Staff picks/album blurbs by Beau Croxton, Skye Matlock, Blake Peck, Caleb Burkholder, Luke Dumpert, and Mike Golembo as noted.

2025 has surely been an amazing year of music– and one hell of a first year for Occult Magazine.

As the founder and editor-in-chief at Occult, I want to thank you kindly for your support in 2025— we are super grateful for the love in our first year, and we can't wait to expand in 2026.

Make sure you catch our OCCULT 2025 RADIO (Best of 2025) playlist that has tracks from these albums and TONS of other great songs from throughout the year.

Listen here —> OCCULT RADIO 2025 PLAYLIST- SPOTIFY

Or here —> OCCULT RADIO 2025 PLAYLIST - APPLE MUSIC

To wrap up 2025—

I’m dropping my personal Top 5 Albums Of The Year below, and opening up our “Best of 2025” to a list of 30+ albums suggested by our fantastic contributors/staff.

Catch it all below, thanks again, and we’ll see you in 2026!

Beau Croxton

BEAU’S OCCULT TOP 5

ALBUM OF THE YEAR:

GEESE Getting Killed

Deservedly, Geese’s Getting Killed absolutely dominated tin 2025. Like many other New Yorkers, I hopped on the Geese hype-train years ago with their killer debut, Projector, so it's been wonderful to see this great band finally get their flowers on their third official studio LP.

Geese’s iconic hometown street show at Banker’s Anchor on September 27th (the day after the album dropped) was a legendary concert moment to witness nearly front row. The Getting Killed songs sounded even better at Brooklyn Paramount in November, when the entire audience had every lyric down.

Getting Killed is an album that moves with the brilliance of many iconic New York bands that came before Geese, but sonically, the band presents on their own brand entirely; they sound purely like themselves as they blur the line between chaotic art-rock and tender, melancholic indie-rock. The final stretch of “Au Pays Du Cocaine”, “Bow Down”, “Taxes” and the rip-roaring ride that is “Long Island City Here I Come” is easily the most untouchable conclusion to any album I've heard this year.

Some folks these days are wondering what the hype is behind Geese– and honestly, I wouldn't say it is solely from this album. I would say it's the range and progression of the full body of work that is Projector, 3D Country, Cameron Winter’s Heavy Metal and Getting Killed sequentially. All of these releases are outstanding, and the band is leaning into a mature, unique blend of sounds that is unparalleled in indie rock at the moment. The hype was palpable for Geese (and Cameron Winter) before, but when Getting Killed dropped, that excitement became totally warranted and undeniable.

KING GIZZARD & THE LIZARD WIZARD PHANTOM ISLAND

While Clipse and Geese’s records dominated so many major music conversations this year– King Gizzard’s Phantom Island is an enchanting wonder that won my heart as a personal favorite. Now, I tend to be like those avid King Gizzard fans who usually prefer the more loud, energetic, and fuzzy albums— but there’s something truly special and charming about how this record weaves its orchestral magic into its playful and heartfelt classic-rock tunes.

Phantom Island is full of absolute gems that are truly unique to the King Gizzard discography due to the potent collaborative spirit. “Lonely Cosmos” twinkles with interstellar, Bowie-rock string sections and Beatles-esque whimsy, “Silent Spirit” is unbelievably rich, swanky and retro with its vibey muted trumpets and soothing brass, and “Deadstick” is a smash that finds Ambrose Kenny-Smith and Joey Walker delivering their most impassioned, bluesy, Tina Turner-esque belting, amongst some booming Sam & Dave style horns.

“Grow Wings and Fly” has been embraced as a jovial anthem for the group. But for me, it's the elaborate title track of the album that serves as the magnum opus of the band’s past few records. The title track sounds like one of King Gizzard’s trademark masterpieces reimagined with the classical wonder of Disney’s Fantasia. “Phantom Island” is a marvel of a tune that is overflowing with brilliant string sections and brass arrangements, and the whole album is a vivid and gorgeous journey that is best enjoyed top to bottom. Hearing the album performed in full at Forest Hills Stadium last summer with The Orchestra of St. Lukes was pure magic.

