Explore the best albums of the 2020s (so far), based on over 2 million album rankings across 61,000 chartsClick to see how the rankings are calculated.
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"The rise and rise of Geese was definitely one of the most fun things to happen in 2025, even if it wasn't quite as unexpected as Cameron Winter's own explosion in popularity right at the end of the year before. 'Getting Killed' goes way beyond the band's previous efforts, sounding more original t...""The rise and rise of Geese was definitely one of the most fun things to happen in 2025, even if it wasn't quite as unexpected as Cameron Winter's own explosion in popularity right at the end of the year before. 'Getting Killed' goes way beyond the band's previous efforts, sounding more original than 'Projector' and balancing melody and experimentalism better than '3D Country', which were both already solid records. There's a lot to like here, the songwriting is strangely catchy, lyrics have emotional weight without seeming like they're trying too hard, but the real triumph is how Winter's vocals are showcased. He's sounded decent across previous releases and had notably improved by 'Heavy Metal', with this record we're getting a clearer sense of his range, calling to mind artists like Justin Vernon or Anohni at different turns. Also, whilst not going for the gravelly quality of Tom Waits, his vocals remind me more of Tom Waits than anyone else. The result is a record with twists and turns, that can go from the chaos of 'Trinidad' to the sweeter melody of 'Cobra' or from the relaxed feel of 'Au Pays du Cocaine' to the infectious groove of 'Bow Down'.
Inevitably with something this varied there'll be tracks or sections that you like more than others and for me it's the second half where things really come into their own. The final three tracks stand out especially, 'Bow Down', while a bit simpler in its composition has one of the most dynamic vocal performances, going from near spoken word to strained, drawn out notes, a really fun instrumental break caps it off. 'Taxes' just builds and builds as the emotion of the whole things spills over with the line "I will break my own heart from now on". Finally, 'Long Island City Here I Come' carries even more momentum as almost every instrument becomes dedicated to rhythm letting another spotless vocal performance filled with drama and energy take off. Its a perfect place to end an album that makes you wonder what's next."Reply
"Renaissance has a lot of redeeming features, mostly how Beyoncé historicises the disco canon. However, it is also indisputably overhyped, a prime example of the way popstars of the 21st century post-album-distribution hellscape of streaming can waltz into mass critical appraisal with a single for...""Renaissance has a lot of redeeming features, mostly how Beyoncé historicises the disco canon. However, it is also indisputably overhyped, a prime example of the way popstars of the 21st century post-album-distribution hellscape of streaming can waltz into mass critical appraisal with a single foray into big concept driven "high art" full album. Beyonce has proven already with Lemonade that she can be more than a singles artist, so I don't want to suggest that it's entirely bad faith, just more that let's settle at pretty good at best rather than "revolutionary". Moreover, people are and will continue to attach other weirdly hyperbolic triumphalist tags to this – i.e. music as celebration of [insert your choice of really anything] – and that's nice and all, but this really only is somewhat convincing when Beyonce is looking back and celebrating 70s/80s black musicianship, a well trodden path in the last decade. Early tracks like Alien Superstar and Cuff it are perfect examples of modernised disco, they are genuinely fun songs to return to, but god the areas in this indulging in contemporary pop and trap trends, as if they too are – in a way – as iconic as Donna Summer ruin this. Energy is the first completely terrible song, exemplifying the worst of Beyonce-does-Jay Z nonsense. While Break My Soul's sudden interruption of it makes for a very fun opening of the single (which, when initially heard in isolation seemed very cringe), the irony in that opening sample is a little lost by Beyoncé doing it rather than James Ferraro. I think Renaissance starts to get back on track with Virgo's Groove, but the backend of this is littered with sleepfest tracks like Move and All Up In Your Mind, which honestly should have been binned (Virgo's Groove -> Pure/Honey would have been a nice transition). Summer Renaissance's celebration of I Feel Love, which should also retrospectively be a celebration of "Renaissance" – or a track that rationalises why Beyonce needed to do this – just ends up making me want to listen to the original 12" to be brutally honest. Beyonce is at her best in Renaissance when she is subtle rather than overt with the referentiality. It's a record that could open a window to the past for zoomers, but worst case this will date itself quickly."Reply
"It's been a strangely good year for disco influenced music. "Future Nostalgia" is primarily made up of solid jams. I love the reworking of the Olivia newton chorus on "Physical". "Levitating" exudes a rare excitement that makes it extremely pleasurable to listen to. On the more critical side I th...""It's been a strangely good year for disco influenced music. "Future Nostalgia" is primarily made up of solid jams. I love the reworking of the Olivia newton chorus on "Physical". "Levitating" exudes a rare excitement that makes it extremely pleasurable to listen to. On the more critical side I think some of the choruses use a bit too much repetition and Dua Lipa's voice is a bit over produced at times. I also think ending your dance-pop album with a chamber pop song about sexism was not the best decision. Still a rather fun album. "Reply
"Like if FKA Twigs did hyperpop, a dynamic and innovative statement! This album shows her powerful and versatile vocals, which range from breathy whispers to soaring falsettos. Again she blends of pop, electronic, experimental, trip hop, new wave, and traditional music to creating a dynamic sound ...""Like if FKA Twigs did hyperpop, a dynamic and innovative statement! This album shows her powerful and versatile vocals, which range from breathy whispers to soaring falsettos. Again she blends of pop, electronic, experimental, trip hop, new wave, and traditional music to creating a dynamic sound that, while sparse in sections, is in general much more dense than her last record Pang.
