Stream this list on Apple Music and Spotify.

See The FADER's 50 best albums of 2025.

As the opening track to their debut album, “Real Life” feels like ear’s way of saying “hello world.” It begins gently, shy vocals ease over a lilting, sing-song synth: “If I let you in, will we start again?” But the soft beginning belies the anxiety bubbling underneath the surface, evinced in stuttering electronic chords that never quite explode to full-out dissonance. —Hajin Yoo

Over a dancehall beat, in breathy pleas, Tate McRae decries the cycle of returning to the same toxic relationship over and over again. “Revolving Door” captures that exhaustion with each hook feeling like another lap around the mistake, the beat jolting forward while she admits, again, that she just can’t leave. —HY

Loe Shimmy rambles deliriously for 90 seconds on “Two Faced,” careening from bulletproof Bentleys to mafia vignettes to beautiful women working on their tan at Nikki Beach. His cadence is legit mumble rap that belies his tangled lyricism within. Then, the song transforms from moody slow jam into something brawnier. “The shit I just overcame, they ain’t have no choice but make me big homie,” raps YTB Fatt in a self-fulfilling prophecy. Less than six months later, Justin Bieber popped up on his IG Story, engineering a 4 a.m. recording session. —VM

The hook of this song is something Soulja Boy could crank to, Gucci Mane could go “BRRRR” on, and where Quavo’s hardest ad-libs live. It is a big white tee, Bape-coded Atlanta anthem where the mandate is to throw that wham in a circle “even if it’s lil.” —Kylah Williams

For anyone wondering where all the great rap duos went, Ovrkast. and MAVI have entered the chat. The two indie rap stalwarts have torn up before, but not like on “MAVKAST!,” on which Kast is relishing conversations about success with family and MAVI is accepting he’ll never receive full credit for being a North Carolina trailblazer. Seeing them dap each other up in the video, their voices clashing and complimenting each other, only makes the kinship sweeter. —Dylan Green

Zara Larsson, a gifted vocalist with over a decade under her belt, proves it’s never too late to experiment with a new sonic direction with “Midnight Sun.” Packed with breathy verses and a 10-second vocal charge at the chorus, this Lisa Frank-induced summertime jam has finally catapulted the Swedish singer into much-deserved virality. The only flaw is that it didn't come out sooner. —India Roby

You can partly measure the greatness of a song by the strength of its covers, and “YUKON” produced countless. The original track is slinky, sly and easy on the ears. And then there’s that voice: Over 15 years after his teenybop debut, Bieber’s agile falsetto is still manna from pop heaven. —Tobias Hess

Jennie, one-fourth of the K-pop mega quartet Blackpink, is one of Korea’s most successful artists — and in “like JENNIE," she doesn’t shy from acknowledging the impact and influence she knows she harbors. The self-referential, hybrid hip-hop track is one of many confidence boosters injected into her epopoynous album, and delivers her strongest and sharpest flows yet. Who else is doing it like Jennie? —IR

It’s rare to find a record that doesn’t just speak toward the electric feeling of budding romance but successfully alchemizes that sensation into the melody. Newcomer Josey’s bawdy track captures the early frissons of attraction, enlisting hitmaker Tricky Stewart to produce a song that effortlessly imbues the playful bounce of U.K. Garage with the soulful melodies of '90s R&B. —Shamira Ibrahim

This synthy pseudo flip on “The Tide Is High” is so inebriated on its own sauce that it manages to work. Absolutely stuffed with clever twists and turns, it goes way past the point of verging on too much to become a kooky bouquet. Like the rest of Man’s Best Friend, it sparkles and twirls and winks and blows a red-lipped kiss over the shoulder. —Leah Mandel

A master of self-sabotage, Freddie Gibbs is at his best when he uses rap to extemporaneously meditate on his penchant for vices and conflict. “It’s Your Anniversary” is no exception: a two minute and 20 second rollercoaster of failed romances, professional fallouts, and personal frustrations that also crows over the demise of his enemies. —SI

