Review by BPL's William Anthony: The Best Albums of 2025

It is time for Birmingham Public Library to look back on our favorite records released this past year. With so many great, original albums to choose from, it was no easy task determining which albums would make the “best of” list this year.

Just like reading a great book, listening to a wonderful record can grant us more creativity and a wealth of knowledge about the world around us.   

Here are Birmingham Public Library’s favorite albums of 2025:

1.      Let God Sort Em Out by Clipse

This is one of the strongest comebacks that I have listened to so far in the 21st century. The hard work put into Clipse’s fourth album after a 15-year hiatus shines. Each track guarantees repetitive listening. In fact, Let God Sort Em Out is Clipse’s strongest record.

This duo from Virginia Beach, Virginia, which consists of Pusha T and Malice, still pushed themselves by revisiting and building upon familiar production quality and lyrical themes, especially content associated with the subgenre, coke rap. Nothing feels recycled. Don’t expect the same vibes that made Lord Willin’ and Hell Hath No Fury more insightful and daring albums during the Bling Era of Hip Hop for most of the 2000s. 

Their nightclub-friendly energy helped them churn out some fun hits over 20 years ago. On their fourth album, the sharp, enunciated, and carefully calculated wordplay is better than ever, which elevates the well-earned confidence. Let God Sort Em Out is a testament that Clipse maintains significant relevance in this current era of rap music. They picked up right where they left off and threw a few surprises at us.

Not a single song on this record disappoints. Let God Sort Em Out starts off with the vulnerable, mournful ballad about loss and regret, "The Birds Don’t Sing." When John Legend croons the chorus, it makes you stop what you’re doing and then reflect upon the first-person narrative that Pusha T and Malice share when they learned about their parents’ death. In fact, the following lyric, “The birds don’t sing. They screech in pain.”, is a reference to a monologue that legendary German filmmaker, Werner Herzog, delivers about the state of the jungle when he was filming Fitzcarraldo as depicted in the documentary, Burden of Dreams.

This painfully honest opening track is immediately followed by the raw, unfiltered one-two punch of "Chains & Whips" and "P.O.V." The prickly, ice-cold guitar licks and the jackhammer bass, which reminds me of "No Church in the Wild" by Jay-Z and Kanye West, bring out the ruthlessness associated with pursuing more and more wealth. Pharrell Williams is back as the main producer throughout Let God Sort Em Out, and you can especially detect his slick, behind-the-scenes presence on this second track. Kendrick Lamar’s furious verses are also a nice bonus as he manages to keep up with both Pusha T and Malice.

"P.O.V." keeps up this momentum as these brothers now reflect upon what it means to be an authentic, timeless rapper instead of a one-hit wonder stuck in the past. This time, they recruit Tyler, the Creator to help drive home this message. The best part about this track is a beat switch towards the end when it is Malice’s turn to rap about his lessons learned in the music industry. Such a subtle change brings out the duality between our main duo. 

Its lead single, "Ace Trumpets," hypnotizes you from the start, and Clipse definitely chose the right song to get fans excited about Let God Sort Em Out. Its chorus includes allusions to "Runaway" by Kanye West, which also features Pusha T. Well, the rest of the album exceeds the bar set by this selected hit. A personal favorite track of mine is "M.T.B.T.T.F.," which stands for Mike Tyson Blow to the Face. Its flow is so natural and confident that it comes across as an improvisational freestyle session or, perhaps, even a rap battle. 

The tempo takes me back to the tail end of the Golden Age of Hip Hop, particularly when Nas released his debut album, Illmatic, just over 30 years ago. Speaking of Illmatic, Nas charges headfirst through his verses on "Let God Sort Em Out/Chandeliers," which is one of the last songs on this record. As strong as he sounds on this track, he knows that he is a guest invited to be on Clipse’s stage.

Pusha T and Malice never lose steam throughout Let God Sort Em Out, and they make all the disciplined effort poured into this comeback record look so easy. Nothing disappoints when they collaborate over every rhyme; every syllable.   

If you are a fan of Run the Jewels, OutKast, Freddie Gibbs, and Danny Brown, you will enjoy Clipse’s music.

