What a year it’s been for music! We’ve had everything, from an Oasis takeover at Wembley to The Royston Club achieving their first Top 10 Album! Here are some of our contributors’ top releases of the year. What’s been your favourite album released this year?
Kieran Tibbert | People Watching by Sam Fender
“It was one of the defining records of 2025, but Sam Fender smashed it with his third studio record in February. Blending his trademark storytelling with an evolution in both emotion and musical ambition, the guitar hero offers some of his best heartland rock to date. The album was rightly praised for its anthemic opening title track, before progressing into deeply affecting tracks, including the standout Remember My Name, where Fender’s narrative reaches its most vulnerable and powerful point; a number his late grandfather would be proud of. The records’ cohesion and instrumental daring mark a major step forward while keeping the relatable lyricism that first drew me to his music. It’s this balance of reflective songwriting, innovative soundscapes, and genuine emotional weight that made People Watching, both the album and the song, my most listened to of the year. After headlining the London Stadium and selling out Newcastle’s St James’ Park three times, I’m buzzing to see what 2026 has in store for the Geordie rockstar.
Some other indie rock albums I’ve also loved from this year include Oh! The Ocean by The Wombats, Songs for the Spine by The Royston Club, and Pretty on the Internet by The K’s.”
Ollie Levy | EURO-COUNTRY by CMAT
Sitting ever so comfortably between pop star and country singer, Ciara Mary Alice Thompson, aka CMAT, the self-proclaimed Dunboyne Diana, firmly arrived on the scene this year with her third album EURO-COUNTRY. As well as unashamedly acknowledging the genre-splitting sound, the album title concerns the struggles of identity in a modern-day Ireland, traversing the highs of proud heritage (whilst singing in native Irish) and extreme lows of economic collapse and destitution. The title track is both a tragic lament and a euphoric love letter to her land, and as is the way with country music, extremely catchy and memorable. As well as political, there are plenty of personal takes on this record, covering everything from an irrational hatred for Jamie Oliver (The Jamie Oliver Petrol Station), experiences of online body shaming (Take A Sexy Picture of Me), the unnecessary relationship expectations put on women (Running/Planning – my favourite ear worm of the year) and some of the most profound breakup lyrics ever penned with a devastating vocal range and country song arrangement (Lord, Let That Tesla Crash). There’s bitterness, there’s humour, there’s sadness, there’s existential dream-like narratives and profundity, and much like Self-Esteem, CMAT shoves unheard, unspoken subject matters into the mainstream pop stratosphere, and Dublin’s Dolly Parton is now becoming the icon she was born to be.
Lucy Fudge | 21st Century Fiction by The Amazons
If your New Year’s resolution is to start hitting the gym, then 21st Century Fiction is the album for you. The fourth studio album from Reading-based band The Amazons is packed with music that will get your blood pumping, with tracks like “Night After Night” and “Pitch Black” uniting all of the best parts of their previous work into one glorious rock and roll record. Layering supercharged guitars and heavy drumlines atop Thomson’s grittiness and McRobb’s hypnotically ethereal vocals, 21st Century Fiction is a soundscape worthy of the best training montage you can imagine, solidifying itself as one of the best rock albums to come out of 2025.
Jesse Lawrence | The Sky, The Earth, and All Between by Architects
In a world of Spotify playlists, you can understand bands pushing out killer and a lot of filler. With The Sky, The Earth, and All Between, Architects have moved away from a constant state of high impact and have embraced their more melodic side. You would be forgiven for thinking this means a less impactful album; however, this contrast only increases the power of their surgical metal style. The album takes you on a cinematic journey, a rollercoaster ride with the precision that you would expect from a band that makes such meticulous metal. This has not only meant that their 2025 release is an album I have listened to from start to finish more than any other, but I am excited to see that there are many strings to the Architects’ bow and look forward to the future.
Jake Curran | Who is the Sky? by David Byrne
Seven years since the release of American Utopia, David Byrne’s 2025 return with Who is the Sky? was the surprise we all needed. The former Talking Heads frontman showed he has no time for a reunion tour, as he is too busy moving forward to look back. The album’s opening track Everybody Laughs sets the mood of the album perfectly – the collaboration with the Ghost Train Orchestra creates the perfect energy. In typical David Byrne fashion, Who is the Sky? spans a variety of styles. Cue the bongo drums and strong bass beats of What Is The Reason For It? and then follow that with the slower, relaxed pace of She Explains Things to Me. Alongside guest appearances from St Vincent and Paramore’s Hayley Williams (who increased Byrne’s popularity with a cover during Taylor Swift’s Eras Tour), the album is so very Byrne-esque, yet he always brings something different to each project. David Byrne may have taken his time to release Who is the Sky? But listening to something like I Met The Buddha at a Downtown Party, he certainly has still got it.