CLIPSE LET GOD SORT ‘EM OUT

The rollout for Let God Sort ‘Em Out had all the hype you could possibly imagine. We have seen it a million times– an old-school hip hop group is coming back with a new album after many years, and they swear it's a “return to form”. 99 times out of 100, these returns never match the hype, but Clipse overcame that stereotype with a resounding triumph. To me, its easily the best rap comeback album in nearly a decade since A Tribe Called Quest’s We Got It From Here…Thank You 4 Your Service.

The tracklist is brilliantly designed: “Birds Don’t Sing” is a left field, heart-wrenching, and powerful opening moment. That opener allows “Chains and Whips” (with Kendrick Lamar) to stomp in as tough as nails, and Lamar’s verse finds him chasing such wild flows that it feels like he’s leaving Earth. Tyler, The Creator and Malice absolutely demolish “POV”, and by the time the insane banger “Mike Tyson Blow To The Face” pops up, it’s clear that this album is an absolute embarrassment of riches.

Let God Sort ‘Em Out had a rollout that was confident, calculated and precise for a damn good reason— it’s an absolute rap blockbuster.

FREDDIE GIBBS & THE ALCHEMIST ALFREDO 2

Freddie Gibbs & The Alchemist's first Alfredo album was heralded as a gritty cult-classic during the pandemic. Alfredo 2 lives up to the standard set by the original: Freddie is in fine form with diverse flows and The Alchemist’s beats are leveled up. This time, they manage to not simply rehash old glories: The Alchemist takes a step away from grit and leans further into exotic jazz fusion and dusty, retro instrumentation for a new aesthetic– it sounds like a soundtrack to a Tarantino-esque, Japanese gangster-flick.

“1995” glistens right away on a sleek sample from “El Cielo En Tus Ojos” by Grupo Carrusel. The Alchemist brilliantly incorporates (not one but two) more songs into “1995” by the Spanish jazz-prog group Iceberg: he sprinkles in scorching lead guitars from “Crisàlide”, which come head-to-head with descending piano lines from “Riu D’Agost“. These elements collide in a beat-switch when Freddie’s flow catches fire about half way through– and that proper sauce is only a snapshot at 1 of 14 great tracks.

Alfredo 2 boasts a highly consistent and cohesive tracklist, and the rich aesthetic is so irresistible that it makes you feel like a million bucks. It's my most re-played album this year– because every time is a good time for Alfredo.

AUTOMATIC - IS IT NOW?

Automatic’s Is It Now? is a total banger of a record— and while it was very well received, I still think it may be one of the more underrated or overlooked records this year, because it had the tall task of releasing on the same day as Geese’s breakthrough LP Getting Killed. But I will attest that September 26th was the best release day of 2025 because of (both) the release of the fantastic Is It Now? and Getting Killed.

One listen to Is It Now?, and you will lose count of all the songs that are must-adds to your rotation. The lyrics are an essential “sign of the times” atop the most infectious ESG-like beats and Gary Numan-esque synths. From the dark & hypnotic lullaby “Black Box” to the Suicide-on-speed battlecry “Terminal”, the record almost feels like a greatest hits for this highly consistent, reliable and ultra-cool group. “Mercury” might be their most infectious banger yet, although picking favorites feels kinda wrong in such a stacked, catchy and consistent tracklist.

OCCULT STAFF PICKS for BEst of 2025:

WATER FROM YOUR EYES - IT’s A BEAUTIFUL PLACE

There is something thrilling about how unsettled and playful this record feels. It constantly shifts shape, bouncing between sincerity and abstraction in a way that keeps you alert. I found it exciting because it never lets comfort turn into complacency.

Blake Peck

OSEES - ABOMINATION REVEALED AT LAST

Abomination Revealed at Last is like if the intensity of A Foul Form and the Devo-esque new wave/punk rock of Intercepted Message had a devil baby… a devil baby whose screams echoed fuzz and wah-wah. This record’s political undertones set the stage for a perfect facsimile of what I’m sure many of us are feeling in this current political climate. Also, as a drummer myself, Paul Quattrone’s decision to use a floor tom as a kick creates a flat-yet-stiff punch that cuts surprisingly deep.

