The Top 50 Songs Of 2025
Here are Still Listening’s top 50 songs for 2025.
This list is always a tricky one. We could easily fill it with obvious picks and universally praised songs, but that isn’t really the point. Instead, we’ve tried to put the spotlight on smaller artists and moments you might have missed, even if that means leaving out a few undeniable heavy hitters along the way. Don’t worry ‘Berghain’ is still on the list.
What we love about this year’s tracks is how wildly different they are from each other. There’s folk that mutates into full-blown proto-punk, noise experiments that turn into emotional gut-punches, majestic pop, indie rock, boundary-pushing electronica and delicate singer-songwriters. There are so many smaller artists here that we genuinely can’t wait for you to hear, including some of our favourite new voices of the year and a few names we’re convinced will break out in 2026.
Here are our top 50 songs of the year. We hope you enjoy reading through the list and discover something you haven’t heard of!
50) Truthpaste - See You Around
‘See You Around’ is Truthpaste at their most open-hearted, a loose, hand-stitched song that turns friendship, boredom and half-formed crushes into something gently anthemic. Bright acoustic guitars circle around sax, strings and group vocals, while the song drifts forward with an unforced warmth that feels earned rather than polished. It captures that specific blur of early-twenties years, when everything feels intense and temporary at the same time, and does so without trying to tidy the feeling up. Familiar, playful and quietly affecting, it is the kind of track that sounds even better the more you live with it.
49) Clutter - Kraut
‘Kraut’ is one of Clutter’s most immediate songs, a relentless rush of indie-rock grit driven by a locked-in groove and lyrics that feel like a snapshot of teenage nights and the blur of early adulthood. What began as an attempt to write something “krauty” instead turned into a track that captures the band’s balance of urgency and looseness, with guitars that buzz and lunge while the rhythm section keeps everything just this side of falling apart. It’s mid-2000s nostalgic without trying to be, shaped by the intensity of being young, restless and stuck on a long train ride home with your thoughts racing. ‘Kraut’ distills everything that makes Clutter compelling.
48) Milkweed - The Pangs of Ulster
‘The Pangs of Ulster’ is one of Milkweed’s most striking interpretations of the Táin, a piece that carries the weight of myth while remaining firmly rooted in their fractured, experimental folk language. Voices and drones move in slow, deliberate currents, circling the text rather than illustrating it, creating a sense of ritual. It’s a visceral reworking of a story they return to often in their live sets, capturing the fair, the chariot and the scream not as fixed images but as charged symbols that can be re-embodied each time. The Pangs of Ulster shows how Milkweed honour their sources by staying open to them, letting the old material reshape itself in the moment.
47) Lost Lyra - Watching Me
Lost Lyra’s ‘Watching Me’ feels quietly huge, a song that rewards patience rather than demanding attention. Built on interlocking guitars, brushed drums and a soft-focus haze, it pulls from Midwest emo and math rock without getting stuck in reverence, letting space and restraint do most of the work. There’s a sense of closeness here, like overhearing a thought you were not meant to catch, with Amelie Prior’s vocals drifting in and out of view. Subtle, assured and emotionally precise, it is the sound of a band fully settling into themselves.
46) Dog Saints - Collar
‘Collar’ is Dog Saints at their most open and unguarded, folding slowcore weight, shoegaze haze and the plain-spoken sincerity of Midwest emo into something steady and quietly affecting. The guitars move between grit and glow, leaving space for Will’s vocal to land with that mix of memory, humour and self-awareness that runs through all their writing. It feels close and raw without losing its sense of scale, the kind of track where every part sits just slightly frayed at the edges. ‘Collar’ shows the band leaning further into the emotional directness that defines them, delivering something emotional, warm and unpretentious, shaped as much by friendship as by the sounds that influence them.