 2.      Eusexua by FKA Twigs

Just like all of her previous albums, a mysterious aura remains coiled around FKA Twigs’ latest offering, Eusexua. Each release comes with unpredictable vibes and contagious melodies. Her material is guaranteed to tickle your brain as she bounces back and forth between genres ranging from trip hop and synthpop to intelligent dance music and funk. I remember buying her debut album, LP1, several years ago and being intrigued by all the risks pulled on that record. She took notes from Prince and Janelle Monáe and distorted that brand of pop music to her advantage. That distinction made me anticipate her subsequent albums, especially Eusexua.

FKA Twigs coined this attention-grabbing term, eusexua. Over time, the unique name of her third album can possibly join the techno lexicon. Then, the next generation of DJs and performers alike may just recognize and celebrate this concept’s indescribable energy.

To me, Eusexua hones in on the memories and movements associated with electronic music. Imagine all the different subgenres of techno music swimming around in your head and commanding you to become a part of the prevalent four-on-the-floor rhythm, no matter what you are doing. Taking it a step further, this record captures not just dance music itself but the insatiable desire to be immersed in that exact moment on the dancefloor where time stands still; all your fears and worries just vanish. It doesn’t matter if the songs shift from jungle music or drum and bass to house music or ambient techno because FKA Twigs sews each song together in order to make all the people in the club feel united. This is my best attempt at defining this made-up but now unforgettable word, eusexua.   

The beats, the synths, and the drum machines may feel minimalist and dark at times, but they still unlock your imagination’s full potential and make you want to dance until the early morning. Before you know it, the crescendo hits you at just the right moment, and everybody is jumping up and down. The entire record flutters around as much space as possible in any sized room until you give in to the urge to burn off all that pent-up energy. 

Most of these songs carry a delicacy that draws you closer to the melody. That texture makes your exercise routine, a fashion shoot, or Saturday nights in a big, metropolitan city even more memorable and extraordinary. The title of each song appropriately matches the mood that FKA Twigs wants you to feel. Examples such as “Perfect Stranger,” “Sticky,” and, of course, "Eusexua" give you peace of mind as you take a deep breath in between beats. They are the perfect segue for the more rave-friendly songs.

The tempo picks up but knows better than to overwhelm you throughout “Room of Fools.” When this song starts playing after the venue’s lights dim, good luck slowing down this momentum. This is the type of song that you want stuck in your head before going to a late-night concert in Ibiza.  "Keep It, Hold It" complements the same vibes with a hushed, airy but instantly catchy rhythm and harp-like chimes. FKA Twigs tightens her grip on a surprise groove that is a non-negotiable on every true dance record as evidenced in "Keep It, Hold It."

My favorite track off Eusexua is “Girl Feels Good” because the second track carries itself in a warmer, more intimate composure in contrast to the restlessness unleashed on most of FKA Twigs’ third LP. It is the perfect song to play in the background as you watch the sunrise before an exciting, festive weekend ahead. The bubbly cadence made me recall trip hop acts such as Massive Attack and Portishead. It even brought to my mind Seal’s first hit single, “Crazy.”

There is nothing underwhelming about Eusexua. Any activity that you can think of becomes more fun if this album is playing in the background. This is how FKA Twigs envisioned her fans listening to this entry in her illustrious, multifaceted career so far.     

In addition to Eusexua, you should also check out Eusexua Afterglow, which might feel like a sequel to this dance record but still works as a standalone album.

If you are a fan of Grimes, Daniel Avery, Caroline Polachek, and Thundercat, you will enjoy FKA Twigs’s music.   

3.      The Spiritual Sound by Agriculture

Extreme metal may be an acquired taste because of how terrifying it comes across for the average listener who just wants a fun melody to hum in the middle of the day. That is completely understandable. What I appreciate about extreme metal though is how experimental some of these bands are willing to be in order to make leaving your comfort zone worth your time and commitment.

Some death metal and black metal bands successfully merged their heavy, down tuned guitar work with the smooth, more gentle sounds associated with jazz, folk, psychedelic rock, and, in this case, shoegaze. Agriculture takes this formula and reinforces that heavy metal can be compatible with polar opposite genres, especially if each song peels back a more niche subgenre.

