The Boar’s Albums of the Year 2025

As the year has come to a close, it is time to reflect on some of the best releases of 2025. Here are The Boar‘s albums of the year! Is your favourite release featured on our list?

Jack Thompson, Music Editor: PinkPantheress – Fancy Some More? 

Following the release of PinkPantheress’ second mixtape, Fancy That, in May, PinkPantheress took a page out of the ‘brat’ handbook and dropped a remix album titled Fancy Some More?. The initial release, jampacked with dancepop and house influences and interpolations, is extended with Fancy Some More?. Containing three discs – with the third being the original release – Fancy Some More? increases the runtime by over an hour, adding 22 tracks. In ‘Disc 1’, we find collaborations with artists spanning a multitude of genres, including Yves, Ravyn Lenae, JT, and JADE. Absolute must-listens are ‘Stateside + Zara Larsson’ and ‘Nice to Know You + Sugababes’, the most popular and least popular tracks from this ‘Disc’. In both tracks, the featured artists revolutionise the tracks with stunning vocals and witty lyricism. DJs and producers, such as Nia Archives, KAYTRANDA, DJ Caio Prince, and Adame DJ, collaborated on ‘Disc 2′. These star-studded collaborations built on Pink’s production and imbued each track with a new energy. Fancy Some More? was a perfect victory lap for PinkPantheress.

Lucy Gibbons, Music Sub-Editor / Podcast Host: Sam Fender – People Watching

People Watching is Sam Fender at his best: observant yet memorable lyricism, catchy guitar riffs, and experimental instrumentation. Although the trademark guitar-heavy sound of Fender’s music is present throughout the album, particularly in the eponymous lead single, tracks such as ‘TV Dinner’ and ‘Remember My Name’ prove that the Geordie-native refuses to be put in a box sonically. It is Fender’s lyricism, however, which separates him from his fellow musicians. With a willingness to shine a light on today’s political landscape and his upbringing in North Shields, Fender does not shy away from sharing how he truly feels in each of his verses. People Watching was certainly worth the 3-and-a-half year wait, and it was definitely worthy of this year’s Mercury Prize. 

Amelia Farmer, Deputy Music Editor: The Royston Club – Songs For The Spine

The Royston Club’s sophomore album Songs For The Spine has been long-awaited by fans, an amalgamation of tracks eeked out and released as singles since August 2024. With the album finally being released in August this year, it has had an incredible reception, reaching number 1 on the UK Independent Albums Chart. Stand out tracks include ‘The Patch Where Nothing Grows’, the opening riff instantly permeating the mind along with ‘Glued To The Bed’, both accounts of guitarist and songwriter Ben Matthias’ battle with dead-ended relationships and a cynical mindset towards love resulting from heartbreak. ‘Cariad’ similarly proves itself as an indie anthem, the raw vocals of lead singer Tom Faithfull ventriloquising the inescapable memories of past relationships. It almost comes as a surprise that such emotional depth and lyricism can be contained within Songs For The Spine, the sheer power and electrifying vocals of the album making for a narcotic concoction of musical genius.

Luca Beech, Deputy Music Editor: Ethel Cain – Willoughby Tucker, I’ll Always Love You

Ethel Cain has had a good year, starting in January with the release of EP, Perverts, a harrowing, droning ambience of darkness. On the other end of the spectrum, August saw the release of her second studio album, Willoughby Tucker, I’ll Always Love You, sitting chronologically with ‘A House In Nebraska’ from Preacher’s Daughter, focusing on her relationship with her high school sweetheart, Willoughby Tucker. The album is a landmark in Anhedonia’s discography, stand-out tracks including ‘Radio Towers’, a foreboding uneasy instrumental, and ‘Dust Bowl’, which loiters on the details of Willoughby’s decline lyrically, sonically full of true love and romance, only making the final blows of the album, ‘Tempest’ and ‘Waco, Texas’, a harder listen, the former written from Willoughby’s perspective as he walks away, the aching repetition of “forever” burning holes into listener’s souls, and the latter Ethel’s ode to her true love, encapsulating the entire album in just one song: “You know I’d do anything for you”.

Sourav Chauhan, Writer: Ethel Cain –  Perverts

I haven’t recovered from Ethel Cain’s latest EP. This project baptises you in its sorrows and lures you into a damning purgatory. The few moments of dialogue that are strangled out frame the harrowing instrumentation’s attempts to explore psychologically repressed trauma. An example of this is the repetitive lyric “I Love You” in the track ‘Housofpsychoticwomn’, which criticises the fallible nature of human emotions. By reducing a usually passionate statement into a meaningless mantra, it becomes artificial and rotten. Ethel Cain’s pessimistic thesis culminates in exposing a perversion within human emotions, considering them as rhetorical devices to exercise power over others. A very nihilistic backdrop for this record, released in January 2025, was the beginning of Trump’s second term. I think the music’s disturbing sounds in this respect explore the new dystopian shift towards apathy. Ethel Cain’s hauntological drone music is terrifying and challenging like nothing else this year.

