-iconic opening sequence: "My name is Pink and I'm really glad to meet you/ You were recommended to me by some people/ Hey! Ooooh, is this illegal?" The rest is all bubbly fun, with melodies that dance across Pink's 2-step backing beat and a thick, throbbing sonic atmosphere. Like the best of Fancy That, Pink brings the rave into her orbit, letting her humor and personality shine as she takes us back in time. — P. Ragusa

When Chappell Roan started sneaking "The Subway" into various festival sets last year, it offered a passionate break from the high-energy, campy romps she gained attention for. The long-awaited studio version this year may have been released as a one-off single, but hearing the song in all its glory offers a remarkable glimmer of Roan's cross-genre potential. Going for a much subtler sound than usual, Roan and producer Dan Nigro provide a warm, renewing glow to "The Subway," tracking the sting of a breakup with majestic hues and aching, cards-on-the-table vocals. It shows that even when she's got her feet on the ground, Chappell Roan is still a force to be reckoned with. — P. Ragusa

Powerfully percussion-driven (you can hear hands slap those drums), "Pretrial (Let Her Go Home)" gets its subtitle from its key message: Advocacy for women trapped by the justice system because of their inability to make bail. Fiona Apple ended her five-year hiatus from music for this immediate earworm of a song, inspired by two years as a court watcher in Maryland. As powerful as the song is, the story behind it is even more affecting. — L.S. Miller

Saba has long been one of the most perspicacious MCs working in hip-hop, and "Woes of the World" is further evidence of his discerning abilities. No ID provides haunting production, complete with high-pitched, angelic-adjacent harmonies set against prowling bass, and Saba attacks it with aplomb. As the title suggests, Saba is wrestling with his place on Earth throughout the song: "When you used to the woes of the world/ Everything a woe in the world," he raps. Soul-searching is at the top of Saba's to-do list, and this song is one of his latest and greatest attempts. — K. Fitzgerald

Arguably the heaviest track on private music, "Milk of the Madonna" rides a swinging central riff that never loses momentum across the four-minute runtime and bears some similarities to Koi No Yokan opener and fan favorite “Swerve City.” The relentless groove provides a head-nodding metronome for Chino Moreno's refrain — "Holy ghost, I'm on fire" — with the fervor of his words projecting spiritual torment. As the song barrels toward its conclusion, Moreno begs for salvation: “Save, save, save me." — J. Hadusek

JID's "Sk8" is a kinetic blast of Atlanta lineage and hometown ambition. Over elastic, ass-shaking bass that nods directly to Kilo Ali's regional classic Organized Bass, JID, Ciara, and EarthGang set a breakneck tempo while honoring the place that shaped them. The crew maps out intercity rivalries and neighborhood tensions through the familiar geography of skating rinks, turning local lore into high-stakes storytelling. Even as they glide through nostalgia, the theme remains survival: who makes it out and who circles back. Ultimately, "Sk8" is a testament to how Atlanta’s culture keeps pushing its most ambitious artists toward greatness. — K. Fitzgerald

Thom Yorke and Mark Pritchard's collaborative LP is a prime example of two artists bringing out the best in each other. Overtop a drunken, ominous synth bass line and impressive production, Yorke ditches his trademark falsetto, instead embracing a sneering, brooding vocal tone that matches the sinister energy of the beat. As illustrated by the music video, it's the perfect soundtrack for a parade of fucked-up, colorful monsters that are more distressing than outright horrifying. In a lot of ways, it's kind of ugly, but in most other ways, it's a whole hell of a lot of fun. — J. Krueger

Frequent collaborator Obongjayar and South African singer Moonchild Sanelly join Little Simz for this first single from Lotus, a gripping track that sets the tone for another brilliant record. The UK rapper addresses betrayal with a haunting cadence and thunderous drums, taking no prisoners as she offers up hard-earned clarity and advice. Simz is coming for the kill, because silence doesn’t always equate to weakness. — S. Noor

It feels crazy to say (though even crazier not to say), but "Love Takes Miles" already seems to have cemented itself as one of the great love songs of the 2020s. Not only does it boast Cameron Winter's usual scattershot, poignant writing at its best ("Love will make you fit it all in the car," anyone?), but the damn song sounds like the effervescent, anxious, manic spirit that comes alongside overwhelming love. Beyond Winter's powerhouse voice and emotive piano playing, the rest of the tune never sits still throughout its three minutes and change. Warped vocal tracks, one-off instrumental lines, and spurts of percussion bubble up throughout, resulting in a swirling production that may very well be romance incarnate. — J. Krueger

This is what it sounds like when a pop culture tidal wave crashes across mediums. It's increasingly rare for this sort of phenomenon to exist outside of a social media bubble that pops as soon as it gets too big. KPop Demon Hunters and "Golden" earn their shine not just because of likes and reshares that pleased the algorithm gods, but because they're good — like, really good. As the big single from the soundtrack, the vocal lines on "Golden" are the stuff of pop dreams, the only shame being that Audrey Nuna doesn't have longer solo contributions as Mira. Even if the Hollywood-ified beat is a bit pre-international-breakout K-pop, it's so undeniable that it'll be heard at b'nai mitzvah, school dances, weddings, gyms, big-box stores, and just about everywhere else for years — at least until KPop Demon Hunters 2 delivers the next big hit. — B. Kaye