An accurate way to describe Agriculture would be an ecstatic black metal band. This subgenre also goes by the moniker, blackgaze. To split hairs here, black metal and shoegaze are as different as night and day. Black metal is known for its blast-beat drumming including double kicks, distorted, lacerating guitar riffs, and tortured howls or screeches enhanced by reverb. 

Shoegaze moves at a much slower, comforting pace and prioritizes a more calm, lush atmosphere. Swirling guitars and drowned out vocals work well together and deliver uplifting melodies. It nonchalantly merges 60s psychedelic rock and 80s indie rock together as if it was meant to be. Blackgaze might come across as an oxymoron, but Agriculture’s second album, The Spiritual Sound, quells any doubts about its daring but refreshing approach to this unorthodox guitar-playing technique.

Agriculture is not the first band to bring a more interstellar, atmospheric vibe to heavy metal music. Similar, notable groups such as Agalloch, Alcest, and Wolves in the Throne Room share a musical prowess that would fit comfortably on The Spiritual Sound. What I love most about this record is that Agriculture unleashes a force that goes beyond the realm of their harsh but still eloquent brand of metal music.

Time slows down but also speeds up as you get lost in irresistible songs such as “My Garden,” “The Weight,” and “Serenity.” The mellow, dreamy choruses bleed into the staticky riffs, which are at full speed, and they leave you wanting more of this beautiful chaos. Imagine meditating in a quiet study room while also exercising rigorously on an elliptical. That is one way to elaborate on how the speed shifts in these aforementioned songs might surprise you and even convince you to check out more ecstatic black metal. 

The mightiest track that stands out from the rest of this sophomore LP is “Bodhidharma.” This tale about Chan Buddhism starts off with creepy croaking and terrifying screams. Don’t worry. The pounding, groove-oriented guitar riffs will make you bob your head instead of running out of the room as if you saw a ghost. But wait. This song’s true quality is just getting started. The best part is a mesmerizing, unstoppable guitar solo that erupts out of thin air and takes you to a spectacular parallel universe full of more impeccable music. It is one of the best guitar solos that I have heard in several years, and I will not get sick of this guitar shredding anytime soon.        

Just when you think that you cannot handle anymore harrowing shrieks and squealing guitar solos, Agriculture makes you take a well-earned deep breath with more subdued moments that convince you that you are no longer listening to a metal record. “Dan’s Love Song” exemplifies this mental break as the guitars hum and buzz in a more muted, toned-down manner. This hallucinatory detour brings to mind more underappreciated shoegaze bands such as Ride and Chapterhouse. “Hallelujah” shares a similar mood but, instead, uses a clunky acoustic guitar. Then, from out of nowhere, this heavy ballad wraps it up with even more fierce electric guitar.

Don’t be afraid of terms being used here such as extreme metal or black metal. The Spiritual Sound can resonate with audiences who might not care for heavy metal culture. This is not the typical corpse-paint, Scandinavian black metal. Agriculture has made this subgenre more palpable than ever.       

If you are a fan of My Bloody Valentine, Emperor, Deafheaven, and Slowdive, you will enjoy Agriculture’s music.

4.      Antidepressants by Suede

The four quintessential rock groups of Britpop are often considered to be Oasis, Blur, Pulp, and Suede. Jarvis Cocker, the frontman of Pulp, would probably roll his eyes if he heard me describe his band as a pillar of Britpop. The members of Suede may have never reached the same global heights as Oasis and Blur, and they deserve more recognition for unveiling a sultrier side to the arena-filling swagger associated with the loudest 90s rock bands.

The fellas in Oasis and Blur grew up idolizing The Beatles and The Rolling Stones. On the other hand, the members of Suede found more inspiration from glam rock icons such as David Bowie and T. Rex. It is evident in the fuzzy, wah-wah guitars that light up Suede’s self-titled debut released back in 1993.