Amy Butters | That’s Showbiz Baby! by JADE
Some albums feel timeless from the very first listen – That’s Showbiz Baby! is exactly that. JADE’s debut solo album is a rare non-skip body of work – one that feels equally at home soundtracking a late-night heartbreak cry, a confidence boost before heading out or a quiet moment of reflection. Whatever mood you’re in, whatever stage of life you’re navigating, there’s something here that lands – and it does so in the most irresistibly catchy way. Stepping confidently into her post-Little Mix era, JADE doesn’t play it safe. Instead, she delivers an album that is self-aware, emotionally sharp and beautifully written, proving she’s far more than a pop star finding her footing. She’s a fully formed female singer-songwriter making her mark on her own terms. The album’s release, paired with a UK tour, only amplified that sense of momentum, grounding the record in real connection with an ever-growing fanbase.
That’s Showbiz Baby! balances vulnerability with polish, drama with restraint. JADE understands the power of contrast: shifting tempo, tone and intensity within a single track to heighten its emotional impact. Natural At Disaster is a perfect example, moving between softness and bite with confidence. Crucially, though, JADE’s voice – both literal and artistic – remains unmistakably her own. The production never overwhelms the storytelling – it elevates it, allowing her lyrics and delivery to sit firmly front and centre. As if the original album wasn’t generous enough, the release of an Encore version with 8 additional tracks felt like a victory lap rather than an afterthought – further proof of the depth of this project and JADE’s ability to deliver substance, not just volume.
That’s Showbiz Baby! isn’t just a strong debut; it’s a statement. Confident, versatile and emotionally resonant, it’s a celebration of female artistry, autonomy and evolution – and one of the most brilliant pop records of the year, or dare I say.. decade.
Kieran Tibbert | The Art of Loving by Olivia Dean
Olivia Dean has had quite the year, from a standout collaboration with Sam Fender on Rein Me In to supporting Sabrina Carpenter at BST Hyde Park. But the release of her second studio album, The Art of Loving, topped it all off. It’s a record that feels deeply personal and outwardly welcoming, blending warmth, vulnerability and refined musicality into something truly special. Throughout the album, Dean’s soulful voice and thoughtful lyricism carry listeners from the lighthearted curiosity of Nice to Each Other and So Easy (To Fall in Love) to the emotional complexity ofLoud and the tender introspection of I’ve Seen It, illustrating her ability to navigate love’s many dimensions. The record’s rich, retro-inflected arrangements and dynamic shifts, from brassy vintage flourishes to soft acoustic moments, give it a timeless yet contemporary feel, showing a clear evolution from her debut while retaining her signature charm. Whether celebrating connection, exploring self-love, or reflecting on the ache of miscommunication, Dean’s album resonates deeply with listeners, marking a standout moment in her career. With four sold-out shows at the O2 to look forward to in 2026, Olivia Dean is an artist sure to continue growing.
Some other albums from female artists I’ve enjoyed this year include So Close to What by Tate McRae, Man’s Best Friend by Sabrina Carpenter, and Virgin by Lorde.”
Hannah Kenyon | Even In Arcadia by Sleep Token
I’ve been a fan of Sleep Token since Sundowning, and honestly, Even In Arcadia feels like everything they’ve been slowly building towards. It’s not the loudest or most immediate record they’ve made, but it might be the one that’s stuck with me the most. At this point, it’s comfortably my album of the year. What I keep coming back to is how patient and confident it feels. The album takes its time, letting soft piano lines, ambient textures, and space do a lot of the work. When the heavier moments arrive, they hit harder because of that restraint. Vessel sounds as emotionally open as ever, shifting effortlessly between vulnerability and intensity in a way that still feels completely genuine. The singles Emergence and Caramel were great entry points. The slow, tension-building start pulls you in gently before the songs open up, balancing atmosphere and weight in a way the band have perfected over time. But the album tracks are where this record really shines. Look To Windward feels like a statement of intent right from the start, drifting between genres while still sounding unmistakably Sleep Token. By the time you reach Gethsemane and the closing track, Infinite Baths, the album has fully wrapped itself around you.
From Sundowning to now, it’s been incredible watching this band grow without losing its identity. Even In Arcadia doesn’t demand just attention, but it earns it, and for me, that’s exactly why it’s my album of the year.
Russ Fujak | Futique by Biffy Clyro
Remarkably, Futique is Biffy Clyro’s tenth album, and it finds them doing what they’ve always done best: pairing huge, jagged riffs with melodies that hit straight in the chest. It’s immediate and physical, packed with the kind of sharp shifts and emotional surges that have long set them apart from their peers. There’s confidence all over this record. Not in a smug, legacy-band way, but in the sound of a group who know exactly who they are. Futique doesn’t reinvent Biffy Clyro; it reinforces why they still matter: big songs, big feelings, and a band still capable of sounding vital when it counts.
