The Best Albums of 2025
We are excited to reveal our Best 50 Albums of 2025, continuing an annual No Ripcord tradition that dates back to 2002. Dig in, enjoy the picks, get unnecessarily worked up about the omissions, and share widely!
We are excited to reveal our Best 50 Albums of 2025, continuing an annual No Ripcord tradition that dates back to 2002, when The Flaming Lips took the coveted #1 slot with the classic Yoshimi Battles The Pink Robots.
Unlike last week’s Bubbling Under feature—which you absolutely should check out first—these picks are ranked. There are good arguments for and against ranking these end-of-year round-ups, but we’ve been doing it this way since 2002, so we’re hardly about to change our ways now.
No Ripcord
Looking back at our first Top 50, it’s clear that 2002 was an outstanding year for new music. But we’re firm believers that every year is jam-packed with excellent releases—you just need to know where to look. This is one of the reasons we’re still plugging away after all these years, and it’s why all of our content is paywall-free. We know how hard it is to find honest music criticism, so we’re not about to put barriers in the way of ours.
If you value what we do here at No Ripcord, you can become a supporter for an annual fee of $20. This will allow you to comment on our articles, and when we launch our upcoming newsletter, supporters will be able to ask questions and influence our content. If that sounds good, hit the button below to sign up.
We hope you enjoy our picks and discover something new, because that’s ultimately what these lists are all about. Well, that and the inevitable arguments about what we didn’t include (which will be fierce this year). We’ve embedded a standout track from each record so you can sample them without leaving the page, and we’ve collected all these picks in a Spotify playlist, which you’ll find at the bottom of the feature.
50. Car Seat Headrest
The Scholars
(Matador)
Will Toledo’s first self-proclaimed rock opera only feels like one by name, as he’s certainly one to indulge when the moment calls for it. But for every 19-minute prog-rock opus (“Planet Desperation”), the band juxtaposes The Scholars with some of their more satisfyingly tuneful songs to date (“Devereaux”). Just don't read too much into the concept. (JR)
49. Courting
Lust for Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’
(Lower Third / PIAS)
Of all the British post-punk bands to emerge over the last decade, Liverpool’s Courting have arguably demonstrated the widest range in their career to date. Lust for Life may be their most experimental work, but Sean Murphy O'Neill and the boys still know how to write an anthem, and “Pause At You” is surely their finest since “Tennis.” (DC)
48. Ghais Guevara
Goyard Ibn Said
(Fat Possum)
The Philly rapper’s Fat Possum debut is an abstract, conceptual piece presented in two acts. It’s impressive throughout, but the second act—especially phenomenal standout “The Apple That Scarcely Fell”—is where the record truly catches fire. (DC)
47. Heartworms
Glutton for Punishment
(Speedy Wunderground)
Jojo Orme’s assured art pop debut is such an accomplished and mature work that you’d be forgiven for thinking she was five albums deep into a storied career. Immaculately produced by Dan Carey, Glutton For Punishment is a spectacular start to the Heartworms journey. (DC)
46. Cloakroom
Last Leg of the Human Table
(Closed Casket Activities)
