Top Ten Albums of 2025

Here are ten recordings I liked this year:


1) Gingerbee – Apiary

A self-described “bedroom skramz” artist, Gingerbee’s complexly maximalist music seems to encompass many genres at the exact same time. Is it picopop? Chiptune? Samba? Screamo? Chamber pop? Yes! It’s a huge reach that shockingly doesn’t exceed its grasp very often. A hive of harmonious activity; there’s no other album I want to listen to as often or as closely.
If you like this, try: Thanya Iyer – TIDE/TIED, a more laidback vocal jazz album with a similarly beguiling composition (it doesn’t sound like Gingerbee but what does)

2) Jens Lekman – Songs for Other People’s Weddings

Swedish singer-songwriter Jens Lekman has been engaged as a wedding singer and wrote this concept album about the many small celebratory moments of love he witnesses. Beautifully arranged with deservedly overblown strings, it’s a wise and wonderful record.
If you like this, try: The Burning Hell – Ghost Palace, more Magnetic Fields-adjacent pop which would have made the list in its own right if it didn’t pair so well with this one

3) Model/Actriz – Pirouette

Angular queer art-punk with industrial textures and a four-on-the-floor beat made of clanging guitars – an alt-rock wall-of-sound.
If you like this, try: PUP – Who Will Look After the Dogs?, a good pop-punk album which is less leftfield and more nostalgic

4) McKinley Dixon – Magic, Alive!

Lush upbeat conceptual jazz rap from the Chesapeake poet. Fun, hard, only 35 minutes and not a wasted second.
If you like this, try: Danny Brown – Stardust, an intergenerational project celebrating sobriety with the help of those queer digicore kids

5) Natalia Lafourcade – Cancionera

Delicate and rousing classically-inspired Mexican folk. Superior playing and singing. It’s a big, beautiful album.
If you like this, try: Silvana Estrada – Vendrán Suaves Lluvias for more Latin chamber folk with an expressive and adventurous voice

6) Tapeworms – Grand Voyage

Sunny French act channeling j-pop and chamber synth. Simple upbeat songs with glitchy, microtonal flavours.
If you like this, try: UTO – More heat to the fire part of fire, a psychedelic synthpop album which would have been higher if it weren’t an extended version of an album from last year. It’s a really good collection of songs though and worth checking out.

7) clipping. – Dead Channel Sky

I’ve listened to this a lot this year. I love the industrial vibes and find it so fun to listen to. Occasional ear-splitting dial-up noises, mostly glitchy electro-industrial hip hop with cyberpunk lyrics.
If you like this, try: Tyler, The Creator – DON’T TAP THE GLASS for energetic danceable rap with a Jekyll and Hyde approach, bouncing between smooth and aggressive with surprising success

8) Rebecca Black – SALVATION

Short and sweet dance pop EP. Five tracks that show a high water mark in Black’s storied career. She’s our hero, throw her at the pop charts.
If you like this, try: FKA twigs – EUSEXUA for more arty and very sexual dance pop

9) The Weather Station – Humanhood

A smooth, fairly straight-forward and a little jazzy art pop album with good singing and playing.
If you like this, try: Madeline Kenney – Kiss From the Balcony, syncopated and country-tinged art pop, similarly easygoing

10) Jerskin Fendrix – Once Upon a Time… in Shropshire

Baritone drawling over various experimental beats and occasionally repetitive folky songs interrupted by heavy rock breakdowns and soaring chamber music with electronic processing. With lyrics including “I wash my dick in the sink!” and “Fuck, I’m buzzing, I’ve been drinking so much White Claw”, the whole thing can feel like a private joke but it’s hard to dismiss.
If you like this, try: Lucrecia Dalt – A Danger to Ourselves, percussive and experimental

Death By Lightning (2025)

Where to find it: Netflix
Length: Four 55-minute episodes
Synopsis: American political miniseries
Recommendation rating: 3/5

What I like about it: funny, entertaining, historical
What I don’t like about it: could’ve been a movie

Review:
This historical four-parter follows three strands; the first is principled Republican outsider James Garfield (Michael Shannon), who quickly rises to Presidential nominee thanks to a grand speech and an exhausted convention. The second is the corrupt Republican establishment hoping to control President Garfield, represented primarily by his hard-drinking V.P. Chester A. Arthur (Nick Offerman). Finally, in arrestingly pathetic form is Matthew Macfadyen as Charles Guiteau, a style-over-substance conman fated to enact regime change which benefits the establishment.