Antidepressants is not a reenactment of the same circus act back in the 90s. Suede refuses to lean on the nostalgia associated with their first three records. Instead, they embrace a post-punk temperament on their 10th album. This adjustment to their musical style is Suede’s reaction to the current state of rock and roll halfway through the 2020s. They want to challenge themselves. This is not a case of “if it ain’t broke, don’t fix it.” Suede took an experimental risk with Antidepressants, and it pays off. That mindset falls in line with what the most notable post-punk bands accomplished back in the 80s.

Comparisons to legendary post-punk bands such as Joy Division, The Cure, and The Fall are inevitable on this chapter in Suede’s career. Every song on Antidepressants flows so well that nothing feels derivative. Suede has discovered a special place where they can still cater to their most loyal fans and win over a new generation of listeners. Lead singer, Brett Anderson, sounds stronger, bolder, and more confident than ever. The chiming, moody guitar only elevates the longing and sincerity in his voice. In fact, it is not fair to compare Anderson’s vocals to Ian Curtis’s gloomy murmur or Robert Smith’s breathy, achy cries. He sounds quite comfortable with everything that Suede accomplished on their latest album, even if he comes across as desolate on a track like “June Rain.”              

“Dancing with the Europeans” glimmers with optimism, especially during the chorus. This ode to live gigs can ignite hope inside you even during your worst day of the work week. It allows me to visualize dancing on the floor at an iconic concert venue with my best friends on a Friday night with no worries on our minds. Lyrics such as “There’s something inside that craves the artificial life. There’s something inside that craves the blue and yellow lights.” capture the shared, fun memories that unite people with different tastes in music.     

Similar sentiments carry over into “Broken Music for Broken People.” It is another inspirational anthem that maintains a sense of unity among different generations. This is the type of song that could shake a stadium during a world tour. Antidepressants would benefit from Suede playing “Broken Music for Broken People” really, really loud at their upcoming gigs because it doubles down on Suede’s ongoing appeal. “Trance State” is another anthemic hit single that sounds the most like 80s indie rock, and it draws comparisons with deep cuts released by a band like New Order. Its lyrical themes about anxiety, loneliness, and a longing for a better life do not weigh you down either.

Suede chooses to keep their head up by incorporating a dance fever that has made 80s New Wave timeless. Members of New Order such as Bernard Sumner and Peter Hook should be proud of Suede for this crafty output that does not rip off their most popular songs like “True Faith” and “Bizarre Love Triangle.”

Antidepressants is a pleasant surprise from a band that I have not thought about recently. Its consistency as a whole proves that Suede still has a lot of creative ambition in them. Straying from nostalgic memories confirms that taking a risk can spark more rock and roll energy than one might expect. This is a situation where an old dog has learned some new tricks.     

If you are a fan of Radiohead, Manic Street Preachers, The Verve, and The Stone Roses, you will enjoy Suede’s music. They also go by another name, The London Suede.  

5.     Getting Killed by Geese

Geese’s fourth album, Getting Killed, really tickled my brain during the first few listens, and that’s what made me look forward to listening to it again. Here’s the best part: I still haven’t figured out who Geese wants to be. That’s not a mistake on their part. Each track took me down a path that I did not know that I had to explore. They know how to keep you guessing with every move they make as a cool rock group rising higher and higher. So much madness and chaos take place over the course of Getting Killed. All this unpredictability never stressed me out because moments of tranquility emerge, which make you pay closer attention to their engaging art-rock craftmanship.

The mastermind behind Geese is their frontman, Cameron Winter. His jaded but calamitous vocals bring more gravity to his absurd lyrics about existentialism and the overwhelming anxiety associated with it. He shifts back and forth between warbling and wailing to the point that your head will spin as if you just hopped off a merry-go-round playground spinner. The thrills still linger inside your head, and the prolonged words still rattle around inside there too.

“100 Horses” and “Bow Down” exemplify this type of singing. The lack of a traditional, fixed chorus gives the lead singer a more tired vocal range to fixate on people pretending to be happy during periods of uncertainty and fear. The first chorus took me by surprise with its following bluntness: “All people, all people must smile in times of war.” Winter stretches out most of his words to the point that he comes across as if he is gurgling. A brash trombone and a sticky guitar riff make you feel like you are his passenger on a long car ride.