Atticus Fear, Writer: Geese – Getting Killed

It’s little wonder that Geese’s third record, Getting Killed, has already achieved cult classic status. The New York art-rock quartet has put out an album so gloriously unhinged that a listening experience can only be compared to sleep paralysis, at once entrapping and enthralling.

Cutting through a cacophonous brass section and the band’s wiry, dynamic interplay are Cameron Winter’s extraordinary vocals. “You better come over with a crucifix / You’re gonna have to nail me down”, he croons, and for the way he sings, he may as well have been crucified and impaled like Christ himself, agony and ecstasy mingling to incredible effect.  As for his lyrics, they move seamlessly from religious to absurd to theatrical.  Stand-out track ‘Cobra‘ brings instrument, vocals, and lyrics together to create an almost spiritual anthem.

Manic yet meticulous, deranged yet deliberate, Getting Killed is more than a strong contender for rock album of the year. 

Sam Capper, Deputy Film Editor: Kali Uchis – Sincerely,

Sincerely functions as Kali Uchis’ outbox of unsent letters. In each song, Uchis addresses a figure in her life: a lover, her late mother, her newborn child, and so on. But this album seems to work nonetheless as one cohesive, existential and reflective monologue. Each song almost seamlessly flows into the next, as Uchis lulls the listener into a silky dream-state.

Uchis’ angelic vocals and hypnotic melodies work to enchant, while the lyricism underneath communicates a plethora of emotion from longing and infatuation to grief and reconciliation.

The album’s retro-pop production is streamlined and maintains a clear focus. Though Uchis’ lyrics vary in theme as the album progresses, the instrumentation and sonic consistency of Sincerely ensure that her key message is communicated: conflicting truths can coexist, and despite the world, there is always joy.

Archie Douglas-Hamilton, Writer: Conan Gray – Wishbone

Combining the ’90s jangle pop of The Cranberries and The Sundays with his signature brand of melancholic indie pop, Conan Gray’s fourth album is his most mature release yet, charting the various turbulent emotions experienced after a break-up. Swinging from blinding love to heartbreak to anger and finally acceptance, Wishbone marries deeply vulnerable lyricism with a sonically polished production style that nicely complements each song’s content. Lush strings swell in lead single ‘This Song’ as Gray sings of his love, whilst songs like ‘Nauseous’ and ‘Connell’ feature stripped back acoustic guitar melodies to construct the more tragic moments of the album. Featuring undoubtedly his best song, ‘Vodka Cranberry’, and a high replay factor, this is an important step in Gray’s evolution as a pop artist and a sign that he only seems to be getting better.

Pyper Levingstone, Writer: Sabrina Carpenter – Man’s Best Friend 

“Some good old-fashioned fun sure numbs the pain!” is said by Sabrina Carpenter in the ninth track, Go Go Juice, of her latest album, Man’s Best Friend, which I think perfectly captures her album. Following on from Short ‘n’ Sweet, Carpenter explores the journey of being a young woman, navigating the hardships of life, and attempting to remain in control of the situation… whilst having some fun! From the slightly subtler innuendos in House Tour to the more explicit references in Tears, she has yet again delivered an entertaining and enjoyable album that not only lets you dance but allows you freedom and comfort in experiencing your youth for all it has to offer. Having seen her performance of Manchild live at Hyde Park’s BST in July, combined with the crowd’s reaction, I certainly knew this was going to be a lively and witty performance, which Carpenter has delivered with full force! 

Connor Murphy, Writer: Clipse – Let God Sort Them Out

Let God Sort Them Out presents the story of Pusha T and his brother Malice. The first track features an absolutely scathing chorus from John Legend, accompanied by Clipse’s most personal moments discussing the death of their mum and dad. This album, for me, is about the suffering of innocent people. Perfectly set out in John Legend’s chorus: “the birds don’t sing, they screech in pain”. Features from Tyler, the Creator, Kendrick Lamar and Nas are perfect. Pharrell’s punchy production is outlandish, and the whole album is sonically linked through the ad-lib: ‘this is culturally inappropriate’. There’s depth in every song from reflective tracks like ‘the birds don’t sing’ and ‘By the Grace of God’ to braggadocious tracks like ‘P.O.V.’ and ‘Ace Trumpets’; all tracks are executed perfectly. ‘Let God Sort Them Out’ is the album of the year because of its punchy production and lyrical and emotional depth.