45) Cherry i - Mistake
‘Mistake’ is a raw, slow-burning indie rock track that captures Cherry i at their most vulnerable, tracing the feeling of being defeated before anything has even begun. Built around lyrics first written during a turbulent period, the song unfolds with a steady, grunge-leaning weight, letting the tension sit rather than forcing it into drama. Ali Chant’s production keeps everything close and unadorned, giving room for the vocal to carry that mix of fear, exhaustion and wry self-awareness. It is a song about trying to move through a moment when you feel stuck in place, intimate and sweeping in equal measure, with a deep emotional honesty.
44) Vona Vella - Over and Over
‘Over and Over’ marks a gentle shift for Vona Vella, trading some of their earlier brightness for something more reflective and quietly steady. The track leans into a dreamy, mid-tempo sway where harmonies fold into each other and the band’s soft, slightly skewed indie touch takes the lead. Its mood sits between caution and acceptance, shaped by lyrics about learning to see people more clearly as you move through your twenties. The production keeps everything spacious and warm, with each part locked into a calm groove that never rushes. Over and Over feels like a grounded reintroduction, showing Vona Vella growing older, sounding surer, and letting a little more shadow into their world.
43) Opal Mag - Kitchen Song
‘Kitchen Song’ captures the quiet glow of a night spent alone, turning small rituals into something warm and cinematic. Opal Mag leans into lo-fi textures and late-night stillness, her voice sitting close as if she’s letting you overhear a thought she hasn’t fully decided to share. The track drifts between hushed verses and a gentle, opened-up chorus, lifted by slide guitar and the subtle pulse of the room around her. It’s a love letter to being awake when everyone else has gone home, finding comfort in music, makeup, old shows and the late-night sounds coming through the window.
42) Total Wife - second spring
‘second spring’ sits in that strange space Total Wife do so well, where blurry droned out textures meet clear emotion and simple ideas unfold into something quietly hypnotic. The track drifts between softness and distortion, built from sampled scraps of guitar and voice. Luna and Ash keep the delivery understated, letting small melodic shifts and recursive patterns do the heavy lifting. There is a sense of waking up inside your own thoughts, half-dreaming, half-returning to earth, with the music looping back on itself just enough to feel like a reset. ‘second spring’ captures the duo’s balance of DIY grit and delicate world-building, offering a moment that feels both intimate and slightly surreal.
41) sugarglaze - pretty bow
‘pretty bow’ wraps sugarglaze’s whole world into a single song, sweet on the surface, but threaded with a quiet unease that gives every lyric extra weight. The track glimmers with light and playful production, yet the feeling underneath is more tangled, sitting somewhere between longing, self-doubt and the urge to hold yourself together with whatever ribbon you can find. It is pop coloured by chaos in small, intentional ways, full of soft sparkle and raw edges working at the same time. ‘pretty bow’ captures her gift for pairing dreamy, kawaii-tinged sound design with songwriting that turns vulnerability into something gentle, strange and disarmingly sincere.
40) Nantas - Bring Out Your Clouds
‘Bring Out Your Clouds’ is a reflective, slow-burn pop song that captures the moment of trying to hold yourself together in a city that moves too fast to notice you. Nantas writes from a place of isolation, but the track never feels heavy. Instead, it moves with a calm, steady confidence, built around soft electronics, a gentle pulse and a vocal delivery that carries both vulnerability and a large flicker of defiance. Everything feels close, considered and cinematic, shaped by the tension between loneliness and the desire to feel purposeful again. Nantas leans into that contrast without overstating it. The production stays clear and uncluttered, letting the emotion sit quietly at the centre.
39) Zo Lief - Hypnosis
‘Hypnosis’ shows Zo Lief leaning into their most romantic and sunlit instincts, building something that feels gentle, warm and quietly luminous. Laura Chen’s vocals sit warm and close, gliding over clean guitars, bright melodies and arrangements that move with the ease of a slow afternoon. It has the sweetness and shimmer of a band like Tennis, but with a slightly more wistful, cinematic edge. The production is rich without being dense. Every element feels placed with care, from the soft analog textures to the small melodic details that bloom on repeat listens. There is a calm glow to ‘Hypnosis,’ something tender and carefully shaped.
