It’s that time of the year again where mxdwn editors spend countless hours in consideration of the world of music in the last year. The challenge of this endeavor is not to be understated as there are innumerous songs and artists due for recognition from the last twelve months. Our list is based on how artists have reimagined sound within their respective genres as well their appeal to human themes that transcend genre boundaries. Innovation and intention do not go unnoticed here and we also uplift artists who are not afraid to go there in terms of cultural commentary, crafting art that is relevant for its moment but capable of holding its own with the incoming passages of time. Our number one song this year is Perturbator’s “Apocalypse Now” with Ulver’s Kristoffer Ryggt – a track that does just that with its sonic worldbuilding and cautionary dystopian tale that can be applied to the current global context, but remain grounded in its technical craftsmanship. As with any year, there have been challenges and victories distinct to the year 2025, which are directly reflected in the music itself. The rest of our list features a diverse interpretation of what it means to live today. With productions from old favorites and new classics, we hope you have as much fun walking through the year musically as we did investigating it.
– Kara Nichols
40. The Swell Season – “Great Weight”
“Great Weight” off of The Swell Season’s record Forward incorporates saxophones, wind sounds and violin, complementing the lower, edgier register of Hansard’s vocals. This song is painting an image of joy and relief.
– Nicole Sacks
39. Evanescence ft. K.Flay – “Fight Like A Girl”
From the score of Ballerina, a John Wick film, “Fight Like A Girl” is an empowering, adrenaline-pumped feminist anthem, with powerful vocals backed by Evanescence’s classic hard industrial rock sound.
– June Skelly
38. Japanese Breakfast – “My Baby (Got Nothing At All)”
Written by Japanese Breakfast frontwoman Michelle Zauner for the A24 romantic comedy Materialists, “My Baby (Got Nothing At All)” is a pleasant reminder that movies can still have great original soundtracks. Largely upbeat, it builds up from a catchy acoustic chord progression to an entire ensemble with reaching electric guitars and ever-so-distant strings, all while the open D tuning used creates an undercurrent of tension, a faintly pensive and atmospheric feeling. The result is dazzling; a single that is somehow both specific to the film it was made for while also feeling incredibly personal to Japanese Breakfast’s own discography.
– Riley Wilkerson
37. Dying Wish – “I’ll Know You’re Not Around”
“I’ll Know You’re Not Around” by Dying Wish earns the #37 spot with gripping guitar riffs and melodic vocals before militant drums demands your full surrender. Emma Boster’s visceral screams lock you in with crawling pain, then descend into an addictive hook you can’t wait to relive.
– Nile Ross
36. Blood Orange ft. Lorde, Caroline Polachek & Mustafa – “Mind Loaded”
“Mind Loaded” is a lush, atmospheric collaboration where Blood Orange’s warm production meets layered, expressive vocals from Lorde, Caroline Polachek, and Mustafa, creating a reflective, emotionally rich track that feels intimate, expansive, and quietly powerful.
– Ellie Aviles
35. Tame Impala – “Dracula”
Kevin Parker does it again with the synthbeats, except this time spookier. Tame Impala’s “Dracula” is a dark groove that seeks euphonious light in his harmonizing vocals. Never shut up, Kevin.
– Kara Nichols
34. Black Moth Super Rainbow – “Open The Fucking Fantasy”
Black Moth Super Rainbow open Soft New Magic Dream with open arms and open doors, the drowsy and drum fill-driven doozy that is “Open the Fucking Fantasy.” Kick up your feet and drift.
– Noelle Torres
33. Wolf Alice – “Just Two Girls”
This track is an ode to female friendship. Catchy and upbeat with a 1970s pop vibe, Wolf Alice creates a wholesome and infectious pop melody about loving your friends.
– Kaleigh Perez
32. Alison Goldfrapp – “Reverberotic”
“Reverberotic” is sleek, hypnotic and effortlessly cool, blending pulsing electronics with Alison Goldfrapp’s confident vocals to create a moody, seductive track that feels futuristic and addictive.