Luke Dumpert

BRONCHO - Natural Pleasures

The nostalgia threaded through Natural Pleasure has made it my most-listened-to album of 2025. The hypnotic flow from track to track carries you through an airy atmosphere, backed by production that’s intentionally raw yet still crisp. I don’t know how BRONCHO will top this… (though I said the exact same thing with their album before this.)

Skye Matlock

Rosalía - LUX

A few sentences isn’t nearly enough to explain the intricacies of this album, but in the most plain way possible, I can only describe it as an absolutely beautiful piece of musical art. And that’s really what LUX is, it is art. It is not meant to be consumed just casually in the background— this is a work of art in which Rosalia sings in 13 different languages and styles ranging from Pop to Opera. You really ought to listen to this with noise cancelling headphones on full blast while sitting on a rooftop overlooking a sunset and pondering life. This needs to be radiating throughout the Metropolitan Museum of Art as you’re looking at 16th century Baroque paintings. Not often does an album come along that is so unique that it stops you in your track from the first song. I would venture to say that this is the most musically beautiful album since Blonde.

Mike Golembo

PUZZLE - DAMAGE COLLECTION

A collection of modern art rock that's sure to either liven up your day, or ruin it. Fletcher Shears (of The Garden) shows us once again how pop can still be explored more thoroughly in the current climate of popular music.

Caleb Burkholder

VIAGRA BOYS - VIAGR ABOYS

2022’s Cave World was such a home run for Viagra Boys that all they really had to do with their next LP was keep up the good work. They sure delivered– their (sorta) self titled album Viagr Aboys has plenty more where that came from. From mocking self-appointed health gurus on “Pyramid of Health”, to feeding their fans with more epic weiner dog material on “Uno II”, this record is a seriously fun banger and then some. Shrimptech 4 life.

Beau Croxton

BAD BUNNY - DeBÍ TiRAR MáS FOToS

This is probably my favorite album of the year, though admittedly, I am biased due to my great love of the superstar who is Bad Bunny. Truthfully, I can’t give a lyrical breakdown of this album, but what makes Bad Bunny and this album so special is that you don’t need to know what he’s saying to get immersed in the musicality and rhythm of DtMF. It’s a love letter to Puerto Rico inspired by the various musical styles and genres that originated on the island. While “NUEVAYoL” is certainly a standout on that makes the club go crazy, my personal favorite song is “LO QUE LE PASO A HAWAii” due to the continuous build of the beat that ends with a beautiful instrumental crescendo and Bad Bunny’s deep bellowing voice— it gives me goosebumps every time.

Mike Golembo

MIKE - SHOWBIZ!

MIKE sounds more comfortable than ever here, like he has stopped fighting the frame and started bending it to his will. The beats feel loose but heavy, and his writing carries a calm confidence that sticks with you long after the track ends. It is introspective without feeling closed off, which makes it easy to live with.

Blake Peck

SQUID - COWARDS

Cowards by Squid is very reminiscent of some Talking Heads deep-cut that guy at your local record store won’t shut up about. This record is a nice change of pace for the group as they navigate a much softer, more orchestral sound than releases previous. Still, Squid finds the time to explode the listener’s mind and ears with tracks like “Crispy Skin. “

Luke Dumpert

TY SEGALL - POSsession

This feels like Ty Segall at his most distilled, as Possession proves that strong songwriting can stand on its own without excess. Even on the subway in the dead of winter, the stripped-back instrumentation paired with Ty’s vocals takes me to a warm place on the West Coast while listening.

Skye Matlock

PANDA BEAR - SINISTER GRIFT

I consider this album a psychedelic western. This is an album that you play while walking through the desert under a different kind of consciousness…

Caleb Burkholder

GELLI HAHA -SWITCHEROO

I discovered this magical little record only this month, but I really wish I had been introduced to it around summer when it dropped for a proper review— it’s such a sunny, sugar-coated, and bubbly record. Regardless, it’s been on repeat and came very close to my top 5 of ‘25.