38) Flooding - your silence is my favorite song
‘Your Silence Is My Favourite Song’ is a perfect introduction to Kansas City’s Flooding, a band who take grungy, fuzzed-out guitar music and twist it into something moodier and more self-aware than the genre usually allows. The track has a crunchy Weezer-like swing to it, but the emotional temperature is entirely different, thanks to Rose Brown’s vocals, which sit closer to Karly Hartzman in their mix of bite, clarity and worn-in vulnerability. Lyrically, the song slips into the voice of a manipulative male figure, a persona Brown writes with a deliberate mix of satire and disgust.
37) ashnymph - Saltspreader
‘Saltspreader’ is a filthy little rush of a debut, the kind of track that feels like it was born under motorway floodlights at three in the morning. ashnymph take crunch, grit and industrial pulse as starting points, then twist them into something surprisingly romantic, all burnt-orange sodium glow and long-haul melancholy. The trio call their sound “subconscioussion”, which fits: the beat moves like machinery, the synths grind and flare, and Lucy’s vocals cut through with this cool, clipped focus, like someone transmitting a message through static.
36) Volk Soup - Reptilian Brain
‘Reptilian Brain’ is Volk Soup at their most instinctive, a track born in the rush before a warehouse show and powered by the band’s talent for turning half-formed ideas into fully charged eruptions. It lurches forward with a crooked swagger, all jagged guitars, loose-limbed rhythm and Harry Jones’ wry, clear-eyed delivery cutting through the noise. Lyrically it taps into the band’s fascination with the primitive urges that sit beneath everyday behaviour, a playful look at the tug between intellect and instinct that mirrors the group’s own creative approach.
35) Ugly - Next To Die
‘Next to Die’ shows Ugly sharpening their sound without losing the strange, stirring intensity that has always set them apart. It moves with a newfound directness, built on steady momentum, rich vocal interplay and a chorus that lands with real force. Written in the aftermath of a breakup, the song traces the moment you stop leaning on something that once held you up and choose to reconnect with yourself instead. Even with the band’s shift toward shorter, more focused writing, their signature blend of emotion, imagery and choral lift is fully intact. It feels like a clear step forward, a reminder that they can be concise without ever flattening the depth or character that makes them so compelling.
34) SCHØØL - N.S.M.L.Y.D
‘N.S.M.L.Y.D’ is SCHØØL at their most immediate, a burst of hooky shoegaze that captures exactly what the band set out to make when they first bonded over their teenage obsessions. The track moves fast and hits hard, all blown-out guitars, sugar-rush melodies and that tough-but-tender vocal delivery that cuts through the noise rather than sinking into it. There’s a real sense of motion too, the kind that comes from demos written alone and then supercharged when the full band finally reunite in the studio, turning a rough idea into something bright, noisy and strangely uplifting.
33) Crimewave - White Label
Built entirely from warped and weaponised guitars, ‘White Label’ is Crimewave’s clearest statement of intent, a club track sculpted from shoegaze textures instead of synths and powered by distortion and happy accidents. As the opener to Scenes, it lands with the confidence of a DJ dropping an unreleased gem you’ll spend months trying to hunt down, surging forward on serrated guitar lines shaped into a bassline pulse, with flashes of melody dissolving into haze before snapping back into place. Lyrically it mirrors the disorientation of a night out where everything is seen in fragments, circling pickpocket paranoia and the blurred anonymity of the dancefloor.
32) WOOM - Welts
‘Welts’ is one of WOOM’s most vivid and quietly stirring songs, folding together sun-drunk guitar lines, warm harmonies and lyrics shaped by longing and sensory memory. Written during a post-lockdown writing trip, the track carries the haze of heat, nettle-stung skin and that strange mix of tenderness and ache that follows you into new crushes and old habits. WOOM let the song bloom slowly, each voice drifting in and out like passing thoughts, until the whole thing feels suspended between desire and distance. It is a striking example of how the group turn small, lived moments into something gently cinematic.