FKA twigs launched her latest era with a glitch-laden album track where each looped percussive element channeled the dull corporate monotony the British performer seeked to free herself from. What remained was a pulsating, industrial melody that demands we liberate ourselves from the confines of social expectations and dare to pursue a few thrills through a dizzying wave of distorted sonics and airy harmonies. —SW

From Scouse rap to British jerk, the U.K. underground made serious waves stateside this year. 19-year-old producer/rapper Feng stood out among his cohort for his neon, indie-pop-meets-hip-hop sound and incandescent lyrics, part diary, part pep talk. Feng’s advice on “YOLO” isn’t quite groundbreaking, but it’s earnest, affective and true: “Don’t be afraid of what comes next / Just do your best.” —VM

The British singer-songwriter forgoes dense metaphors for simple expressions of heartache and longing (“I can love you like you want me to/I can't be on my own”). Heartbreak here sounds both resigned and hopeful. Like the turning of the page, it’s resolute, yet future facing. —TH

Since 2021, Alemeda’s reliance on pop-punk nostalgia has yet to fail her. This alt-rock track featuring Doechii is a loyalty test gone wrong, paired with the cross-the-heart pettiness typical of a love quarrel. They pen a metaphoric ultimatum (“Die for me or die with that other bitch”) — and they’re not afraid to strike the side chick in the process. —IR

The magic of Bad Bunny's lyrics about lamenting missed opportunities on "DtMF" is the multiple interpretations. While he's explicitly singing about wishing to have taken more pictures with an ex, the meaning of the song has expanded to encompass missing all loved ones, especially those that have passed on. —Lucas Villa

Rema’s 2025 was a wild ride as he released single after single, banger after banger. Picking a favorite felt torturous, but I landed on the most addicting: an Afrobeats ode to a blazing woman he swears is his favorite. —KW

For the better part of the past two decades, Carli Löf has been a pillar of the Stockholm dance community as DJ, breakdancer, and member of the Studio Barnhus supergroup Off The Meds. On his long-awaited debut, Sea of Love, all of these paths converge to create an instant soft-rave classic. It peaks with “The Runner,” an endorphin rush whirling around an existential plea. —Salvatore Maicki

kwn knows how to lay desire out on the table. “Paint your nails the way I like ‘em / I might paint mine, too / ‘cause I know a place I could hide ‘em,” she says over a booming self-produced beat, sounding effortlessly suave. “Do what i say," is a song so steamy, you might need to open a window after you play it. Bedframes will shake and lights will stay on so everything can be captured in the mirror. —DG

Atlanta’s Zukenee had the kind of year that makes you feel good for betting on him early. One of the earliest songs he can thank for that is “BROMANCE,” a bouncy synth ode to getting money and treating it like a brother. Combined with knocking production from Desmos, Soprano, and Cade, what more could a rising star want? —DG

“Fuck Me Eyes” is a remarkable return to pop clarity from an artist who has been running from it in recent years. A gothic, liquor soaked story of a young woman whose reckless strength is a fragile mask for fear, it feels like peace when soundtracked by those synths, and that voice. —TH

Gabriel Jacoby has a rare kind of voice — the kind that, like Pop Smoke's or GIVEON's, only he can manage. “Baby” is a slow-gem from his debut EP gutta child, and I’ve played it in every setting, each time feeling Jacoby enunciate every promise like it might be his last. —KW

There’s a serious lack of modern love songs about tussling in the backseat of a car, but this year, ZayAllCaps has you covered. “MTV’s Pimp My Ride” blurs the line between meet-cute, seduction, and homage to the titular 2000s reality TV staple. “I just wanna spend some time,” the California-based rapper-producer croons before admitting that he's willing to double-text and trick your car out with an Xbox. Love in its purest form. —DG

An almost too sweet-sounding song about indie rock’s famous breakup, "Elderberry Wine" is jam-packed with metaphors, imagery, and turns of phrase that it’s practically a novel in miniature. Harzman gives away the trick up front: "Sweet song is a long con," she sings at the open. When we get to its central, rotten pink eggs and teeth-sucking bubbly metaphor, we understand what’s sour beneath. —LM