It reminds me of an easier time back in the early 2010s when Grimes’ Visions was all the rage, (can you believe?) and St Vincent’s wacky alien synth-sounds on Strange Mercy and her self-titled album dominated my headphones. Switcheroo is a quirky and colorful dance-pop album that is so free and fun, it's like a carnival of playful vintage synth sounds. Bless up the Gelliverse– our world desperately needs more whimsy nowadays, and now there’s plenty to dig into on Switcheroo, thanks to Gelli Haha.

Beau Croxton

EL MICHELS AFFAIR- 24 HR SPORTS

This record feels effortless in the way only something deeply intentional can. It sounds like late night television glow, vintage funk muscle, and modern restraint all moving in sync. I kept coming back to it because it rewards quiet listening and never overstates its cool.

Blake Peck

LILY ALLEN - WEST END GIRL

The kind of artistry that shines through Lily Allen’s lyrics has always been something I long to see more of in pop music. The vulnerability of these tracks never crosses into melodrama, keeping the listener fully present instead of uneasy. After West End Girl ‘s success, I’ll definitely be keeping an eye out for more emotional risk-taking in 2026’s pop releases.

Skye Matlock

PACHYMAN - ANOTHER PLACE

This album feels like a mental reset button. Dubby, spacious, and gently hypnotic, it creates its own atmosphere without asking too much from the listener. I loved how it makes time feel slower, like you are briefly somewhere else but fully at ease.

Blake Peck

TAME IMPALA - DEADBEAT

Every five years, Kevin Parker blesses the world with a new Tame Impala album, and Deadbeat did not disappoint— at least for me, personally speaking. In his club music era (who isn’t these days), Tame Impala (yes, Tame Impala is just one guy) gave us an album filled with progressive house like on “Not My World” and “Ethereal Connection”, but also some certified earworms and what may be my song of the year in “Dracula”. Though Deadbeat is not so well received by some of his hardcore fans, this venture away from his indie psychedelic rock and into the house music realm was a refreshing evolution of Tame Impala’s sound that brought with it lots of head bops and multiple replays.

Mike Golembo

LITTLE SIMZ - LOTUS

This record shows some great range from Simz, and brings many of the best vibes from her past few releases into one. The afrobeat vibe from SIMBI is expanded in “Lion”, the emotional resonance of No Thank You comes across on tracks like “Blue” and “Lonely”, and the hard hitting edge from GREY area is booming on bangers like “Thief” and “Flood”. Most importantly, Little Simz leaves room for fun and experimental genre-meshing on tracks like “Young” and “Enough”

Beau Croxton

BARRY CAN’T SWIM - LONER

An album that isn’t on many people’s radar, but the real rave-heads know this was a full bop the moment it came out. From the first song, The Person You’d Like To Be, heavy sirens and bass drops take you on a journey to Rave’s End. With heavy influence from Fred Again, you can certainly feel that prominent bassline over sampled loops in songs such as “Still Riding” and “All My Friends”. It’s a great electronic album front to back that has been on replay all year and at the forefront of all of my pregame playlists.

Mike Golembo

FRANKIE & THE WITCH FINGERS - TRASH CLASSIC

It's hard to follow up an album like Data Doom. Nonetheless, Frankie and the Witch Fingers manages to up the ante on every release by turning the dial up on the punk/new wave/garage rock vibe.

Caleb Burkholder

GETDOWN SERVICES - PRIMORDIAL SLOT MACHINE (EP)

With its sarcastic humor and undeniable grooves, Primordial Slot Machine lived in my rotation for weeks after it came out. Wiry synths and clipped guitar lines sound mechanical yet playful, paired with subject matter that never feels too precious, coming together as a non-conventionally compelling EP.

Skye Matlock

LOU TIDES - AUTOSTATIC!