31) Disgusting Sisters - TGIF
‘TGIF’ is Disgusting Sisters at their funniest and fiercest, riding a filthy, Fade-era bassline into a full tongue-in-cheek meltdown about the misery of the 9-to-5. The vocals have a sly, chaotic charm, cutting through production that flips between clubbed-out intensity and emo-soaked frustration. The werewolf metaphor ties it all together, turning burnout, bad decisions and the need to escape into something loud, messy and strangely joyful. It is a sharp step forward for a band who know how to turn personal chaos into pure release.
30) Wednesday's Child - KNEES
‘KNEES’ is Wednesday’s Child at their most darkly melodic, twisting emotional turbulence into something sharp, theatrical and strangely empowering. The track moves with a taut, art-rock pulse, building from tense, poetic confession into a full-bodied release that shows just how confidently the band are stepping into this new era. Recorded between RAK and Ten87, it carries the clarity and bite of a group honing their identity in real time. It’s a gripping lead single and a powerful reminder of why they remain one of London’s most exciting underground bands.
29) Giant Claw - Pulled Me in Dark
‘Pulled Me in Dark’ is a seven-minute ascent that shows Giant Claw at their most ambitious, stitching togethers plucked strings, reverb-soaked piano and chopped vocal samples that feel equal parts human and ghostly. The lyrics surface in fragments, as if pulled from a memory that refuses to stay whole, giving the track a quiet ache even as the arrangement keeps growing. Thudding percussion and waves of synths gradually lift the song into something expansive and emotional, a kind of digital heartbreak rendered through immaculate sound design. It’s one of Giant Claw’s most compelling pieces, patient, intricate and strangely moving.
28) Glass Eel - The Line
‘The Line’ is a quietly arresting debut, built on lush, restrained instrumentation and Glass Eel’s delicate, husky vocals. The song moves with a soft steadiness, holding the tension between falling apart and finding the strength to continue. Piano, guitar and subtle textures wrap gently around Alice’s voice, creating a sense of closeness without ever overwhelming it. It’s a beautifully measured piece of songwriting, intimate, vulnerable and deeply affecting.
27) loopcinema - MERCÚRIO
‘MERCÚRIO’ is loopcinema at their most intoxicating, taking a sultry city-pop groove and twisting it into something sharper and more chaotic. It opens with glittering piano arpeggios and a rubbery, funky bassline that sets the whole track swaying before the vocals kick in with this cool, teasing confidence. As it unfolds, the song keeps shifting in tone, leaning into a kind of unhinged glamour that feels like a more abstract, mentally fried version of Magdalena Bay. It’s catchy, dramatic and packed with personality, a standout from the underrated LOOP:GLAMOUR.
26) Oral Habit - Sauerkraut
‘Sauerkraut’ is a two-minute blitz that shows Oral Habit at their sharpest, locking into a motorik riff and riding it with krautrock devotion until everything starts to blur. Co-produced with School Disco, the track channels the looping hypnosis of CAN and the blown-out chaos of Osees, turning repetition into something feral and exhilarating. The brothers smother that steady pulse in layers of fuzz and feedback, pushing the momentum harder and harder until the song feels like it might shake itself apart. It’s relentless, noisy and completely gripping, a perfect hit of Brighton psych-garage in its most concentrated form.
25) Man/Woman/Chainsaw - Only Girl
‘Only Girl’ is Man/Woman/Chainsaw at their most immediate, a bright, confident leap forward powered by a hook that lodges itself instantly. Vera’s playful vocal takes centre stage while a buoyant violin line lifts the song into something unexpectedly joyful, a far cry from the grungy jam it began as. Recorded at RAK with Seth Evans and Margo Broom, it captures a band levelling up in real time.