Who had Cloakroom-does-jangle on their 2025 bingo card? Certainly not me. Last Leg of the Human Table also features nods to post-punk and alt-country, but when those monstrous guitars do spring into action, the Indiana shoegazers still pack an almighty punch. (DC)
45. Lucy Gooch
Desert Window
(Fire)
Conveying a devastatingly quivering vibrato, Lucy Gooch crafts an aural poem that’s both bewitching and seductive on her stunning debut album. The York-based artist elegantly meshes ambient soundscapes with earthy synth tones, making even the smallest gestures sound vastly profound. (JR)
44. Algernon Cadwallader
Trying Not to Have a Thought
(Saddle Creek)
Given our highly uncertain times, it’s understandable that Philadelphia emo veterans Algernon Cadwallader would rather live in denial. Their aptly titled comeback after a 14-year absence is politically charged without being polemical, drawing on lilting anthems paired with sublime fingerpicking that should further expand their cultishly devoted following. (JR)
43. Billy woods
Golliwog
(Backwoodz Studioz)
Is there a safer bet in modern Hip Hop than billy woods? Whether with Armand Hammer, his solo work, or the endless stream of collaborations he somehow finds time for, the standard always seems to be impeccably high. The visionary is on a run like 1999 to 2005-era MF DOOM right now, and fans of any form of Hip Hop should make the time to enjoy it. (DC)
42. Ela Minus
Día
(Domino)
DÍA has been an outlier for me in a year when I haven’t listened to much electronic music. I’m sure it wasn’t Ela Minus’ intention, but its cool, icy beats and haunting vocals make it a perfect soundtrack for the British winter, with its pop hooks providing an unexpected bonus. (DC)
41. Hotline TNT
Raspberry Moon
(Third Man)
Expanding on the serene, pummelling power of their debut, Raspberry Moon is far more refined than its breakthrough predecessor. Recording for the first time with his touring bandmates, singer/guitarist Will Anderson heightens his wistful expressions, using the additional personnel to arrange bigger, brighter, and more memorable songs. (JR)
40. FACS
Wish Defense
(Trouble In Mind)
As well as being the last album Steve Albini worked on prior to his death last year, Wish Defense—the sixth full-length from Chicago’s FACS—also ended up being the penultimate Trouble In Mind release, with the influential label ceasing operations this year. Listen without getting hung up on these associations, and you’ll discover a brilliantly taut, moody work. (DC)
39. Anna B Savage
You & i are Earth
(City Slang)
This year’s Top 50 showcases many quieter, more contemplative records. In a world of corruption, confusion, and chaos, I’ve certainly felt a yearning for life’s simpler pleasures, a feeling Anna B Savage’s You & i are Earth satisfies perfectly with its warm, stripped-back, and perfectly executed brand of literary folk. (DC)
38. Baths
Gut
(Basement's Basement)
On Gut, Will Wiesenfeld, the artist also known as Baths, doesn’t leave anything to the imagination. Candid about his steamy romantic entanglements, he confronts his emotional detachment head-on—the good and the bad that comes with it—amid a raw, yet beautiful backdrop of orchestral electronic pop. Seven years since his last release, Wiesenfeld remains an unpredictable and fascinating artist. (JR)
37. Yves Jarvis
All Cylinders
(In Real Life)
Canadian musician Yves Jarvis scooped the coveted 2025 Polaris Music Prize for All Cylinders, a soulful album that is simultaneously accessible and wildly experimental. To make such a bold, unique, and successful statement in just 26 minutes is a testament to the skill of Jarvis. (DC)
36. Lucrecia Dalt
A Danger to Ourselves
(RVNG Intl.)