– Paul Chaparro
31. Deafheaven – “Magnolia”
“Magnolia” showcases Deafheaven’s ferocity through George Clarke’s evil, relentless shrieks
soaring above the instrumentation. Clean production heightens the blistering riffs and eruptive
mid-song energy, offering a display of metal mastery.
– Jeffrey Rice
30. Babymetal ft. Poppy – “From Me To U”
Another mesmerizing song for 2025 is “From Me To U” by Babymetal Ft. Poppy. As a whole, the number is straight up metal thanks to Poppy’s deep and powerful vocal performance blending in with Babymetal’s talented, blazing and harmonic instrumentation.
– Caitlin Stoddard
29. Anna Von Hausswolff – “Facing Atlas”
“Facing Atlas” flows through smoothly looping, echoing instrumentals that never pause. Anna von Hausswolff’s voice rises beautifully, chant-like and ancient yet otherworldly. Angelic and light, the song feels like a beam of illumination, revealing another soul through ethereal devotion, resonance, awe and transcendence.
– Claire Yancey
28. Florence and the Machine – “The Old Religion”
“The Old Religion” by Florence + the Machine is deeply consuming, taking you to a place that cannot be described, only felt through the song’s sense of desperation. It literally makes you feel the lyrics, hungry for some kind of release, through Florence Welch’s iconic voice and its haunting and foreboding melody.
– Eve Pierpont
27. Gorillaz ft. IDLES – “The God Of Lying”
Featuring IDLES, Gorillaz come shuffling and crawling in with their undead funk in “The God Of Lying.” It’s a giant bag of Halloween ear candy, full of satisfying new little sounds. Some clicks here, some space guns there, it’s fresh fun at every turn.
– Adam Skelly
26. Ulver – “Weeping Stone”
“Weeping Stone” is the kind of song that just sneaks up on you, over and over again. Only a band with decades of high-level craftsmanship could get to a composition as nuanced this, as effortlessly as they do. Odd vocal modulations, pitter-patter synths and counterpoint rising drone synths make for an experience that is more inviting than scary, even though it is scary, like a gorgeous fantasy fiction landscape.
– Raymond Flotat
25. Hayley Williams – “Good Ol’ Days”
“Good Ol’ Days” is a bubbly, R&B tinged track that finds Hayley Williams doing her best SZA impression of insane vocal runs and even crazier lyrics. Without getting into the full lore behind the Paramore After Laughter references, this track proves that Williams presence should not be confined to skull-crushing guitars and blaring drums.
– Greg Poblete
24. Jehnny Beth – “No Good For People”
The industrial synthetics of “No Good For People” wear their influences like a well-tailored leather jacket, a modern take on a vast musical legacy. A sharp knife may be an equally apt comparison; the track at once bears a nostalgic spine and a bleeding edge, attacking with confidence and intent.
– Noelle Torres
23. Serj Tankian – “Electric Dreams”
“Electric Dreams” by Serj Tankian earns the #23 spot with its hypnotic, dreamlike atmospheric essence. The track pulls you in immediately, feeling like you’re being taken down an electric river with acoustic strings acting as currents pulling you in, growing stronger as the song soars between Serj’s cries and quiet audience dialogue.
– Nile Ross
22. Scowl – “Cellophane”
Heavy guitar, driving percussion and defiant vocals center the punk nature of “Cellophane.” It’s quickly paced as Kat Moss brings a razor edge with her clever lyricism to criticize capitalist overconsumption, keeping the song anything but “such a let down.” The instrumentals blend with the haunting vocals, creating not just a song, but a call to action.
– June Skelly
21. Anamanaguchi – “Magnet”
This track marks Anamanaguchi’s shift to a grunge sound, blending their punk energy with elements of shoegaze and heavier rock. “Magnet” is a love song about a chaotic romance, that speaks of love’s exhilarating factors through catchy hooks and a vintage feel that manages to capture true, raw emotion.