Jake Curran | A Complicated Woman by Self Esteem
When Rebecca Lucy Taylor announced the release of her third studio album under her Self Esteem alter ego, no one could have anticipated the plateful of emotions it would offer. A Complicated Woman spanned genres and connected with listeners in a different way for every song. From the anthemic and inspiring Focus is Power to the darker, bass-filled undertones of 69, the record is unlike any of Self Esteem’s previous albums. Curse showcases Lucy Taylor’s ballad-writing skills, backed by a choir and string section, and it’s a highlight from the 45-minute release. Collaborations come in the form of songs with Nadine Shah and Moonchild Sanelly, who pair perfectly with the I Do This All the Time singer. By the time Deep Blue Okay comes about at the end of the album, you feel you have completed a journey. From light to dark, the LCD Soundsystem-reminiscent piano repetition builds to a mighty ending, once again offering a 21st-century anthem to belt out. I can’t wait to see what comes next from Self Esteem.
Lorna Leahy | Sanguivore II: Mistress of Death by Creeper
Creeper’s Savignor: Mistress of Death is an album that stands out this year as it captures a band fully in control of its identity. It’s theatrical and full of flair, while continuing to explore its vampiric and suggestive themes. The album’s early singles helped establish this direction. ‘Headstones’ and ‘Blood Magick’ were released ahead of the full record and offered a clear snapshot of what Creeper were building. Heard in the context of the full album, they strengthen the sense that Savignor: Mistress of Death was always meant to be experienced as a complete work. This wider narrative was expanded shortly before the album’s release with the short film ‘Death Swallowed By Death’. The film depicts lead singer Will Gould having a stake driven into his eye, a moment that has since become part of the album’s ongoing storyline. Gould now appears on stage with a gory cut eye that looks as though it is missing entirely, visually linking the band’s live performances to the world established in the videos.
The album moves smoothly from start to finish, shifting between dramatic and dark moments while always showcasing the band’s skilled musicianship. The title track, ‘Mistress of Death’, is a standout – cheeky and suggestive – with lyrics like “say my name like a curse you crave” showing off the band’s mix of fun with those dark magic undertones. Other tracks continue this balance, with memorable hooks, vivid imagery and polished arrangements throughout. In a year where so many albums go for instant hits, Savignor: Mistress of Death feels like it’s been made to last. Confident, cohesive and bursting with personality, it’s clear why Creeper are one of the most talked-about bands heading into 2026.
Dylan Walford | Son of Spergy by Daniel Caesar
I did not expect to be this shook by Daniel Caesar’s newest album Son of Spergy, but it’s comfortably my album of the year. Following singles like Have a Baby (With Me) and Call on Me, the project delivers some of his richest, most textured work yet, bringing vulnerability and subtlety together in a way that grows my love for this record with every listen, 2 months after its release back in late October. I am still discovering new, tiny details that I am constantly listening out for (this explains why it made it onto my Spotify Wrapped, despite coming out so late). From the gut-wrenching, intimate piano and vocal interplay of Have a Baby (With Me) to the soul-drenched layers and emotional complexity of Call on Me, Caesar blends R&B, neo-soul, and gospel influences with ease. Tracks like Who Knows show his ability to balance introspection with groove, while discussing a topic that makes you stare at a wall and wonder where it all went wrong, making the album feel both ethereal and grounded. Son of Spergy surprised me with its depth and cohesion, standing out as a project I’ll be returning to long after this year ends and may potentially take my top spot ahead of the previous release from Caesar in Never Enough. Happy New Year, everyone!
Kieran Tibbert | The Clearing by Wolf Alice
The Clearing captures Wolf Alice at a moment of fearless reinvention and emotional clarity, blending the band’s indie rock roots with expansive, cinematic ambition. From the commanding opener Thorns, to the tender ending The Sofa, the record showcases Ellie Rowsell’s magnetic vocals and the group’s willingness to push into new sonic territory with rich strings, jaunty piano lines and dreamlike textures that breathe fresh life into their music. Tracks like Bloom Baby Bloom and Bread Butter Tea Sugar combine playful experimentation with classic rock influences, while songs like White Horses reveal a mature lyrical depth that explores identity, connection, and self-reflection. The result? A confident, cohesive album that was a worthy nominee for the 2025 Mercury Prize Award. The band have wrapped up their UK Arena tour and are already on the bill for many festival headline slots next year; It looks like there’ll be no stopping them in 2026!
Some other albums of a similar genre I’ve loved from this year include EURO-COUNTRY by CMAT, Deadbeat by Tame Impala, and hickey by Royel Otis.”
We can’t wait to see what 2026 has in store. Happy New Year from all of us at Erazer Mag!