Ah, desire. It can feel like you're on fire and completely numb at the same time. Being one-half of a "Will they or won't they?" situation is butterfly-inducing enough, but when one (or both) of you is already in a relationship, the stakes are shot through the roof. That moment of crossing over from friends to lovers, of shutting one door and opening another, takes a lot of guts. Momma imbue "I Want You (Fever)" with the rush of finally making that call, and it sounds like an epiphany. "Pick up and leave her/ I want you, fever" Allegra Weingarten and Etta Friedman command on the chorus, arm-in-arm, ready for destruction. The emotions behind it may be murky and opaque, but "I Want You (Fever)" stands as one of Momma's purest concoctions. — P. Ragusa

Nashville, what ever are we going to with you? You have — or, as Hayley Williams bemoans here, had — so much going for you, but in the wake of gentrification and the undiminished influence of megachurch-ified religion, your sheen seems to be relegated to a glare off Broadway. Williams isn't one to hide her feelings, and on this equally beguiling and alluring track, she pours out her criticism like it's honeyed holy water over a false idol. Its purifying burn might not be intended to save so much as reveal the gray scars under all that bought-and-paid-for glitz, but as she sings in the chorus, it's the action of someone who still holds the memory of what could be close. And major props for the triple reference of "Southern Gotham." — B. Kaye

After a slow build, the seven-and-a-half-minute opus that is "Winona" kicks into the blackgaze glory we've come to know and love from Deafheaven, as singer George Clarke's screams carry the listener through a magnificent roller coaster of colorful soundscapes. It quiets down again at the four-and-a-half-minute mark before delivering one last crushing blow a minute later. This is Deafheaven at their grandest, calling back to their Sunbather days, and we're all here for it. — S. Kaufman

While other celebrities post AI hot takes full of misinformation, Grimes is translating technological anxiety into visceral pop music. Her new single “Artificial Angels” is sung from the perspective of murderous machines, with robotic vocals sliding between human and synthetic to disturbing effect. Through heavy machine filters she sings, “I would never lie to you,” obviously lying. It’s p(doom) in musical form, the end of humanity and an occasion to shake ass rolled into a candy-bright package. “Artificial Angels” is the first great song to stare down our AI future and bring the singularity home. — W. Graves

With "Short Story" serving more as an introduction than a proper start to the second half of the intentionally bisected SABLE, fABLE, the longer and more complete "Everything Is Peaceful Love" is where the real sonic shift begins, coasting along a synthesized wind with more than a touch of '90s R&B. It's feel-good music because Justin Vernon and co. clearly felt good while making it — so starkly different from the sparse and haunting EP portion of the album that I actually prefer it as a standalone track. It just feels more optimistic and harmonious when listened to by itself. — D. Caffrey

"Manchild," the whip-smart lead single from Sabrina Carpenter's latest album Man’s Best Friend, easily ranks among the top earworms of the year. The track opens with a sly and telling “Oh boy!” It's an immediate wink that sets the tone for Carpenter’s now-established mission, a campy, precision-guided takedown of men who can’t quite keep up. Building on the razor-edged humor of her breakthrough album, Short n’ Sweet, the pop star turns ego-puncturing into an art form here. With its bright, buoyant hook and perfectly-jagged attitude, "Manchild" further proves Carpenter has a gift for making empowerment feel effortless — and irresistibly fun. — K. Fitzgerald

"Townies" may very well be the ultimate Wednesday song. It's tuneful, well-structured, and, between the twangy verses and distorted choruses, offers up one of the best examples of their countrygaze stylings. Perhaps even more true to Wednesday's spirit, however, is the emotional core of frontwoman Karly Hartzman's universal-by-way-of-specificity songwriting. You might not have experienced the exact situations Hartzman sings her way through on the tune, but you know the feeling of walking around your old hometown, or the complicated emotions that arise when someone who wronged you die,s or the recontextualization of teenage memories. You bleed alongside Hartzman and Wednesday with each listen. — J. Krueger

Duality has long been a focus of Lady Gaga's artistry, from alter egos, to actor-musician detours, to battles between darkness and light. For "Abracadabra," she embraces this thematic fuel and pushes her sound to a cathartic limit. Like much of Mayhem, there's a heaviness to Gaga's approach on "Abracadabra"; her throat raspy, her vocal attack thick and barbed. All this weight is released in maniacal fashion as the pre-chorus ramps up and explodes into the refrain, that sticky descending melody line landing like a spell or seance. It's one of Gaga's best-ever dance floor creations, the production seismic, the lyrics sharp and dramatic. Even divorced from the album and its themes, "Abracadabra" is exactly what its title suggests: Magic. — P. Ragusa