One of art pop’s most esoteric voices, Lucrecia Dalt trades her usual high concepts for a more grounded, less cosmic story. Featuring an assemblage of clanging percussion and deft orchestral touches, A Danger to Ourselves captures the Colombian composer’s mastery of mood and spirit. (JR)
35. The Beths
Straight Line Was a Lie
(Anti-)
Committed to the jangle pop tradition passed down by the Kiwi elder statesmen that defined the Dunedin sound, The Beths build on their influences on Straight Line Was a Lie. From charging pop punk (“No Joy”) to hearty ballads (“Til My Heart Stops”), vocalist/guitarist Elizabeth Stokes makes navigating a series of challenging life events—including writer’s block and an autoimmune disorder diagnosis—sound not just bearable but life-affirming. (JR)
34. Alex G
Headlights
(RCA)
Given his consistently terrific track record, Alex G seemed destined to get picked up by a major label at some point. While not too dissimilar to the rest of his oeuvre, Headlights feels strangely slept on. I suppose it’s what happens to most celebrated indie artists when they graduate to greener pastures, but if losing your cred means receiving warm folk pop anthems like “Afterlife” and “June Guitar” in return, then it’s all the better for it. (JR)
33. Nourished By Time
The Passionate Ones
(XL)
Those in the know predicted that Marcus Brown was bound for his breakthrough moment. Just like his slinky, 80s-leaning R&B ballad, “Max Potential,” attests, Brown is getting his due after toiling relentlessly in the Baltimore music scene. His multihued collage of lo-fi, funk, house, and gospel—and yes, he pulls off each—surprises at every turn, staying true to his art. (JR)
32. Stella Donnelly
Love and Fortune
(Dot Dash Recordings)
On Love and Fortune, Stella Donnelly’s third and best LP, she takes a moment to pause and reflect. Thinking about the hardships she’s endured in recent years, the Melbourne singer-songwriter trades her barbed witticisms for more solemn and vulnerable songwriting. (JR)
31. The Telephone Numbers
Scarecrow II
(Slumberland)
Scarecrow II feels like a breakthrough moment for The Telephone Numbers, the sound of a band moving beyond the limitations of a genre and striking out in search of something bigger. It jangles, yes, but it also soars, fizzes, and thrills. (DC)
30. The Besnard Lakes
The Besnard Lakes Are the Ghost Nation
(Full Time Hobby)
Listening to the Besnard Lakes offers a refreshing reminder that everything old can feel new again. The Montreal neo-psych mainstays’ most recent LP, an enrapturing embrace of blissful sonics, is also quietly defiant—conjuring an otherworldly ambiance worth getting lost in. (JR)
29. Mobb Deep
Infinite
(Mass Appeal)
Delicately crafted by sole remaining member Havoc, along with legendary producer and longtime collaborator The Alchemist, the final Mobb Deep record—and the first since Prodigy’s tragic death in 2017— achieves the most important objective for any posthumous project: it never feels anything but respectful. (DC)
28. Nels Cline
Consentrik Quartet
(Blue Note)
Wilco fans will know Nels Cline as a phenomenal guitar player, but his 20 years with the band have coincided with their least experimental phase. I would argue they haven’t released a truly great record in that period, their last being 2004’s A Ghost Is Born, just before Cline joined. Fortunately, he has other outlets for his exhilarating skills. His latest project for Blue Note is a freewheeling jazz quartet, alongside saxophonist Ingrid Laubrock, double bassist Chris Lightcap, and drummer Tom Rainey. Consentrik Quartet isn’t all essential, but the evident chemistry on standouts like “The 23” is simply mesmerising. (DC)
27. Saba & No ID
From the Private Collection of Saba & No ID
(From the Private Collection, LLP)
No ID may be 23 years Saba’s senior, but there is no hint of a generational disconnect on From the Private Collection…—indeed, it sounds like these two legends of Chicago Hip Hop have been working together for years. The nod to Marvin and Tammi on glorious opener “Every Painting Has a Price” might seem a little obvious, but it’s executed to such a high level that it’s impossible not to smile. (DC)