Teeny Lieberson has been serving up top shelf tunes for many years with her prior band TEEN and recently with Sharon Van Etten & The Attachment Theory. Her solo singles and videos as Lou Tides have been excellent, but her debut full length LP Autostatic! is a masterful full picture– it's a stunning, theatrical art-rock thriller that grabs hold of you and never lets go.

Beau Croxton

UNKNOWN MORTAL ORCHESTRA - CURSE (EP)

A dark, morbid take on garage/psych rock. Curse has a peaceful yet heavy presence reminiscent of Black Sabbath. That shadow in the corner of your room that you're scared to fall victim to; UMO.

Caleb Burkholder

KHAKI- HAKKO

Hakko by Khaki reminds me of black midi if they were Japanese— angular rhythms dominate with Pharoah Sanders-tinged freejazz horn sections in the opening track, “裸、道すがら”. This jazz-post-punk-math-rock release is recommended for those who enjoy The Stooges’ track L.A. Blues and Geordie Greep’s album The New Sound - weird, discombobulating… but cohesive, and dare I say beautiful?

Luke Dumpert

TORTOISE- TOUCH

Tortoise remind you why they matter without sounding nostalgic or stuck in the past. The album feels exploratory and patient, full of subtle shifts that reveal themselves over repeated listens. It is the kind of record that quietly deepens your appreciation for craft and curiosity.

Blake Peck

CHRIS LAKE - CHEMISTRY

For those in the edm/rave community, this album was the most anticipated since probably Swedish House Mafia’s release a few years ago. Chris Lake has been a staple for EDM heads for years and he finally released a full banger album right in the middle of summer that led to multiple sold out shows at Brooklyn Storehouse (still bummed I didn’t make those shows). There’s a gradual build in song and drop intensity throughout Chemistry, with heavy lyrics on majority of songs, and it really stands as a great dance and feel good album. The namesake song Chemistry, acts as a turning point in the song sequence as it unleashes back-to-back headbangers in Psycho and Jungle. Lake then proceeds to finish on more mellow and dancey vibes with Satisfy Me and Falling, concluding the best dance album of the year.

Mike Golembo

TYLER THE CREATOR - DON’T TAP THE GLASS

Arriving just a half year after Tyler’s critically acclaimed album Chromakopia, DON’T TAP THE GLASS was a crowd-pleaser that was a perfectly timed surprise-drop in the middle of the summer. From the braggadocious raps of “Big Poe” and “Stop Playing with Me” to the retro talkbox G-funk of “Sucka Free” and the dancefloor filler “Ring Ring Ring”, this album was strictly bops and bangers– and that’s all the summer fun that you need.

Beau Croxton

DOOM GONG - MEGAGONG

This album was such a breath of fresh air to hear. The album initially starts like a breezy summer day floating along a mountainside, but evolves into a crash of garage rock excellence.

Caleb Burkholder

SUEDE - ANTIDEPRESSANTS

This feels like Suede leaning into their emotional instincts with clarity and control. The songwriting carries a sense of release, balancing drama with restraint in a way that feels earned. I came away feeling surprised by how immediate and affecting it was.

Blake Peck

HONORABLE MENTIONS:

Cameron Winter - Heavy Metal

Yes– I know it's a December 2024 record, but it's on almost every other list – so I’m rolling with it in the honorable mentions at the very least.

I truly think that Heavy Metal is what ignited the flame on the bomb that is Getting Killed. It seems that the indie community wholeheartedly embraced Cameron as the next great singer/songwriter with this LP, and worked their way backwards through Geese’s records.

Honestly, I agree- I can not name anyone in their early twenties who is currently writing songs as timeless, beautiful and incredible as “Love Takes Miles” or “Nausicaa (Love Will Be Revealed)”. Cameron is wise beyond his years and sounds like an old soul– Heavy Metal is a beautiful thing.

Beau Croxton

HOLY DEBUT!

There was too many amazing debut albums from new bands and solo artists this year !

We wanna highlight some additional, fantastic debuts from bands (or solo artists) that will have our full attention moving forward.

BEST OF 2025: Occult Top 5 Albums, staff picks and honorable Mentions