24) Winter McQuinn feat Feign Jima, Dylan Young - Walkin' Through That Door
‘Walkin’ Through That Door’ is one of the album’s most luminous moments, carried by a gorgeous, rolling piano line and Feign Jima’s stunning vocals, which land with the same bittersweet clarity you’d expect from Weyes Blood in her Drugdealer era. Winter McQuinn’s psych-folk warmth blends effortlessly with the guest performances, turning the track into a gentle meditation on connection and uncertainty. It feels soft but not fragile, grounded by the album’s home-studio intimacy and lifted by the chemistry between all three artists. A quietly breathtaking highlight.
23) RIP Magic - Dox
RIP Magic are one of those bands who’ve been quietly building real momentum in London. They recently played with Fcukers, who seemed to dominate 2025, and we’re hoping the same thing happens for them. Their debut single ‘DOX’ is a thumping, synth-driven rush that feels strangely futuristic, powered by a punky undercurrent that keeps everything on edge. Distorted vocals, chopped samples, a squealing lead synth and a heavy low-end all collide into something raw, propulsive and properly exciting.
22) Worthitpurchase - Something New
‘Something New’ is Worthitpurchase at their most immediate, a bright, hook-driven introduction to an album built from suburban memories, early-internet textures and the strange optimism of starting over. The track feels playful on the surface, but there’s a quiet dislocation running underneath, the sense of trying on a new self and hoping it fits. Omar and Nicole’s in-character vocals and crisp, DIY-shaped production give the song a vivid, cinematic glow, making it one of their most inviting and sharply written moments.
21) SILVERWINGKILLER - HOLD UP (ALL FIREARMS IN THE UNITED KINGDOM)
‘HOLD UP (ALL FIREARMS IN THE UNITED KINGDOM)’ is SILVERWINGKILLER’s calling card, a blast of acid-soaked punk energy that hits with the force of a warning siren. The track mutates from gabber stomp to scorched-earth electronic chaos, powered by Yushang’s razor-edged multilingual vocals and a beat that feels built for pure adrenaline. It channels the duo’s fixation on violence, identity and urban grit into something unhinged, furious and weirdly exhilarating.
20) Tennis - 12 Blown Tires
‘12 Blown Tires’ feels like a quiet farewell, the kind of song that gathers everything Tennis have done so beautifully over the years and lets it glimmer one last time. Alaina Moore’s voice drifts with a gentle ache, while the arrangement unspools in that classic Tennis way, soft-edged but full of emotional clarity. Knowing the duo have chosen this album as their final chapter gives the track an extra pulse of poignancy, especially for a band who never quite received the critical recognition they deserved.
19) Silver Gore - All The Good Men
‘All The Good Men’ is Silver Gore at their most instantly addictive, built around a bright, synthy hook that nods to the candy-coated rush of MGMT’s ‘Time to Pretend.’ The melody bounces with effortless charm, turning the track into something you want to sing along to before you’ve even clocked the words. Ethan P. Flynn and Ava Gore wrap that sugar-high energy in shimmering production, but there’s a bittersweet pulse running underneath.
18) aya - off to the ESSO
‘off to the ESSO’ is the album’s most jarring and electrifying moment, a blast of jagged, punishing production that feels like stumbling out of a club and straight into an existential freefall. aya’s language twists and snaps with razor precision while the beat grinds forward like a malfunctioning engine, pulling the night into something tense, surreal and darkly funny. It is the album’s fiercest track, a brilliant burst of chaos that refuses to resolve.
17) The New Eves - Cow Song
‘Cow Song’ is The New Eves at their most unpredictable, moving from pastoral calm to a full eruption of howled group vocals and shredded strings. What begins as something almost gentle quickly fractures into a feral, ecstatic release that captures the band’s blend of folk mysticism and proto-punk bite. It is wild, ritualistic and brilliantly unrestrained, a perfect example of how they twist English folk into something alive, snarling and entirely their own.