26. La Dispute
No One Was Driving The Car
(Epitaph)
Gifted to us during a time when finding top-shelf post-hardcore seems harder to find, La Dispute returns after a six-year break to deliver their unique brand of acerbic storytelling. Led by vocalist Jordan Dreyer’s roaring spoken word, the Michigan band sounds off against our increasingly disturbing times. Often unsettling in his intensity, Dreyer, balancing empathy with uncompromising sincerity, never allows one a moment’s relief during the album’s hour-long length. (JR)
25. Divorce
Drive To Goldenhammer
(Gravity / Capitol)
There was a time when grand, heart-on-sleeve indie rock songs were fairly commonplace and even, at times, a little uncool. And while it might seem somewhat old-fashioned even to dare to write a rousing chorus such as“I wanna lift you up,” much respect to the Nottingham quartet for having the confidence to make you believe every single word. Their genre-bending dynamics, but never overtly so, don’t hurt, offering heartfelt reflections on everyday life inspired by their personal milieu that convey universal truths. (JR)
24. The Murder Capital
Blindness
(Human Season)
Reuniting with producer John Congleton, the Irish band’s approach on Blindness (Human Season) feels looser, and the sound is often more raucous, even if the touchstones—Whipping Boy, The Horrors, Interpol, and yes, U2—are familiar. James McGovern’s voice sounds phenomenal throughout the record, but it is especially striking set against the gigantic guitar assault and pummelling drums of “Can’t Pretend To Know” and the anthemic “Words Lost Meaning.” (DC)
23. Rocket
R Is For Rocket
(Transgressive)
On their debut LP, the Los Angeles quartet Rocket seemed primed for an alt-rock explosion. Showing far more sophisticated rhythmic interplay than some of their shoegaze-leaning contemporaries, their propulsive, muscular anthems sit somewhere between the angst of a nineties Seattle band and the sleek wash of sound of Silversun Pickups. (JR)
22. Hannah Frances
Nested in Tangles
(Fire Talk)
On her sixth LP, the Vermont-based singer-songwriter offers a sense of spiritual grounding within her intricate folk. Whereas her breakthrough LP, Keeper of the Shepherd, contended with heavy emotions through similarly ornate songwriting, Frances now articulates these feelings through the innate healing that nature provides. (JR)
21. These New Puritans
Crooked Wing
(Domino)
If Field of Reeds revealed a young band tapping into their potential back in 2013, Crooked Wing, their mesmeric return, positions them at the apotheosis of their art. Grand works like this don’t just appear out of thin air. Twelve years into their evolution, brothers Jack and George Barnett reconnect with minimalist classical music as they shift between sweeping organ-choral pieces (“Waiting”) and beatific piano works (“I’m Already Here”). The stomping drums and rousing organ accompaniments of “A Season in Hell” even point back to their post-industrial influences, handled with the perspective that only experience can provide. (JR)
20. Little Simz
Lotus
(AWAL)
Little Simz was at the top of the world after the release of 2022’s NO THANK YOU. In the midst of experiencing those highs, the London artist became embroiled in a legal dispute with her former producer, Inflo. On Lotus, her sixth and most off-kilter release, she doesn’t hold back—showing both sides vitriol (“Thief”) and self-forgiveness (“Free”) as she rebuilds her strength. Her choice of collaborators, featuring the likes of Sampha, Moses Sumney, and Michael Kiwanuka, are equally inspired. Simz bounces back in blistering fashion, showcasing a variety of vibrant moods and styles that will have you swooning one moment and grooving the next. (JR)
19. CMAT
Euro-Country
(CMATBaby / AWAL)
Ciara Mary-Alice Thompson’s third album as CMAT is an imperious pop record, packed with humour, wit, and personality. No one else worked this hard and poked quite as much fun at themselves in 2025, and her breakthrough (the album reached #2 in the UK Album Charts) is richly deserved. I also had the pleasure of seeing her play the best bits of Euro-Country to an ecstatic crowd at Tramlines in Sheffield, where it’s safe to say she stole the whole weekend with her electric performance. She is an absolute star. (DC)