– Kaleigh Perez
20. Sophie Powers – “Move With Me”
“Move With Me” by Sophie Powers is a bold, high-energy pop project that mixes punk attitude with glossy electronic beats. Confident vocals, catchy hooks, and playful defiance drive the album, capturing a restless, youthful spirit that feels rebellious, fun and unapologetically self-assured.
– Ellie Aviles
19. Deftones – “Infinite Source”
A great song for this year is Deftones’ “Infinite Source” and what is excellent about the whole thing is how the band stays true to the hard rock style they have used throughout their whole career. The pulsing sound of endless guitar playing brings that in-your-face vibe, while frontman Chino Moreno yells out the rich lyrics. “Infinite Source” just proves that Deftones are still carving their way into the music industry by creating bombastic music that displays how musically strong they are as a band.
– Caitlin Stoddard
18. Lorde – “What Was That”
A song of lust and heartbreak, Lorde sings of the lack of closure in “What Was That.” With its unique synth beats and emotional chorus, this song is a real earworm. It has resonated with fans because of the new production style, and is making its way as one of Lorde’s best hits. It sets the tone for the album Virgin as the second track. What was that? An absolute banger is what it was.
– Adam Skelly
17. Biohazard – “Eyes On Six”
Do not be fooled by the tiny piano intro and slow melody because drummer, Danny Schuler, is about to run rhythmic circles around your head. Syncopation on steroids, “Eyes On Six,” is Biohazard’s new metal labyrinth listeners can be sure to get lost in. If you’ve ever felt like your mind was going a million miles per minute, this song has got you beat. With vicious lyrics blasting from lead singer, Billy Glaziediel, a precautious warning is delivered. A carousel of unfiltered confusion is brought to life in this song and boy does it spin round and round your head! Giving its listeners whiplashings of pain, self-doubt, global outrage, paranoia, you name it – “Eyes On Six,” is a guttural promise of the southpaw, upper cut dictators, abusers and even Big Brother himself, has got coming!
– Mikabella Katerina
16. Tyler, The Creator – “Sugar On My Tongue”
Over a musical career spanning more than 15 years, Tyler, The Creator has mastered genre-bending music with his newest success arriving in “Sugar On My Tongue.” Over a dance-pop influenced synth-heavy beat, Tyler raps flirtatious and vulnerable bars. The instrumental is polished but grimy, allowing him to showcase the catchy melody featured prominently in the song’s production. His lyrics are unapologetically sexual and fierce, leading to a confident demeanor that pushes Tyler to the forefront of an incredibly groovy track. Ultimately, “Sugar On My Tongue” succeeds in what it tries to do: get the listener to want to dance.
– Charlie Sagerer
15. Soulwax – “Gimme A Reason”
“Gimme A Reason” by Soulwax feels like the kind of track that grabs you right away and refuses to slow down. The beat comes in hard and just keeps pushing, with those sharp synths and tight percussion doing most of the heavy lifting. It has this gritty, almost confrontational energy that makes it feel perfect for blasting out loud, whether you are getting ready to go out or just need something to wake you up. What really works is how simple and repetitive it is in the best way, building tension instead of getting boring. It sounds rough around the edges but still super controlled, which is very on brand for Soulwax. Overall, it is a fun, high energy track that does not overthink things and just goes for it.
– Paul Chaparro
14. I’m With Her – “Wild And Clear And Blue”
The title track from I’m With Her’s wonderful new album Wild and Clear and Blue hits not with force, but as a pastoral, impressionistic, ethereal reminiscence. Subtle outlines of beloved memories—listening to your favorite cassette while driving in the rain, the evocation of an incredible concert, crying in a desert landscape—dance in and out all threaded together with the same concept, how love runs through the narrator pure like the Brazos river, “wild and clear and blue.” Sarah Jarosz, Aoife O’Donovan and Sara Watkins put the effort here into taking soft harmony and driving earnestly through it with a maximum of heart and sincerity. The usual stringed and plucked instruments here are joined by a light piano melody until everything ends peacefully, slowly, like a ball that came rolling up to you, stopping right at your feet.