16) Maddie Ashman - Toffee
‘Toffee’ is a surreal and striking debut, pulling together mellotrons, crashing drums and glitched cello runs into something both chaotic and weightless. Maddie Ashman’s falsetto floats above the noise with dreamlike clarity as the song tilts between emotional overwhelm and sudden calm. You can hear her microtonal instincts guiding every bend and wobble, giving the track an unsteady beauty that feels completely her own. It is an electrifying introduction, the sound of an artist already reshaping the edges of avant-pop.
15) The Last Dinner Party - Agnus Dei
‘Agnus Dei’ opens From The Pyre with real theatrical sweep. Epic guitars crash in from the first second and Emily Roberts’ playing gives the track a sharp, almost Queen-like grandeur, while Abigail Morris’ vocals glide between intimacy and full-blown melodrama. The song keeps building until the whole band erupts into powerful group vocals that feel like a curtain rising on something bigger. It is bold, stylish and completely committed, setting the tone for the album with a confidence that makes the chaos feel glorious.
14) Doom Club - Love Connection
‘Love Connection’ feels like Doom Club really coming into their own. It nods to mid-2000s indie, but instead of leaning on nostalgia it sharpens the edges and gives the whole thing a new pulse. Liam Duane’s vocals cut straight through the mix, all ragged yelps and instinctive phrasing, somehow balancing intensity with a real warmth underneath. The song itself moves like a wave. It surges, drops back, then climbs again into a huge, fuzzed-out finale. Released via London tastemakers Big Richard Records, it’s easily one of their strongest tracks yet and a clear sign of where this band could go. ‘Love Connection’ truly highlights the potential of Doom Club and we’re expecting big things from them in 2026.
13) Racing Mount Pleasant - Emily
‘Emily’ is the moment Racing Mount Pleasant snap into full clarity. The track moves with patient purpose, slowly stacking guitars, drums and horns until everything locks into place. By the final minute the song opens up completely, letting sax and trumpet crash together in a burst that feels both cathartic and sharply intentional. It is the most focused and emotionally coherent piece on the record, the point where the band stop echoing their influences and start sounding unmistakably like themselves.
12) Juana Molina - siestas ahí
‘siestas ahí' drifts in with lullaby softness, but its sweetness carries a deeper emotional pull. Molina sings about moving toward another person’s warmth until she feels weightless, dissolving into a kind of intimacy that blurs the line between waking and dreaming. Slinky guitars glide in slow arcs, soft synth gurgles bubble underneath, and the whole track glows with that dreamy, slightly jaded haze she does so well. It is tender, gently disorienting and quietly one of the most enchanting songs she has made in years.
11) Clipse, Kendrick Lamar - Chains & Whips
‘Chains & Whips’ is Clipse at their coldest, opening with a haunted guitar line that feels like it’s stalking the beat before a thick, thudding bass drops in. The production keeps warping underneath, letting a watery, Hendrix-like guitar seep through the cracks as Pusha T and Malice trade visions of decadence, paranoia and spiritual rot. Then Kendrick arrives like a rupture, firing off one of his most venomous verses in years.
10) Magdalena Bay - Second Sleep
‘Second Sleep’ deepens the world Magdalena Bay opened on Imaginal Disk, which we named our album of the year, and follows the emotional charge of ‘Cry for Me,’ our top song of 2024. Gorgeous keys, a buoyant funky bassline and Mica Tenenbaum’s soaring vocals guide the track through a swirl of dreamlogic and daylight anxiety. It shifts between calm and chaos with effortless precision, capturing that strange pull between wanting to disappear into sleep and bracing for the day ahead. Lush, restless and quietly overwhelming, it is one of their most striking songs yet.