N.Y.C.-based songwriter underscores was hyperpop’s MVP this year, popping up on tracks by Oklou, Danny Brown, umru, Yaeji, and more. But I was most entranced by her solo moments, like “music,” on which she compares the magnetism of a new crush to the bliss of hearing music. Coming from a song-maker as prolific as herself, it's one of the romantic expressions of love this year. —Steffanee Wang

In an attention economy where novelty is supreme, no one has captured the zeitgeist quite like Tyla, whose titillating Johannesburg lilt is as electric as the reactions to any of her numerous controversial interviews. She could've addressed the critiques in yet another interview, but the South African artist took her frustrations to the booth. "Really I should be worse," she taunts over an unrelenting log drum, reminding listeners that her alleged diva attitude comes with the hits to back it up. —SI

"Long Beach four-piece Self Improvement are making some of the most satisfying post-punk stuff in recent memory. Sleek and old school without being fashion-y or corny, “Dissolved” is the glinting knife off their album Syndrome. Jett Witchalls’ vocals are lush yet forceful, the textures pokey and amusing. "The news is a nightmare / This can't be real," he sings, both droll and threatening. —LM

There weren’t enough disses in 2025 but Cardi B’s outrageous Bia diss, “Pretty & Petty,” was flagrant enough to make up for the dearth. Some of the Bronx-born wordsmith’s finest work is on display here (and my sincere apologies to Bia for putting these to print again): “Name five Bia songs, gun pointin’ to your head / Baow, I’m dead,” “Look, meatball, you Italian,” “diarrhea Bia.” I’ve genuinely wished multiple times I could hear this song again for the first time, just to feel that escalating thrill of thinking she wouldn’t take it any further, before she does. —SW

When Rio Da Yung OG was incarcerated in federal prison, his MP3 player was full of unreleased Rylo Rodriguez. So “Bring Bac Act” is a bit of a dream come true, marrying Rylo’s syrup-slow cadences with Rio’s nitro-charged punchlines. The trick is in the track’s ingenious beat switch, which speeds up right at the halfway mark. Rio and Rylo are generational shit talkers, but there’s a rawness lingering beneath every bar: grief, trauma, and the omnipresent spectre of the police state. —VM

Who else but MIKE could make a contemplative boogie? “man in the mirror,” a highlight from this year’s Showbiz!, coasts on gorgeous sampled keyboards and drums as he apologizes for fighting and tries to keep his mental health in check. Whether he’s being grateful or boastful, the slope of the self-produced beat speaks to the patience shown on one of the song’s standout lines: “I ain’t rushing for a thing, I’m a third gearer.” —DG

Heartbreak aficionado Ella Langley’s “Choosin’ Texas” sounds exactly like after hours at my favorite bar, nursing a wound or a slight. The “Amarillo By Morning” interpolation alone begs for boozy, impromptu singalongs of the kind provoked by George Strait himself. It’s a sad song, but a fun one — for revelling in heartbreak alongside folks who know what it's like, too. —LM

This song soundtracked one of my most euphoric live music moments this year: I was crammed inside a wartime cell at Philly’s Making Time festival, screaming the lyrics to james k’s gossamer banger with abandon. The air was hot, the lights too bright, and the guy next to me definitely wasn’t wearing deodorant but that didn’t stop “Play” from helping me achieve something rare: actual and glorious dematerialization. —SW

This deceptively simple, compulsively danceable track finds the Ghanaian star using her voice as punctuation: “Scream and shout/Slut me out,” she calls out, letting her echoed voice dissipate into the song’s snaking city of whistles, synth stabs and dusty 808 percussion. Seduction is inevitable. —TH

Ex-KATSEYE contestant Adéla wasn't girl group material, but her arrival onto the pop scene confirms that she primed for solo stardom. “Superscar" doubles as a thrashing club banger and a commentary on the puppetry, sexualization, and exploitation she's faced in the music industry. Her anti-conformist edge is her greatest asset, setting the bar high for what’s to come. —IR