– Raymond Flotat
13. Ghost – “Lachryma”
“Lachryma” made waves upon its release as a single back in April and has since earned a Grammy nomination for Best Metal Performance. The track is dynamic in its own right, beginning with a tantalizing guitar riff before morphing into a proper arena rock singalong ballad about moving on after heartbreak. “Lachryma,” along with its equally catchy predecessor “Satanized,” highlight Tobias Forge’s affinity for pop songwriting without compromising the intrigue and expertise he has built in the hard rock and metal department. If there’s one thing about Ghost, it’s that melody is king and “Lachryma” is an earworm that will continue to tickle long after the needle stops.
– Skyy Rincon
12. Yungblud – “Zombie”
Departing from his usual pop-punk sound, “Zombie” explores a different side of Yungblud. This track offers listeners a moody and stripped-back ballad that leans more on acoustics rather than high energy electric guitar and drums. This emotionally vulnerable and raw ballad explores ideas of getting older, doubting oneself and feeling numb and “zombie-like” in the digital age. This track is perfect for anyone who has felt that they are stuck between online life and reality, which is a common theme for these days. This track feels intentional and mature, and Yungblud truly makes his audience listen to what he’s saying.
– Kaleigh Perez
11. Wet Leg – “Mangetout”
The sixth track on their album moisturizer, Wet Leg’s “mangetout” is the epitome of the UK band’s experimental flair and rock capabilities on their 2025 LP. As the halfway point of the collection, it makes an indelible mark with its sharp electric guitar lines and anthemic qualities. Similar to its predecessor tracks, Teasdale is clever and confident, putting Trevor in his place with soothing vocals that are just shy of being too sly. With a jagged chord structure that transitions into a full blown garage band-esque jam, it’s one of their loudest tracks – and for that, one of their best.
– Kara Nichols
10. Wednesday – “Elderberry Wine”
“Elderberry Wine” was the first single released on Wednesday’s latest album, Bleeds. It has a rustic sound, created by a pedal steel guitar and Karly Hartzman’s ability to skip notes while singing with a tone that is full of folk and country bells. The song’s name comes from the idea that, just like elderberries, good things in life can become poisonous if not tended to correctly. Love is one idea that fits that theme, and even the purest champagne can still taste like bitter elderberry wine. It is full of lines that leave butterflies in your stomach, but not the kind that come from the excitement of a new love. Instead they are the ones that have transformed from that disquiet place evoked by the song’s way of evoking flashbacks that bring a pang of nostalgia. “Elderberry Wine” embodies the delicate balance in which a relationship needs to work.
– Eve Pierpont
9. FKA Twigs – “Striptease”
“Striptease” stands as one of EUSEXUA’s most arresting tracks, transforming vulnerability into confrontation. Using disrobing as a metaphor for emotional exposure, the song peels back layers of desire and pain with deliberate intensity. The production mirrors this unraveling, moving from hushed, sensual passages into a ferocious drum & bass-driven climax. Twigs’ vocal performance anchors the track, shifting from breathy restraint to soaring emotional release in lockstep with the song’s escalating structure. Critics have highlighted “Striptease” as one of the album’s boldest statements, praising its ambition and visceral impact. While its structure may initially feel disorienting, the payoff is substantial. “Striptease” encapsulates Twigs’ rare ability to merge conceptual art with raw, replayable music.
– Olivier Fluchaire
8. Nine Inch Nails – “As Alive As You Need Me To Be”
“As Alive As You Need Me To Be” earns its #8 spot by feeling like the final stage of a virtual battle you didn’t realize you were fighting. If Tron: Ares is remembered for anything, critics agree it’s the music, and this track is one of the key forces doing that heavy lifting. Monumental and cinematic, it recalls Nine Inch Nails’ Year Zero era, especially “Survivalism,” with oppressive synths, razor-sharp percussion and grave-digging drums driving the tension forward. Reznor’s vocals are commanding and hypnotic, anchoring the chaos with eerie precision. The song’s dark, moody energy envelops your frontal lobe, flooding your senses into submission while still leaving room to express its layered intensity through movement, making it a dance track in its own industrial way. Subtle Daft Punk nods surface in the infectious “yeah, yeah, yeah” refrain that gives the synths a brief breath before they come crashing back in. By the end of the track, you’re downloaded into the world of Tron and are front row at a Nine Inch Nails concert in the digital void.