Gemma Rice, Deputy Film Editor: FKA Twigs – Eusexua

Defined by FKA Twigs as a practice, state of being, and moment of transcendence, Eusexua invented a new term for its seductive title, finding intimacy, and emotional intricacies in big-room dance and rave culture. Continuing her exploration of feminine sensuality and sensitivity, Twigs draws out themes that unite her and other art pop pioneers’ albums, thinking about the powers bodies hold with aptly intricate production. Percussive elements are pulsing, with songs that feel like an energetic mix between warm bodies on a dance floor and icy, metallic electricity. Twigs’ voice spans whispered vulnerabilities to operatic soaring, bringing retrospection to visceral club-pop. Elevating bliss and freedom, Eusexua throbs with the potential of collective dance and musical experience – where lonely, deep pains can be moved out of the body and into the night.

Rachel Gore, Sport Sub-Editor / Podcast Host: Cat Burns – How to Be Human

How to Be Human is an emotionally raw album that speaks on grief, self-reflection, and healing. It centres on two types of loss: that experienced when a loved one dies, and that felt after heartbreak. Released as the public was watching her grace television screens on The Celebrity Traitors, Cat Burns’ new album blends vulnerable lyrics with soft pop. Having written all sixteen tracks herself, Burns has included messages of hope and joy among the sad songs, which include voice notes of her crying and unfiltered thoughts. This album is one for anyone going through a tough time and for anyone wanting to celebrate who they are, unapologetically. 

Ella Smith, Writer: Inhaler – Open Wide

Inhaler, an Irish rock band, released their third album in February this year, titled Open Wide, with thirteen tracks and a sound entirely unlike anything they have delivered before. The infusion of guitar-driven pop with gospel rock gives the album a sonic uniqueness, influenced by their producer, Kid Harpoon, whose previous works include Harry’s House. The vulnerability of Open Wide makes it a heartwarming expression of being human, of chasing something which is bad for you in the lead single ‘Your House’, of being concerned about settling down in ‘Again’, and of desiring stability and comfort in ‘Concrete’. Each song works in unison to highlight the imperfect nature of being human, the struggles and mistakes, the good and bad decisions, making the whole album a beautiful reflection on what it is to be human, to try, to fail, to make mistakes and ultimately to “go at this again”.

Phoebe Booth, Writer: HAIM – I quit 

HAIM’s I quit is a kaleidoscope of rock, capturing the trio’s musical talent and hard-won perspective at its sharpest. Leaning into classic rock instrumentation delivered with precision and flair, the sisters have crafted an eclectic set of tracks that traverse rock, blues, folk, and pop in an impressive and unconventional breakup record, which recently earned them a nod for Best Rock Album. Bold, unapologetic relationship anthems like ‘Down to be wrong’ and ‘Blood on the street’ are a powerful contrast to more candid, soulful moments like ‘Cry’ and ‘The farm’, making each re-listen as textured and compelling as the last.

Samah Tabba, Lifestyle Sub-Editor: Lorde – Virgin

With Virgin, Lorde’s fourth full-length studio album since her mainstream breakout over a decade ago and first album since her 2021 release Solar Power, Lorde circles back to the sounds of her hit album Melodrama. The programmed drums, the synthesisers, the nods to EDM and 2000s dance pop — Lorde leans into synthetic textures more boldly than ever before. This album is a visceral exploration of adulthood, heartbreak, body autonomy, and rebirth; the opener, ‘Hammer’, sets the tone: sparse beats, shifting identities, and a willingness to sit with uncertainty. Throughout Virgin, Lorde’s vulnerability is not romanticised — it’s raw, sometimes grotesque, always honest. Tracks like ‘Clearblue’ and ‘Shapeshifter’ dig into bodily anxiety and self-erasure, while ‘Favourite Daughter’ and ‘GRWM’ reframe familial and womanhood narratives with candour. It is a very vocal-centric and lyrics-centric album. Virgin isn’t here to please — it’s a slow-burning document of reclaiming narrative and body, even if it means breaking open first. While it has no clear anthems and standouts, it is easily my favourite album of 2025.

Tom Ryan, News Editor / Podcast Host: Olivia Dean – The Art of Loving

There’s something so natural about Olivia Dean’s music. Authentic and unique, yet somehow so familiar and polished at the same time. The Art of Loving is the perfect summation of this sound, coming at the end of what has been a year of deserved success for the London-born singer-songwriter. 

Right from the eponymous opening track through to the short yet assured closer ‘I’ve Seen It’, Dean takes us on a musical journey which fuses jazz inspirations and 21st century pop with softer soul influences and balladry quite rightly compared to the likes of Amy Winehouse and post-Destiny’s Child Beyoncé.