Listening to “Deep Diving” is the closest I can get to submerging myself in a “Softsoap” bottle. The track glides over glittery synths and a soft breakbeat, provoking an image of water so bouncy and dewy it could give Studio Ghibli’s iconic animated tears a run for its money. —HY

Helsinki’s Sandra Tervonen and Jusso Malin brings their grooviest, murkiest pop fable yet: one of a recluse who’s descended into the underbelly of Los Angeles because she “needs to be weird for the next few years.” Then, Cub Sport’s Tim Nelson delivers an operatic coda that transforms “Mermaid”’s manhole into something of edenic proportions. —SM

When KATSEYE dropped “Gnarly” at the end of April, its hypnotic repetition and intense vocal fry sent a shockwave through the YouTube comments. After a few days, the girl group’s hyperpop track, penned by Alice Longyu Gao, quickly became Gen Z’s ironic, campy anthem. It’s their weirdest song yet, but KATSEYE knows no bounds. —IR

If I had a mini skirt every time I played this song this summer, I’d be Ayra Starr. The Nigerian “Sabi girl” (slang for a confident girl doing what she wants) slows things down on "Hot Body" but keeps all her confidence intact. She delivers a slow, whining hit that drips with sweat. —KW

Easykid's "Shiny" is so much more than a popular Tiktok sound; it's the calling card of the former emo-trap star who's now leading Chile's emerging reggaeton scene. Backed by perreo-ready beats with elements of electronica, he likens finding romance to shiny hunting in Pokémon: "Always changing / Always someone else like an Eevee." The future of Chilean reggaeton is bright in Easykid's clutches. —LV

When f(x) came out with “4 Walls” in ye olde 2015, the deep house single begot a new era of K-pop, laying the groundwork for dance tracks like aespa’s “Whiplash” and LE SSERAFIM’s “Crazy.” Hearts2Hearts’ “FOCUS” is the latest in that lineage, a classic four-on-the-floor track built around a vintage piano riff and an addicting house beat that rewards repeat listening. —HY

With its static pop and frantic jangle, “New Bad” is the standout from country-folk artist and noted Sagittarian Esther Rose’s Want, a psychedelia-tinged album written after quitting drinking and starting ketamine therapy. An instant Rose classic, it's an exploratory, gut-following, new-direction road song that still sounds just like Esther, like an old friend you pick right back up with even when life is so full of changes. It’s a song about desire, about wanting to be free: "From the lakes of Michigan / To my friend Louisianne / And to old New Mexico / It's my heart that I follow." <3! —LM

In a show of Mexican solidarity from both sides of the border, LATIN MAFIA joined forces with Omar Apollo for the hypnotic "Hecho Para Ti." LATIN MAFIA's Milton and Emilio de la Rosa beautifully harmonize with Apollo about being migajeros, a person that's madly in love with someone who doesn't feel the same way. In Spanish, the sad boy squad laments, "I was too much for you, but I'm made for you, my love." —LV

“Stick” is Jim Legxacy’s Black British Music at its best: inexplicably moving and seriously addictive. The U.K. emcee raps about growing up in the Ends, feeling like an outsider, over a beautiful non-sample from Joe Stanley that will burrow in your brain. The formula is so simple yet executed exquisitely. —SW

Leaving a duo that has had a decent amount of mainstream success always leaves an audience placing bets on who the standout will be once entering their solo career. JT has always been my favorite pen in City Girls, and though she admitted to mostly listening to Ariana Grande’s Sweetener while in jail in 2018, she clearly also spent time sharpening her craft.

Whether or not you think JT is that bitch, that trophy is hers not only because of her sniper-like solo debut, but because she m*therfucking said so. "Ran Out" is the soundtrack to a money heist pulled off by bad bitches, and also a daily affirmation for women from Miami to N.Y.C. It’s THE anthem for manifesting new Chanel, black trucks, and the fattest bag of cash. —KW

What other song from this year captured the current moment of content slop and utter nonsensicality better than this: Skrilla’s biblical text that birthed 2025's most annoying and inexplicably enduring meme (to the point Dictionary.com has anointed it the “word” of the year). By now, his phrase has lived so many iterations and traveled so far beyond that we wanted to honorably mention the original here, another cultural artifact derived from rap that has irreparably changed the lives and brain chemistry of teens, teachers, frat bros, and clueless Boomers everywhere; Skrilla managed to do the impossible: create one of the last instances of monoculture besides Taylor Swift. —SW