– Nile Ross
7. Amy Lee, Poppy, Courtney LaPlante – “End Of You”
“End Of You,” is the triple threat single, you don’t want to miss! This first-class trio consists of the beloved, ethereal siren from Evanescence, Amy Lee, new wave’s metal princess, Poppy and standout lead singer, Courtney LaPlante, from the Canadian, heavy metal band, Spiritbox. This raw, melodic song allows each vocalist to not just, “shine,’ but to contribute their own emotions and creative minds to the record. Easier said than done, this 3-person, storytelling narrative beautifully accomplished a cohesive and dynamic song, which seems like the next step forward in the evolution of songwriting and future collaborations. A song about rebirth after the fire and finding the nerve to rise from the flames, “End Of You,” tackles all the different kinds of painful sequences, self-reflection and/or judgement, and can, as the song’s lyrics suggest, “crystallize,” as in your life. From rage to grace to pain and back up to mind, these three leading ladies leave no stone unturned.
– Mikabella Katerina
6. AVTT/PTTN – “Heaven’s Breath”
The third song on AVTT/PTTN’s album AVTT/PTTN, “Heaven’s Breath,” brings an ’80s movie soundtrack with a dash of Halloween. A techno, pop, dance, funk blend? This collaboration can be whatever you see fit. With a mixture of synthetic beats and sound boards, this song is the first on the album to show how much range this newfound band has. Sonically, this song is versatile but stays consistent with its personality. Whatever time period we want to jump back into, we have the power to do so. “Heaven’s Breath” gives us a breath of what we are no longer living in, but is sought in various parts of the media.
– Nicole Sacks
5. Lily Allen – “Fruityloop”
“Fruityloop” emerges as one of West End Girl’s most affecting moments, serving as a restrained yet emotionally devastating closer that lingers long after the album ends. Built on soft, unassuming production, the song uses its title as a metaphor for cyclical, self-destructive relationships, those endless loops where unresolved trauma, addiction and emotional immaturity make genuine intimacy impossible. Allen’s lyricism is characteristically blunt but noticeably fatigued, tracing dependency, inherited wounds and the slow realization that love cannot repair someone unwilling to confront themselves. What gives “Fruityloop” its weight is its emotional pivot. After an album dominated by self-scrutiny and quiet desperation, the refrain “it’s not me, it’s you” lands not as a deflection of blame, but as an act of self-preservation. It marks the moment Allen steps out of the loop, acknowledging shared dysfunction while refusing to shoulder responsibility for another person’s chaos. Subtle references to sobriety and emotional survival reinforce this clarity, grounding the song in lived experience rather than melodrama. Rather than offering catharsis or revenge, “Fruityloop” closes West End Girl with calm resolve. Its restraint, lyrical precision and emotional honesty have helped cement it as one of 2025’s most quietly powerful songs.
– Olivier Fluchaire
4. Turnstile – “Birds”
Confidently landing in at number four, “Birds” is the eleventh track and second single off of Turnstile’s acclaimed 2025 album Never Enough, which landed at number four on mxdwn’s list of 2025 Top Albums. Somehow managing to be both reminiscent of their earlier, strictly punk sound while still expanding on the exploration of genre they have come to be known for since their 2021 breakthrough album Glow On. A fifty second intro with influences from ambient noise music opens, as percussionist Daniel Fang builds pressure and anticipation until it explodes into classic Turnstile; Loud, fast, intense and full of energy. Furthermore, the song is a testament to Turnstile’s longstanding love and commitment to the community they have built. Building upon the vulnerable sentiments surrounding insecurity and heartbreak from the beginning of the album, on this track vocalist Brendan Yates sings bluntly but clearly, “Finally I can see it / These birds aren’t meant to fly alone” after the song’s signature breakdown and tempo change. This dichotomy, the tension between the unyielding instrumentation, loud and punching vocals contrasting with the lyric’s tender, rather compassionate message, is Turnstile at their very best, which they have clearly honed in and perfected on “Birds.”