18. Hilary Woods
Night CRIÚ
(Sacred Bones)
With Night CRIÚ, it feels like Woods has found the sweet spot between her two contrasting musical personas—the avant-garde drone architect and the cerebral dream-pop minimalist—to craft a majestic record of solemn beauty. Not only does Night CRIÚ sound unlike anything else in 2025, but it also stands proudly alongside the year’s very best work. (DC)
17. Earl Sweatshirt
Live Laugh Love
(Tan Cressida / Warner)
Staying true to his flow, Earl Sweatshirt—the most unique and impenetrable former member of Odd Future—packs a lot into his latest album’s brief 24-minute runtime. Transitioning from one fuzzy bar to the next like a hypnotic fever dream, Earl brings his usual cast of collaborators (Navy Blue, Black Noi$e, Theravada) to colour his cerebral wordplay. While always in control of his delivery, he does show signs of vulnerability in the fissures—whether he revisits unwelcome memories of his childhood (“Crisco”) or finds some joy for once (“Forge”). And that’s just a fraction of what he reveals on Live Laugh Love, which provides another small glimpse into his restless gaze. (JR)
16. Will Stratton
Points Of Origin
(Ruination Record Co. / Bella Union)
On Points Of Origin, Will Stratton’s third album for Bella Union and eighth overall, he sought to escape through fiction. Telling the story of several characters linked by wildfires across multiple decades, the New York-based singer/songwriter mirrors the commercial peak of ‘70s and early ‘80s California music with a touch of cinematic flair. With his folk-driven Americana, Stratton pares down some of his usual fingerpicking, introducing a beautiful mixture of pedal steel, piano, and horn arrangements. His bold, yet timeless sound remains criminally underrated. (JR)
15. Benjamin Booker
LOWER
(Fire Next Time Records / Thirty Tigers)
A wonderful surprise. Benjamin Booker’s earthy blues rock gets a subtle injection of classic boom bap courtesy of producer Kenny Segal, who you may recall from his 2023 album with billy woods. It’s subtle, but the result is captivating and a thrilling leap forward for Booker. At times, I’m reminded of early TV On The Radio, which is always a good thing. (DC)
14. Hayden Pedigo
I'll Be Waving as You Drive Away
(Mexican Summer)
Hayden Pedigo’s conclusion to his trilogy of instrumental recordings, each connected with the paintings of contemporary artist Jonathan Phillips, finds meaning in the steady rhythms of life. The Texas-based fingerpicker plays with an effortless precision akin to John Fahey, a hero of his, accentuating each bittersweet note as if chronicling a lost soul trekking a new frontier. Assisted by Scott Hirsch, who’s worked with other guitar luminaries such as William Tyler and Hiss Golden Messenger, Pedigo’s haunting thesis leaves a lasting impact. (JR)
13. The Belair Lip Bombs
Again
(Third Man)
Melbourne indie-rockers The Belair Lip Bombs showcased startling progress on their first record for Jack White’s Third Man Records. A taut rhythm section keeps the breezy 34-minute-long Again chugging forward, providing a rock-solid foundation for some sensational guitar work and Maisie Everett’s whip-smart lyrics. The frantic opener “Again and Again,” a joyous ode to the art of screwing up, is not only the best example of the Lip Bombs’ intoxicating chemistry, but it’s also one of the best examples of indie rock in 2025. (DC)
12. Wednesday
Bleeds
(Dead Oceans)
Wednesday’s Bleeds occupies a strange place in the canon of classic break-up albums, given that both parties are present yet only Karly Hartzman’s perspective is truly represented. Her former partner, guitarist MJ Lenderman, is a more muted, peripheral presence. For most bands, the creative retreat of such a creative talent would be a terminal event, but Wednesday take it in their stride on a polished collection that is up there with their very best work. (DC)
11. Viagra Boys
Viagr Aboys
(Shrimptech Enterprises)