9) McKinley Dixon - Run, Run, Run Pt. II
‘Run, Run, Run Pt. II’ is McKinley Dixon at full emotional stride, turning survival into something poetic and breathless. The chorus lands like a mantra, heavy-hearted but hopeful, framing verses that move through family history, street mythology and flashes of grief with remarkable clarity. Dixon raps like someone running toward freedom and carrying generations with him, folding magic, memory and fear into the same breath.
8) Folk Bitch Trio - The Actor
‘The Actor’ shows Folk Bitch Trio at their sharpest, weaving rich three-part harmonies around a story that’s equal parts affection, humour and emotional freefall. The track captures the rush of falling too fast and the quiet collapse that follows, told with the group’s signature mix of intimacy and wry detachment. It is tender, funny and quietly brutal, a song that turns the messiness of a relationship into something beautifully staged.
7) Jane Remover - Dancing with your eyes closed
‘Dancing with your eyes closed’ is a glitched-out rush of distortion, melody and hyperpop euphoria. It nods toward Crystal Castles without ever feeling nostalgic, pushing its jagged edges into something strangely exhilarating. It is abrasive, cathartic and the kind of track that makes you want to move with your eyes shut and the rest of the world forgotten.
6) billy woods - A Doll Fulla Pins (feat. Yolanda Watson, Jeff Markey & Messiah Musik)
“A Doll Fulla Pins’ is one of the rare moments on Golliwog where the horror loosens just enough to let something fragile through. Yolanda Watson’s voice opens a brief window of light, but the tension never really fades as Messiah Musik’s production creaks beneath her melody. Woods spirals through personal fear and political dread at his own unhurried pace, showing how even the offer of absolution can feel haunted. It is tender, unsettling and one of the album’s most quietly devastating cuts.
5) Water From Your Eyes - Playing Classics
‘Playing Classics’ is the wild heart of It's A Beautiful Place, a breathless dance-punk rush that pushes Water From Your Eyes closer to pop structure without ever letting them settle into it. Piano stabs splinter, the bassline keeps climbing, and the guitars scramble to keep up with the song’s restless momentum. Brown’s deadpan delivery turns simple phrases into anchors while the arrangement shifts and mutates around them. It feels like a tentpole moment, but it still moves with the band’s instinctive chaos rather than anything built for mass appeal.
4) Geese - Au Pays du Cocaine
‘Au Pays du Cocaine’ arrives as a rare moment of calm, drifting in with an old-world warmth that feels slightly unreal. Where much of Getting Killed is driven by nervous energy, confrontation and urgency, this track steps gently aside, trading volatility for something more tender and reflective. Its loosely strummed guitars and dramatic, almost conversational vocal delivery create a small pocket of stillness, a pause in which the noise briefly recedes. Rather than feeling like an interlude, it acts as a grounding moment, allowing the album to breathe before tipping back into disorder.
3) Ninajirachi - Fuck My Computer
‘Fuck My Computer’ is where the album’s emotional core shines through the chaos. The lyric “I want to fuck my computer, because no one in the world knows me better” is provocative, but Ninajirachi delivers it with real warmth. It speaks to a childhood spent finding comfort and connection through a screen, turning a joke into something unexpectedly sincere.
2) ROSALÍA - Berghain
Despite its title, ‘Berghain’ isn’t a detour into cold Berlin techno. Instead, it leans into Rosalía’s classical roots, unfolding as a three-minute mini-opera built on sweeping strings and tight, circling motifs. Just as the repetition starts to feel hypnotic, Björk arrives like a jolt of electricity, snapping the spell and steering the song toward something stranger and more spiritual.
1) Wednesday - Pick Up That Knife
‘Pick Up That Knife’ cuts straight to the bone, a serrated slow-burner where Wednesday twist their classic alt-country haze into something darker and more unstable. Karly Hartzman’s vocals feel half-confession, half-warning, floating over guitars that creak like an old house just before it collapses. It’s the band at their most tense and cinematic, building pressure until the whole thing feels ready to snap. A proper gut-turner in the best way.