It’s well-written, well-acted, entertaining and a genuinely interesting episode of American politics. It could have been shorter but it doesn’t drag.

Content notes (may contain spoilers): sex

Peacemaker (2022)

Where to find it: Now TV
Length: Sixteen 45-minute episodes
Synopsis: Superhero-set comedy
Recommendation rating: 4/5

What I like about it: entertaining, funny, well-written, dance routines
What I don’t like about it: soundtrack

Review:
John Cena is charming as ever in this DC comedy about a costumed vigilante who finds a team and tries to be less of an asshole. Full of swears and cultural-political commentary, it’s not Ibsen but it succeeds at what it aims for – a real-world social dynamic in an unreal setting. Season 1 is full of glam metal, which is awful but at least funny, and a plot about Bolshevik butterflies. Season 2 has better music but a worse plot about a fascist alternate dimension. There won’t be more; Cena’s probably gonna run for president or something.

Content notes (may contain spoilers): blood and violence, swearing, obligatory HBO nudity and sex

Yellowjackets (2021)

Where to find it: Paramount+ on Amazon
Length: Twenty nine 50-minute episodes
Synopsis: Mystery about a plane crash
Recommendation rating: 3/5

What I like about it: drama and mystery (some of it good), acting, music
What I don’t like about it: sometimes resembles Lost, often unbelievable, confusing start

Review:
Showtime’s latest drama hit is crafted with a confident coolness and features mysteries and characters that will get their hooks in you if you give them chance, but it remains to be seen whether that is worthwhile. As is common these days, we see two timelines at once: the distant past of the late 90s where a girls’ soccer team suffer a plane crash in the famously-filmable woods of Vancouver, and the present where four of the survivors try to get on with their lives despite great trauma. The present timeline provides some great roles for actors “of a certain age” – including the always-welcome Melanie Lynskey and creepily quirky Christina Ricci – but it’s the past timeline that proves most interesting. Mystery builds in an intriguing way as we get to know characters in the past who are not represented in the present (will they die or be revealed next season?) and the appeal is carefully constructed towards the archetypal husband-and-wife: gore for him, relationship drama for her etc.

Overall, it’s good but not great and could go either way before it’s done. They have an eye for a great visual but don’t linger, the plot is intriguing but ultimately not that interesting and the acting is good but may be worth nothing more than a few Emmys if they don’t pull it together.

UPDATE AFTER THREE SEASONS: It never has the firmest grip on where it’s going but I have a lot of fun with Yellowjackets. They have a unique vibe and a great theme song. It’s like the better bits of Lost combined with a twisted tale of trauma-bonded female friendship. Often makes me gasp and comment snarkily to the television and I recommend it despite its flaws.

Content notes (may contain spoilers): sex, violence and horror, drugs, animal killing, psychosis, cannibalism

Severance (2022)

Where to find it: Apple TV+
Length: Nineteen 50-minute episodes
Synopsis: Workplace mystery
Recommendation rating: 1/5

What I like about it: a couple of the actors
What I don’t like about it: everything

Review:
It’s a puzzle box with no idea where it’s going, the characters are flat, the satire is weak, Adam Scott is not a good actor, it’s ugly and way too digital, I can’t understand how the severance procedure benefits anyone, it’s laughably over-the-top, doesn’t pay off often enough for the time investment, most episodes are incredibly boring and the dialogue is overwrought and laughable. I really don’t understand the appeal, it’s like all the worst bits of Lost but set in a series of white corridors.

Content notes (may contain spoilers):

MirrorMask (2005)

Where to find it: Buy or Rent on Amazon
Length: 100 minutes
Synopsis: Circus kid processes trauma in fantasy world.
Recommendation rating: 4/5

What I like about it: visuals
What I don’t like about it: plot

Review:
The real selling point for this family fantasy movie is the direction by maverick artist Dave McKean. He manages to transfer his unique style to film very well, with lots of juxtaposition and collage and intricate inkwork in most of the shots. The CGI can be a little ropey but considering it was made for £4m twenty years ago, it holds up pretty well. The plot and dialogue are typical Neil Gaiman and would be a very mediocre family film if it weren’t in service of a singular artistic vision.

