WRSU’s Favorite Albums of 2025

Cameron Winter is my generation’s first Rock n’ Roll unicorn, and the people seem to agree. On Instagram, I can’t view more than 3 posts without seeing something in the Winter-verse. Some are memes, some debate whether Heavy Metal should be included in 2025 year-end lists, but most celebrate where he takes Geese on Getting Killed. Never have I seen so much buzz for a group of prep school gangsters. Songs with ridiculous lyrics about a “bomb in a car” and a “sailor in a big green coat” don’t tend to be the most successful. But for Geese, it’s different; Winter’s lyrics are the topic of every successful first date in Brooklyn. Getting Killed reminds people what matters in music: a sound no one could expect. New York bands have historically dominated this field, and Geese are the trailblazers this generation needs. — Sam Cohen

Led by frontwomen Rhian Teasdale and Haster Chambers, Wet Leg is making a definitive imprint on the current indie rock scene. The tracklist is smeared with vulgar and raunchy lyrics, adding to the unique touch of the band’s raw sound. Influenced by musicians such as PJ Harvey and Courtney Love, Wet Leg is a provocative rock band. With catchy, off-beat guitars and half-sung, half-spoken lyrics, as great as their music might be, it is also unsettling. Wet Leg does not want to be messed around with, but they definitely want to mess with you. If you’re looking for an album to listen to while you feel like it’s you against the world or your partner is being annoying, give it a shot. You won’t be disappointed, and if anything, you might emerge from it less dependent and more resilient. — Ava Bandelli

Ryan Davis has long been an alt-rock stalwart, earning praise from figures like David Berman and MJ Lenderman. But, until now, he hadn’t fully claimed his seat at the table. With New Threats from the Soul, Davis steps into view: his songs are sprawling and shambolic, juggling a motley of styles with clear intention. Shot through with sharp wit and a literary bent, the record cements Davis as the brainchild of one of the year’s most idiosyncratic works. — Andrew Nussbaum

Showbiz! was undoubtedly the album that stood out to me the most this year. It’s a fresh take on his older work, as well as a manipulation of his inspirations. Written, produced, and performed almost exclusively by MIKE, it’s hard not to admire the artistry and passion that went into this project. My favorite track on this album is either “Man in the Mirror” or “Artist of the Century”; the groove on both tracks is infectious, as well as having great production. Not only that, but they play back-to-back on the album, so the transition is seamless and just keeps the energy going strong. Showbiz! is proof that MIKE should be at the forefront of the Alt Hip-hop scene. — Jake Falkenstein

Bleeds cannot be contained to a single word or description. How can one word encapsulate an album that does so much? Bleeds, Wednesday’s sixth studio album and follow-up to the major success of Rat Saw God, was released with an undeniable pressure for Wednesday to deliver. To no surprise, they did just that. Bleeds has it all: noisy grunge guitar, beautiful lyrics that tell a story, and lead singer Karly Hartzman’s iconic screams. It is a masterfully crafted album that digs into its Carolina roots and establishes further why Wednesday is at the forefront of the “Alt-Country” scene. — Jake Winchman

Earl Sweatshirt reminds listeners why many newer artists in the abstract Hip-hop space credit him as an inspiration. On the new record, Earl pairs softer rhymes with intricate production to establish his place among the most talented rappers alive today. Many fans may complain that mainstream rap is dead, but why mourn it if it gives projects like this an opportunity to shine? Live Laugh Love offers a version of Earl Sweatshirt at his finest, showcasing sharp poetry about fatherhood, his past, and offering advice for the future. — Yaw Appiah

Choke Enough was the definition of spring for me in 2025. I spent time in front of the Alex Library, looking at the Rutgers flag swinging back and forth, playing that album front to back. The album is a step into an aquarium as Oklou has taken pop to a beautiful new level. Every feature on this album complements the airy nature of her sound. Choke Enough features infectious, lingering synths that make it feel like I’m inside a dream with bubbles floating around me. — Maeghan Prophete

Blizzard, Dove Ellis’ debut, released gracefully to end the year—a composition destined to be blasted upon snowcaps. “Little Left Hope” captures your attention with a chorus so visceral you can feel it melt on your tongue. While “Love Is” is not the antidote to all problems, Ellis’s sonic arpeggio illustrates all that it is, all that it isn’t, and all that it could be. His Galaway roots emerge with the driving “Jaundice,” a jigsaw of crystalline vocals about connecting the missing pieces. Every fresh, shimmering line he delivers layers upon the former, fading in and out of the light, leaving you frozen in the moment. Ellis’ stratospheric harmonies proved a heavenly match for Cameron Winter while opening for Geese this fall, so it’s no mystery that the haunting Blizzard is this year’s winter psalm. — Amanda Goceljak