The centerpiece of Tyler, the Creator’s excellent new album is a two-part, three-minute banger. Part I, “Don’t Tap That Glass,” finds him stunting, dancing, and protecting his space. “Don’t tap that glass/ There’s a monster in it!” he howls, conjuring at once a private life lived publicly and the dire consequences of being disturbed. Part II is an ode to movement, whether that’s on the open road (ideally in his “Detroit Red” Ferrari) or sexually (I fucked her, her friend, her friend, her n***a, and his bitch, I know I’m wrong“). It’s tied together by minor-key keyboards and arguably the two most ecstatically danceable beats in his discography. — W. Graves

I'm not Spanish, nor do I speak the language. I'm not Catholic nor do I know much about saints — let alone female saints. So in the most literal sense, perhaps Rosalía's fourth album Lux is lost on me. Luckily, music never has to be literal, and I imagine that the heart-skips I experience when listening to the orchestral swells, starts, and stops of "Porcelana" are at least in the ballpark of an album being a somewhat religious experience. Long as you're feeling something, right? And here, it doesn't require subtitles, Bible pages, or anything even remotely textual. Literalism would probably just dilute it. — D. Caffrey

Perfume Genius' Michael Hadreas knew what he was doing when he called this song "It's a Mirror." For himself, the track reflects how the cyclical patterns of intrusive thoughts and isolation can become their own self-sustaining ecosystem. For the listener, drowning in the algorithmic tide of bad news and compulsive scrolling, it resonates as a shared reality. What Hadreas is able to continue to do so remarkably is transform that heavy pain into something luminous and vital. Push-pull arrangements echo the very spiral being sung about, while also serving as a reminder that downward trajectories don't have to be never-ending. Though Hadreas' voice may be aching in that distinctly haunted vibrato of his, the energy of that chorus – anxious though it is – suggests he will find the strength to open the door once more. – B. Kaye

While Turnstile's latest album, NEVER ENOUGH, continued the genre exploration of their breakout LP GLOW ON, "BIRDS" offers a certain return to form: dipping back into the gritty, blood-pumping hardcore stylings that put their name on the map. The song's true goosebump moment lands at the halfway mark, when the band kicks it into overdrive with an electrifying tempo switch, practically triple-dog daring you not to headbang along with the energized beat. It's here where Turnstile performs at their peak, walking the fine line between chaos and control with an energy that's unrelenting, feral, and unmistakably their own. — N. Periola

We all knew Clipse was out for blood when the duo released its tour de force, Let God Sort Em Out, over the summer. But Track 9 was the warning shot that doubled as a master class in hip-hop proficiency. On its surface, "F.I.C.O." is an undeniable banger, thanks to Pharrell's meticulous production that manages to fold brain-scattering bass and an affective, quavering vocal sample into a soundscape fit for Clipse. The brothers Thornton take turns offering verses that bounce from internal rhyme scheme to internal rhyme scheme, revealing their dedication to and investment in the art form of hip-hop. Malice, especially, snaps with a sequence of number-laced bars that cleverly add up to a First 48 line delivered in the last moments, deepening the track’s crime-scene tension. Stove God Cooks makes his brief, but powerful, presence known with a soul-stirring hook, offering a weight and charisma that pushes "F.I.C.O." into electrifying territory. — K. Fitzgerald

EUSEXUA thrives on tension, ecstasy twinned with anguish, desire shadowed by disgrace, and even its brightest moments carry wounds. On “Girl Feels Good,” twigs opens with wariness: “I fear the man/ Who finds himself lost/ In tales of war, delusions of more.” The production recalls the glacial textures of Ray of Light (Marius De Vries, one of that album’s architects, co-produces here), yet twigs lacks Madonna’s self-assurance. She plunges headlong into what she calls her undoing — a lover adrift in his own uncertainty — and even as the lyrics telegraph catastrophe, she chases bliss anyway. Those layered, phasing vocals at the track’s close flicker and vanish almost as soon as they arrive, easily dismissed. What lingers is the reckless sprint, the thrill of abandoning self-preservation. — W. Graves

It's easy to overlook the passionate brilliance of "Au Pays du Cocaine" when listening to Getting Killed. On an album that finds Geese simultaneously at their most chaotic and soulful, "Au Pays du Cocaine" immediately reads as endearingly sweet. But further listens — and one view of the song's incredible music video, where Cameron Winter sings this song directly to a baby — deepen the experience. Winter's yearning cries of total devotion, to be a fixed point as the other grows and changes and lives, are both devastating and heartwarming; it'd be poignant whether he's singing to a romantic partner, a future child, or himself, but regardless of the intended subject, the song's wash of raw emotion is captivating enough.

The messages are simple and profound: "You can be free and still come home," "You can change and still choose me." Winter ends each chorus by reminding the subject that he's alright, that it's fine, and the heartbreak in his voice makes it very clear that he believes what he's saying but is, very likely, not alright. How does Winter simultaneously remove himself from the equation ("you can stay with me and pretend I'm not there...," the aforementioned "I'm alright," sung as if to say "Don't worry about me") and take up so much space at the same time? If you love someone, let them go — Winter seems fixated on this idea, using a very specific, childlike image of a sailor in a big jacket on a big boat embarking on an adventure as a foil to the raw ache in his voice and the band's passionate poise. Wise beyond their years, Geese remind us that chaos and tenderness aren't opposites — they're the same ache, expressed differently. — P. Ragusa