No matter how you spin it, 2025 was a mellow year for mainstream music. After 2024’s mega-breakout of stars like Charli xcx, Chappell Roan and Sabrina Carpenter, the most 2025 offered in the commercial space was “moonbeam ice cream” and gaudy showgirls. That said, some of the most compelling releases came from rising artists or ones in alternative genres. The albums below missed the radio or Billboard charts, but proved to be essential listens of the year through sheer creativity and artistic vision.
“West End Girl” by Lily Allen
Lily Allen’s “West End Girl” can best be described as a Jason Robert Brown soundtrack mixed with slam poetry — believe me, it works. Across the album, she documents every detail of her divorce with actor David Harbour, from his pleas for an open relationship to using it as an excuse to foster sexual and emotional affairs. She’s utterly vulnerable yet witty in tracks “Pussy Palace” and “Tennis,” brutally recounting Harbour’s mess: “Duane Reade bag with the handles tied / Sex toys, butt plugs, lube inside.” Still, she doesn’t paint herself as a saint. Track “Dallas Major” cheekily documents her time spent creating an alter ego on dating apps to forget her conflicting emotions. Best listened to in chronological order, “West End Girl” feels like a long, unfiltered phone call with a friend, mastered with U.K. drum and bass and synths.
— Amelia Knust, Music Editor
“shut up and love me” by Aidan Bissett
With infectious energy and charisma across 13 tracks, it’s shocking that “shut up and love me” is Aidan Bissett’s debut album. Layered synths, catchy guitar riffs and dramatic piano motifs come together harmoniously to underscore the indie rock artist’s reflection on our desire for love in all its forms. From reckoning with unrequited infatuation in “reading into it” to grieving the loss of a best friend in “my funeral,” Bissett’s album candidly captures the intoxicating, yet gut-wrenching parts of being young in relationships. Through punchy, self-reflective lyricism in tracks like in “dance around it,” Bissett laments about today’s hookup culture and the elusiveness of genuine connection: “I think I like the way you let me down.” If you’re a hopeless romantic and equally as disillusioned with today’s dating landscape as I am, I can guarantee you’ll identify with Bissett’s sentiments about modern love.
— Dani Biondi, Arts Editor
“A Dawning” by Ólafur Arnalds & Talos
Icelandic multi-instrumentalist Ólafur Arnalds has distilled his style of electronic-infused classical compositions down to a science, but his newest album with late Irish singer Talos is among his most emotionally resonant work. Arnalds’ layered soundscapes pair exceptionally well with Talos’ feather-light vocals on the steadfast beat of “Signs,” while the tender piano and strings of “west cork, 12 feb” and “for Steph” serve as tender memorials. Beyond that, moments like the title track and ”We Didn’t Know We Were Ready” fully embody the mesmerizingly atmospheric yet heartbreakingly intimate sound across “A Dawning” that places it among the most touching records of the year.
— Kaleo Zhu, Copy Editor
“Baby” by Dijon
Dijon’s “Baby” opens with a record scratch and off-kilter drum line that immediately sets the tone for his sophomore album. After a four-year break, Dijon abandons the cleaner production of his debut album, “Absolutely,” for a more raw and distorted sound that captures a potent sense of emotional whiplash. His voice bends and cracks to become an instrument of his own, matching the volatility and fragmented structure in “Baby” that captures the chaos and tenderness of early adulthood. Even with Dijon currently performing on his anticipated tour, the album’s bold, textured soundscape deserved far more attention.
— Shreeya Goyal, Staff Writer
“From the Pyre” by The Last Dinner Party
The Last Dinner Party had all the elements of a successful sophomore record following the acclaim of their 2024 debut, “Prelude to Ecstasy.” With dramatic baroque-pop and rock instrumentals and strong themes of mythology and rage woven throughout, it’s shocking the album didn’t reach further heights. “From the Pyre” theatrically guides listeners through a tale of biblical imagery and lyrics defiant of gender norms. It covers everything from expectations of womanhood in “Woman is a Tree” to acceptance of death in “The Scythe” with a serene interpretation of mortality: “Don’t cry, we’re bound together / Each life runs its course / I’ll see you in the next one.” Though the album never made a commercial splash, it’s safe to say “From the Pyre” will live long into the afterlife.
— Ellie DaSilva, Staff Writer
“Headlights” by Alex G
Alex G’s 2025 record, “Headlights,” shows an artist in forward motion. Far from the rough-cut, acoustic DIY style that defined his earlier works like “Trick,” his newest album offers a polished and folk-infused sound. Discussing pivotal life changes like fatherhood and mortality, his piercing lyrics are contemplative and full of repetitive mantras. The bright, cinematic “Afterlife” discusses nostalgia and rebirth with a sense of wistfulness, while “Real Thing” copes with the reality of G’s adult life: “Hopin’ I can make it through to April / On whatever’s left of all this label cash.” “Headlights” brightens and expands the Alex G sound fans know and love, deserving much more recognition than it received this year.
— Siena Bergamo, Contributing Writer
Contact the Arts desk at [email protected].