It took me some time to realize that 2025 was a damn fruitful year for proper records. Although I’m patiently awaiting some of my favorite bands to release music in 2026, I’ve added plenty of newcomers to join the staples in my music collection this year. There’s been genre changes, indie artists finally getting their moment in the spotlight, there’s been post punk female-led bands, guitar music making a comeback and on top of that, tons of great gigs.

Looking straight into the post punk-rock scene, there’s been a lead voice of Rhian Teasdale as the frontman of Wetleg, shining through the crowd of boybands with guitars in neon green. The indie-punk-rock formation released their second studio album moisturizer this summer, elevating their debut album’s sound a notch. Filled with viral AND critically acclaimed hits such as CPR or mangetout, this album’s underground sound made it’s way straight into mainstream. It also happens to be the fourth best record I got my hands on in 2025 and one of the bands to keep an eye out on for 2026, especially when it comes to their live shows.

The third place belongs to no one other than my teenage love – the Neighbourhood. Ultrasound fulfilled every expectation I had of the band after they’ve disappeared for five years and I haven’t talked about anything else this autumn. To prove the last point, I’ve written a whole album review.

The second best thing I’ve been binge listening to is the iconic dyke speaking on behalf of all the lesbians in the world on her new record Girl Violence. It’s hot, it’s gay, it’s deeply earnest, it has great guitar and it’s got that King Princess’ charm with some balls to it. One of my New Year’s resolutions for 2025 was adding more queer artists to my playlists – some that actually reflect my own experiences. Girl Violence was a heaven sent to help with just that – it felt like listening to each and every step of my queer journey and reliving it all over again.

It wouldn’t be my list if the first place didn’t belong to a rock album. My heart and soul lie between guitar solos and proper bass riffs and as someone who’s been nursed by Oasis, Guns N’ Roses, Ozzy Osbourne and Arctic Monkeys, newcomers rarely do it for me in terms of rock releases. I’ve known Yungblud for some years now, and I loved him for lyrically witty pop-punk tunes and skirts. But seeing him put out a rock record made him skyrocket on my Spotify wrapped. The way he made a full on rock album starting with a 9 minute, brilliantly composed ballad in times of 30 seconds attention spans still makes my eyes tear up. Idols has a completely unique sound, yet heavily influenced by old school rock music and Yungblud’s previous work. Lovesick Lullaby, the third tune of the record, is the most British sound he’s ever produced and I honestly hope his next steps will be heading in the same direction, if not for me, than for the sake of British rock music. Idols is a proof that to find your perfect sound, you usually have to put out multiple pieces heading in various directions.