2022’s Cave World made a huge impression on me, especially the triumphant, ridiculous, and frankly hilarious “Punk Rock Loser”—single of the decade, for my money. Viagr Aboys doesn’t have a standout with the universal appeal of “Punk Rock Loser,” but its eleven tracks showcase a greater range and consistency. And Sebastian Murphy's lyrics remain deliciously unhinged. Take the darkly humorous “Man Made of Meat,” for example, which sees Murphy riffing on foot fetishes, OnlyFans, and the grisly demise of Chandler Bing. Elsewhere, he’s gaslighting his girlfriend about a preserved corpse, imagining the world through the eyes of his Italian greyhound, and even out National-ing The National on tender finale, “River King.” And it’s not all about Murphy; the rest of the band are on fire throughout. Viagra Boys are a force to be reckoned with. (DC)
10. Youth Lagoon
Rarely Do I Dream
(Fat Possum)
Rummaging through old boxes, Trevor Powers unlocked the memories he discovered, known and unknown, to guide his fifth LP, Rarely Do I Dream. And while the Idaho singer-songwriter might give the impression that he’s keeping us at arm’s length, even including audio snippets taken from family recordings, Powers approaches his nimble fusion of wide-screened soundscapes and guitar licks with a tenderness that reflects his warm spirit. Even if it’s his story, anyone who chooses to get lost in his serene yet vital remembrances will find much to relate to. (JR)
9. Sharp Pins
Radio DDR
(K / Perennial)
Although it initially surfaced in late 2024, Radio DDR’s wider release this Spring means we’re counting the breakthrough album from Kai Slater’s Sharp Pins project as a 2025 record. Our house, our rules. And what a perfectly scrappy, nostalgic little record it is. Power pop, British Invasion, scuzzy 90s lo-fi, a tinge of psychedelia—Radio DDR takes all of these wonderful ingredients and compresses them into songs that never outstay their welcome and always hit the mark. I loved Slater’s record with Lifeguard too, but Radio DDR was the one I played to death. (DC)
8. Greg Freeman
Burnover
(Canvasback / Transgressive)
Several artists have successfully mined the intersection between indie rock and alt-country in recent years, but Greg Freeman’s freewheeling slacker vibe—think Stephen Malkmus fronting the War On Drugs for a set of Drive-By Truckers covers—allows him to stand out in an increasingly crowded field. If another indie rock track sounded more vital than “Point and Shoot” in 2025, I certainly didn’t hear it. (DC)
7. Lifeguard
Ripped and Torn
(Matador)
With all due respect to Cameron Winter, a fine songwriter in his own right, Kai Slater should also belong in conversations as one of the best songwriters of his generation. Ripped & Torn, one of two excellent records he wrote this year outside his power pop-leaning project Sharp Pins, succeeds in delivering uncompromising yet accessible post-punk with an experimental flair. Textural but never too brainy, the trio clearly understands that their dynamic ebb and flow of harsh and sweet—interspersed with some atonal interludes—must hang together to resist falling apart. If Lifeguard’s all-out assaults are considered as pastiche, then so be it. They offer a bratty, warped sound that is harder than it seems, and they’re just getting started. (JR)
6. Clipse
Let God Sort Em Out
(Self-released)
Arriving sixteen long years after 2009’s Til The Casket Drops, Clipse’s Let God Sort Em Out is arguably the finest comeback Hip Hop has witnessed since A Tribe Called Quest rolled back the years on the masterful We Got It from Here... Thank You 4 Your Service. It’s also hands down the best Hip Hop record this year, with some truly stratospheric highs. Kendrick’s verse on “Chains & Whips” is the best he’s sounded in years, but even he doesn’t overshadow Pusha T and Malice, both of whom are in fine form throughout. Heart-wrenching standout “The Birds Don't Sing,” which details the pair’s experience of losing their parents, is a devastatingly powerful exploration of grief and guilt that hit particularly hard this Autumn. More than any other record, Let God Sort Em Out feels like the one I'll keep returning to in 2026 and beyond. (DC)
5. Greet Death
Die In Love
(Deathwish Inc.)