The jittery guitar, including a jazzy solo, brings out Winter’s heated mumbling throughout “Bow Down” as he takes on the grinding tension between anti-conformity and organized religion. The continued variation on a repetitive chorus takes hold on “Bow Down” as Winter cries and ruminates about his individualist views. You feel this weight as he repeats several times: “You don’t know what it’s like to bow down.” There is pressure abounding, but everyone remains carefree.  

The third track, “Husbands,” dives deeper into an existential crisis by addressing how loneliness might be different for everyone, including Winter and his bandmates. Its lyrics are so ambiguous that all interpretations are welcomed among fans. The elephant-stomp drumming keeps up the stress-inducing rhythm, but it never reaches an explosive breaking point. This steadiness invites us to decode its chorus: “Will it wash your hair clean when your husbands all die? Will you know what I mean?” Such vagueness might cause some frustration, but, at least, the song never grows old. 

The title track and “Islands of Men” carry on a similar songwriting style right after “Husbands” comes to a halt. You will never know the true meaning behind most of these songs. Luckily, Geese’s offbeat and, at times, jarring musicianship makes you come back for more clues about what they are sharing with us.  

Getting Killed is already a watershed highlight in Geese’s career so far. It is their boldest and most adventurous record that should get better over time. Joyful chaos is the vibe that best captures Getting Killed. There is no point in trying to figure out what Geese will do next. Just enjoy the ongoing ride right now. You will look forward to these bumps on the road ahead. Geese knows what they are doing. They just act like they do not want you to know that.   

If you are a fan of Parquet Courts, The Strokes, Squid, and Black Country, New Road, you will enjoy Geese’s music.   

If you want to check out more great music from 2025, here are more honorable mentions:

Essex Honey by Blood Orange

Blood Orange, who is also known as Dev Hynes, returns with his latest record in just over seven years. He prioritizes the singer/songwriter aspect right here as he focuses more on his heartbreaking, difficult memories growing up in Essex, England. The more hushed but bold production includes delicate strings, slowed-down piano, rapid, persistent breakbeats, and spurts of electric guitar. You are staring into the heart and soul of this musician.

New Threats from the Soul by Ryan Davis & The Roadhouse Band

New Threats from the Soul has some of the best lyrics that I have heard in present-day Americana music. These songs about his colorful characters and their adventures are just as nuanced and amusing as a page-turning novella. Mr. Davis’s deep, soulful drawl confirms that he grew up listening to the most important outlaw country musicians out there. However, his creative spark can also be attributed to other genres ranging from grunge rock and jazz to hip-hop and funk. His unquestionable knack for storytelling would make all his heroes proud.

Private Music by Deftones

Deftones’s 10th album (just like Suede) is one of the strongest entries in their entire discography. Even the most devout fans will admit that Private Music ranks alongside a classic alternative metal album like White Pony. The riffs still crunch loud and never lose steady momentum. Chino Moreno’s whispers and screams sound more pronounced than ever. Standout tracks are “My Mind Is a Mountain,” “Infinite Source,” and “Milk of the Madonna.”

Lux by Rosalía

Rosalía shook up 21st century pop music by fusing flamenco with more contemporary genres that cannot entirely be associated with that performance style. It is exhilarating to hear her blend orchestral pop with hip-hop harmonies and electronic breakdowns. It is a symphony. It is an orchestra. It is an art pop show. Oh, wait. Lux is something better than all that. It is just Rosalía pushing herself artistically, and you are sitting in the front row. This is her most powerful album yet. 

Pain to Power by Maruja

Pain to Power is the debut album from this feisty jazz-rock band from Manchester, England. Maruja balances a confident hard rock edge with freeform jazz elegance as if their lives depended on it. Imagine members of Red Hot Chili Peppers, Primus, and Rage Against the Machine meeting up to perform jazz improvisation at a neighborhood dive bar. One minute, some songs off this record will start up a mosh pit. The next minute, everybody stops and catches their breath during the saxophone solos.   

You can check out these albums from one of the many members of the Jefferson County Library Cooperative, including all Birmingham Public Library locations. There is also the option to stream these albums through Hoopla, Spotify, or Apple Music.

By William Anthony, Librarian I | Citizen Services - Central Library