Content notes (may contain spoilers):

Bet (2025)

Where to find it: Netflix
Length: Ten 30-minute episodes
Synopsis: Silly horny teen show
Recommendation rating: 3/5

What I like about it: over-the-top campy fun
What I don’t like about it: unnecessary, incomprehensible creative choices

Review:
Netflix’s latest live-action anime adaptation is cheaper than One Piece but just as committed to ridiculous fun. Yumeko is a compulsive gambler sent to a high school whose curriculum is based around betting. Winners and losers have a dominant/submissive dynamic and the whole thing is horny as heck. Somewhere between the inexplicable pro wrestler cameo and the Japanese-language cover of Never Gonna Give You Up by Rick Astley, you realise the whole project is a prank on the viewer but everyone is having too much fun to care.

Content notes (may contain spoilers): violence, sex references, lots of gambling

The Change (2023)

Where to find it: Channel 4
Length: Twelve 20-minute episodes
Synopsis: Forest-based midlife comedy-drama
Recommendation rating: 3/5

What I like about it: righteous anger, rural setting, occasionally funny, Ryan, Tony
What I don’t like about it: attempts to build lore in second season

Review:
Linda, menopausal and aggrieved by a poor division of household labour, hops on her motorbike and leaves her husband for a life in the Forest of Dean. Features a number of carthartic and quite funny rants about suburban life, marriage, cancel culture. The characters are a mixed bag, some being broad satirical caricatures while others are surprisingly well-rounded. A solid, easygoing short show.

Content notes (may contain spoilers):

Star Wars: Andor (2022)

Where to find it: Disney+
Length: Twenty four 45-minute episodes
Synopsis: Overcooked political drama and half a billion dollars add up to a wasted day
Recommendation rating: 2/5

What I like about it: cool designs, relatively easy-to-follow plot, great VFX
What I don’t like about it: rigid formula and pacing, terrible representation, poor worldbuilding

Review:
Firstly, I watched Rogue One before this, thinking it would enhance the experience. It didn’t and it’s terrible.

This most-hyped and most expensive Disney+ show is probably the best later Star Wars I’ve seen. The plot feels grounded and the stakes are small enough to make sense through the first season. The (largely British and European) actors are good and the tech concepts are mostly well-realised.

Unfortunately, the whole thing is stretched and squashed with a formula of two episodes of set-up for every one episode of payoff and it becomes painfully obvious after the first three. Its worldbuilding is lazy, with locations amounting to “Space Morocco”, “Space New Zealand” and “Space France”. Because it’s such an investment, it’s shockingly regressive with representation – people of colour die first, gays can’t do more than hold hands (except one easily-deleted kiss) and all are buried, even just the queer-coded ones.

Content notes (may contain spoilers): overlong scene threatening sexual violence, violence and blood, bury your gays trope

Creepshow (2019)

Where to find it: ITVx
Length: Twenty three 50-minute episodes
Synopsis: Horror-comedy anthology show
Recommendation rating: 3/5

What I like about it: fun, campy, does plenty with the budget
What I don’t like about it: most segments are pointless

Review:
Each episode of this anthology series consists of two segments of 20-30 minutes. Their commitment to practical effects and getting a lot out of their low budget is admirable and impressive; the sense of humour makes each segment charming even though many are silly and entirely pointless. Overall, the show is a fun waste of time and if you want to waste a bit less time, skip the first couple of seasons.

Of particular note are two segments, worth seeking out even if you skip the rest. “Drug Traffic” from the third season is an Asian-style ghost story with fascinating interplay between a Communist border guard and a self-interested Democrat. Has a very well-directed monster sequence that is a terrifying bloody mess. Season 4’s “Twenty Minutes with Cassandra” was my favourite segment by far – it’s hilarious and eventually goes way deeper than it had to. I think I said “I love this” after almost every line and it’s just a great short film.

Content notes (may contain spoilers): blood n guts, body horror, scary monsters and swears