More than that, though, Dean takes us on a journey of self-discovery, personal growth, and love. Love in its rawest form: messy, confusing, yet warming and comforting too. “The more you look, the more you find”, Dean sings – and that’s certainly true of this album. The more you look at The Art of Loving, the more you will find something that resonates with you – especially as we navigate the confusing maze of life: university, friendships, relationships, next steps. 

Sid Savill, Writer: Maruja – Pain to Power

Maruja’s long-awaited debut album has finally come after decades of singles and EPs that have sated the appetite of fans of the Windmill Scene. Pain to Power didn’t disappoint and left plenty to be excited about as the band develops. Their post-punk, jazz blend has the instrumental palette of Teenage Jesus and the Jerks and the surgical lyrical precision of Kendrick Lamar. However, it’s evident their biggest influences are Pharaoh Sanders and Alice Coltrane, as the late spiritual jazz greats’ work would often call to unity and love above ego, ethnic, and class divides in politically tumultuous times, through their improvisation and lyrical content. It’s a similar dynamic to the one we find ourselves in today. Even so, don’t let their hippy influences fool you into thinking Maruja can’t provide the sonic equivalent of a thwack into the comfort of your safe armchair in which you reside.

Ania Vercueil, Writer: LANY – Soft

LANY’s Soft is a breath of fresh air in our harsh and fast-paced world, embracing vulnerability, feeling, and rawness. The album explores the inward journey in pursuit of happiness, encouraging a gentleness in love towards ourselves and others. Between the lush piano chords in ‘Sound Of Rain’ and decadent bass melody in ‘Last Forever’, LANY take us along their journey of self-exploration, celebrating connection and diving deep into their fears of losing it. With LANY being an acronym for Los Angeles New York, representing the span from the West to the East Coast, their album successfully creates a sense of togetherness that their name suggests, capturing the universal experience of self-discovery and reflection in Soft. Their sixth studio album invites listeners to sit down with them, slow down, and share that experience.

Martin Day, Editor-in-Chief: BBNO$ – BBNO$

“2025 is the year of the It Boy.” With that thesis statement, Canadian rapper Alexander Gumuchian plants his flag as the new self-described “King of the Internet”, with the titular album BBNO$. His name may be unfamiliar (pronounced ‘Baby No Money’, and not, he stresses, ‘Baby Nose’), but anyone on TikTok or Instagram for the last year will immediately recognise half the songs adorning the track list. Viral triumphs like ‘it boy’ and ‘check’ are flanked by new pieces buzzing with the controlled chaos that shot the artist to digital dominance. At no point do you become lost in the noise – songs range from expansive synth-propelled anthems to bouncing, remorselessly crude dance tracks, that showcase an artist confident in his mastery of music fine-tuned to the online age. BBNO$ thrums with the momentum propelling Gumuchian out of the label of ‘joke artist’, to the dizzying heights of genuine industry success.

Kelvin Allan, Writer: Ninajirachi – I Love My Computer

I Love My Computer is the debut album by the electronic DJ and producer Ninajirachi. Winning the 2025 Australian Music Prize, I Love My Computer blends digital nostalgia, electronic experimentation and EDM to create an album made for Gen-Z. After gaining traction for her EP Girl EDM, I Love My Computer is a fully realised ode to Y2K digicore and electroclash. Being released during the resurgence of dance pop and EDM, this album is not one to miss. With smart nods to the origins of computer-made music on ‘CSIRAC’ and anecdotes to her own childhood of ‘London Song’, Ninajirachi makes it too easy to escape into her world. The eye-catching album cover, as well as her award-winning music videos, this album offers a fully realised world unlike any other. Where art and creativity are being threatened by rapidly advancing technologies, I Love My Computer offers a stunning, unique, and completely left-field take on our constantly evolving world. 

Nidanyaa Thangavel, Writer: Blondshell – If You Asked For A Picture

Blondshell’s sophomore album, If You Asked For A Picture, feels like navigating your 20s – being confused and nostalgic for an era that seems to be elusive. Sonically, IYAFAP opens with a sound that is both refreshing and nostalgic, like a ‘90s indie and alt-rock singer coming out of their shell. She revisits the themes of her debut album, but this time she goes deeper with looser but more mature lyrics. The lyrics may originate in turmoil, but the production shines a path out of the darkness. Sometimes the music deliberately overpowers the vocals, like in ‘Thumbtacks’, mirroring the feeling of being caught up. From ‘Thumbtacks’ to ‘Model Rockets’, Teitelbaum moves from uncertainty towards a tentative clarity. Released as a single, ‘T&A’ captures the core emotion of the album: chaos clearing a path to catharsis through music. In IYAFAP, Sabrina Teitelbaum refines the voice she found in Blondshell.