– Riley Wilkerson
3. Hayley Williams – “True Believer”
“True Believer” is a chilling track by Paramore’s lead singer, Hayley Williams. As Williams dives into being a solo artist, she tackles new themes in her songwriting that may have not been explored within the confines of the band, and one of those themes is Southern Baptist church ideologies. During the verses, Williams sings in a deeper register over spiraling and haunting pianos, putting religious hypocrisies on display with lines like “They pose in Christmas cards with guns as big as all their children.” The way she sings is intentionally lifeless, almost like all of the hope and dreams for a better future has been sucked right out of her. It’s impossible not to highlight Williams’ powerful performance of “True Believer” on The Tonight Show with Jimmy Fallon. Hiding behind an electric piano as an orchestra of Black musicians take the spotlight, Williams enunciates every lyric with a purpose. During a very specific time when late night hosts were in hot water for commenting on the political landscape of the country, it makes choosing this song to perform on such a massive platform more meaningful. “True Believer” is not only an incredible track within the context of an album, but it breathes a solace truth taking comfort in the sorrow.
– Greg Poblete
2. HEALTH – “Shred Envy”
“SHRED ENVY” kicks off with an unassuming, atmospheric intro before descending into a high octane, catchy crescendo that makes you want to dance, mosh, headbang, thrash about… just about anything goes really. As the obvious sibling to 2023’s “DSM-V,” it is also one of the heaviest songs on the album. It maintains that glorious balance that HEALTH strikes so well in their music, creating something that would be as welcome in a club as it would in a pit. The rumbling outro phases out in a serpentine fashion, as if taunting you to hit replay. Lyrically, the track touches upon the theme of regret and how to live with the things you have said and done in the past that continue to haunt you. The chorus’ anxious message might also be relatable to anyone with a less than positive view of current affairs and the state of the world right now: “Wish I’d never been born / I wouldn’t worry so much / Nothing I can do / I can’t take it back.” “SHRED ENVY” is a perfect outlet for those looking to vent their frustrations, anger, pain, hurt, and general discontent with modern life. Just know that the digital void will scream right back.
– Skyy Rincon
1. Perturbator ft. Ulver’s Kristoffer Rygg – “Apocalypse Now”
Apocalypse Now blends classic rock textures with echoing guitars and pulsing synths, creating a sound that feels both timeless and futuristic. Perturbator and Kristoffer Rygg’s voices are weathered and familiar, like narrators who already know what comes next. The song unfolds dramatically, less a traditional structure and more a proclamation. It feels like the opening scene of something vast and dangerous, where momentum builds before the first decisive moment arrives. There is excitement here, a surge of energy that prepares you for a journey forward, but it is always shadowed by fear. The music acknowledges the cost of action and the dread that comes with recognizing real consequences. The title feels literal, as if this is the sound of entering an ending. Not destruction itself, but the moment when denial fades and choices become unavoidable. Emotionally, it echoes the idea of a war to end all wars, suggesting that peace is not passive, but earned through reckoning. There is no glorification of conflict, only necessity. The track feels dystopian and cinematic, like a broadcast transmitted just before collapse. By the end, you are not comforted but awakened, braced for what follows. It stands as an announcement and a threshold, marking the beginning of the end, where courage and fear coexist and forward motion becomes the only option left. “Apocalypse Now” feels particularly timely within the context of the current state of the world, its themes echoing the cries of a dystopian future and a historical past all at once.
– Claire Yancey
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