Swapping reggaeton for opera, Rosalía made her big return to the airwaves in yet another reconstruction of a well-articulated genre of music. Supported by the masterful instrumentation of the London Symphony Orchestra, the Spanish pop star belts in anguished German, wielding her airy falsetto with gusto as she unleashes the obsessive distress that dominates her inner dialogue for the world to hear. The angst-filled track manages to be equal parts frenetic and raucous, stopping just short of being overwhelming. —SI

On an album where everything is falling apart, “DIOR LEOPARD” is the moment Che actually lets go, overstimulated by external pressure and internal sentiment. After spending most of REST IN BASS cocky and assured, the 19-year-old’s darker angels are catching up, fast. “Right now, I’m on E, about, eight times a week!” he excitedly chirps. His flow is possessed, spiraling through a manic phase over fuzzed out 808s. He’s arguing with girlfriend K3 again; his mom just kicked him out the house; he oscillates between having his haters knocked off and his own plans to “go 27 club, kill myself, Cobain.”

Despite his professed love for codeine and ecstasy, “DIOR LEOPARD” is unglamorous in its raw emotion, queasily fallible, on the verge of crashing out. Near the song’s close, Che exhales, “You mad at me when you the one that fucked up.” This line, really a mantra the way Che chants it, becomes a clarifying lens for all of the mayhem before and after. Even at his most wounded, Che wants people to hear his music “and feel safe, like there’s no struggles at all,” he told The FADER this year. He’s just gotta figure out his own shit first. —VM

Since I last wrote about "Baby!," my feelings haven't changed: it’s the stuff of life. Dijon sings so instinctively and breathtakingly about the love story between him and his wife (and how their child came into this world), it’s like hearing about the birds and the bees for the first time, every time. I’m moved by how he refers to them both, each, as baby, an illustration of the literal doubling of his love. You can’t help but listen in with awe (and maybe with a little embarrassment). —SW

Some bemoaned that the year of our Lord, 2025, lacked a “song of the summer,” but “Illegal” came pretty damn close. Here were N.Y.C. It-girls and their suburbanite dads, global superstars, and TV starlets, all united in voice and clasped hands to the tune of Miss. Pantheress’ dreamy jungle-pop track. “My name is Pink, and I’m really glad to meet you,” an apt opener given her use of Underworld’s “Dark and Long;” it introducing the TikTok generation to a rave staple heard everywhere from sweat-soaked scenes in “Trainspotting” to the London Olympics Opening Ceremony. —HY

It’s ironic, though not unprecedented, that the runaway success of an anthem about rolling “deep as fuck” with your girls drove a wedge between rising Southern rappers YK NIECE and PLUTO; seeing the pair awkwardly reunite in Atlanta a couple months ago offered a window into the lives of Fleetwood Mac stans circa 1976. Despite the off-wax drama, “WHIM WHAMMIE” still seems destined for canonization alongside “F.N.F.,” “Poundtown,” and “Munch” — breakout singles that catapulted hip-hop unknowns into national fame seemingly overnight.

Over a ridiculous Zaytoven flip, PLUTO and YK Niece feed off and amplify each other, a cascade reaction between the former’s wicked pengame and the latter’s undeniable energy. Though the duo has clearly decided they’re happier apart, for two adrenalizing minutes they were invincible together. —VM

“If I had cut its wings/It would've been mine … [But] it would no longer have been a bird.” So goes “Txoria Txori,” the 1957 Basque poem that allegorizes the strained relationship between love and possession. French singer Oklou renders this bloody, soft story in vivid detail on "Blade Bird" via lyrics that are both cosmic and casual (“You're so cute/My blade is on the bird”). Guided by rich acoustic guitar and drums, this audacious closer feels like a sigh at the end of an album that is largely drumless and electronic. A gentle, but unflinching, portrait of love. —TH