Die in Love, Greet Death’s provocative, and certainly unsung, third album depicts characters at pivotal moments in their lives. Despite its unflinching subject matter, the Flint, Michigan quintet shows great care for them, serving a rich backdrop of heavy doomgaze for their bleak narratives. Guided by Logan Gaval and Harper Boyhtari’s gothic storytelling, replete with themes of alienation and desire, their strange and beautiful songs lurch forward with thunderous reverberation and climactic guitar onslaughts. And yes, while the arrangements they carry out might seem familiar, Greet Death feed against each other with such composure and heart that each shift in mood and momentum feels like a joy to discover. (JR)
4. Constant Follower
The Smile You Send Out Returns to You
(Last Night From Glasgow / Golden Hum Recordings)
Constant Follower, the Stirling folk collective led by Stephen McAll, almost certainly made the best new record that you didn’t hear this year. If you’ve made it this far, you’ll have noticed a number of heavyweight omissions from our list. The Smile You Send Out Returns to You didn’t generate the same fervour as Geese’s Getting Killed, and it isn’t an orchestral, multi-lingual crossover smash like Rosalía’s Lux—good and very good albums, respectively—but sometimes the quietest performers have the most interesting things to say. (DC)
3. Sunflower Bean
Mortal Primetime
(Lucky Number Records)
Contrary to what snooty music publications may suggest, there’s a crop of accomplished rock artists out there blurring the line between indie and mainstream. Case in point: Sunflower Bean, the NYC trio that does thing thing called classic rock really well. Close to disbanding after a decade together, the band faced creative and personal challenges that tested their bond. Mortal Primetime, their fourth and best album, documents that struggle with an invigorating blend of rip-roaring guitars (“Champagne Taste,” “Nothing Romantic”) and strings-laden ballads (“I Knew Love”). Emotionally charged and immaculately produced, every track on here oozes with passion, infused with a swagger that propels them forward. (JR)
2. Anna von Hausswolff
Iconoclasts
(Year0001)
Given Anna von Hausswolff’s minor notoriety—she offended some Catholic groups earlier in her career, which resulted in the cancellation of some church-based performances in late 2021—the title of her latest work, Iconoclasts, could easily be interpreted in a religious sense. But if von Hausswolff is breaking free of anything on Iconoclasts, it is far more likely to be the shackles of convention and expectation: this is her bold artistic leap towards something resembling pop music. Iconoclasts has everything I look for in new music. It is intelligent, thrilling, unique, and endlessly replayable—challenging, yes, but always worth the effort. Anna von Hausswolff has made an album of experimental pop bangers with the most unconventional raw ingredients. This is her Hounds of Love, her Brat. Yes, it’s that good. (DC)
1. Foxwarren
2
(Anti-)
Here's an idea you don’t hear very often: step outside of the folk-driven orchestral pop you’ve established your career on by turning to sample-heavy hip-hop records for inspiration. And yet, Foxwarren combines both in the most balanced way possible. Sequenced akin to GZA’s deconstructed classic Liquid Swords, 2 sees Andy Shauf and his college friends splicing cinematic flourishes and spoken-word excerpts into a smooth meld of muted glam-rock (“Listen2me”), looped chamber pop (“Dance”), piano-driven disco (“Wings”), and breakbeat-informed musical scores (“Sleeping”). What holds everything together is Shauf’s gentle vocal delivery, which calibrates their wild creative swings. Come for the album’s immaculate flow and stay for its tragicomic story, which, in true Shauf fashion, requires time to reveal itself fully. One can hear how Fowarren carries out 2 without a shred of expectation, as they prove that changing the usual routine with some spontaneity can yield masterful results. (JR)
The Best 50 Albums Playlist
We’ve compiled our favourite tracks from each of these picks as a Spotify playlist. Other streaming platforms are available, and there are a variety of programs that can help you convert Spotify playlists to your streaming platform of choice.
And that concludes our Best Albums of 2025 list. We’d love all of you to chime in and tell us what your favourites were—and what we missed. Become a member to leave a comment below or find us on our socials.
It’s been a special year for us with the launch of our new website and we have big plans for 2026. Please do keep No Ripcord in mind, check back periodically to see what we’re doing, and support us if you value our work.
Finally, we’d like to wish you all the best for the holidays. See you again in the new year!
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