The production is top-notch, with layers of synths, percussion, and other sounds that add to the overall mood. Polachek's lyrics are introspective and often deal with themes of love, loss, and self-discovery, adding a personal and emotional depth to the album. The result is a tapestry of sound that captures the listener's attention, with intricate details that make it difficult to decide where to focus."Reply
"You love to see it. An album that I enjoyed enough to write two pages of the track by track breakdowns on. All my favorite songs: This song could’ve flown under the radar in the grander scheme of Weezer tracks but the orchestration is really what pulls everything together. The complex chords are ...""You love to see it. An album that I enjoyed enough to write two pages of the track by track breakdowns on.
All my favorite songs: This song could’ve flown under the radar in the grander scheme of Weezer tracks but the orchestration is really what pulls everything together. The complex chords are so emotional and gosh dang those horns in that last section of the song are amazing. Lyrically it also does a really good job of just prepping you for the theme of the album. This is the only song that examines the idea of people being draining so you look for a way to escape them which is actually really interesting in the larger scheme of the album.
Aloo Gobi: This song sort of takes a look at the monotony of daily life and the anger that comes from wanting your life to be something greater than it is. The song starts with the bombastic orchestra but throughout the songs, the strings pop in and out. Notably on the second verse you really just have piano and vocals to sort of capitalize on the minimalism of daily life. And that refrain of “What is happening to me” speaks volumes from the delivery to the way the instruments accompany it. SMOOTH TRANSITION INTO
Grapes Of Wrath: Now knowing that Rivers is tired of the monotony of his life it makes perfect sense that he would like to take a route of escapism. In this case, that’s through listening to audiobooks. You think he cares? He just don’t care.
Numbers: The heaviest hitter on this album for me. Starting off with really somber strings as Rivers sings about being too short for the team and having an IQ too low for poetry. An obvious knock at his critics that as recently as last week when my favorite songs came out, shot at Rivers for rhyming “bad, sad and mad”. As this line is read our man Pat comes in clutch with the drums to give the song some more drive that is really fitting. After the refrain of “numbers are out to get you”, we are greeted to an amazing soaring chorus reflecting the pain of these criticisms but countering them by seeking solace in others and I think that’s the beautiful message of this song. In the end, the critics are just numbers in a machine and they can’t do anything to come between real feelings between real people.
Playing My Piano: Once again returning to the idea of escapism but this time through music. It’s hard to tell if this is a romanticizing of getting lost playing music for days or a criticism of himself for wishing he could spend more time with his family. Honestly, I don’t see why it can’t be both. It’s a great thing to lose yourself in what you love but you can’t lose sight of the other things that are important in your life. However, this song does a great job of showing what that journey of playing music is really like. It starts off with slow, really heartfelt melodic lines but shifts into a more forward and driving direction as the chorus kicks in and the lyrics reflect just how much he’s getting into playing. “Pounding out the bass singing out the tune, never see the sun like I’m living in my room” incredibly relatable lines for anyone who’s gotten lost in music. The second verse is more of a reflection of once you’re already in that groove as opposed to the start of your sessions.
Mirror Image: This one is a pretty straightforward love song but I think placing it after Playing My Piano makes a ton of sense especially with my theory of that song being a criticism of himself. That’s not even taking into consideration the last few seconds of THIS song where Rivers says something to the extent of being shut out of heaven. That’s a pretty heavy statement to make just once for a few seconds on this album and I honestly don’t want to speculate too much as to why he’d say this but it’s interesting nonetheless.
Screens: The opening piano and strings are instantly catchy and help get the ball rolling for this track. I do like what they were trying to do lyrically on this track but I don’t think it lands as much as the other tracks do. Rivers takes more of “my mate is going through this thing” when actually he’s talking about himself and really everyone I guess. I just don’t think the idea of losing yourself to your phone is shown as great as it is on the rest of the album and this track is especially over before you know it. I like it but it doesn’t make as much of an impact as it could’ve with some more length and personal lyrics.
Bird With A Broken Wing: Along the lines of Eulogy For A Rock Band, we’re taken on a retrospective journey through the musical career of Weezer. I believe the broken wing referring the multiple critical failures the band has had behind them. The cat also is a reference to those same critics who put them down. Through all these experiences though, Rivers hasn’t lost his drive to sing what he has for the world, and I’m so grateful for that. The world is a better place because of his drive to create music for us. I think this song also would’ve been stunning as a closer but I don’t mind that they chose a different one.
Dead Roses: I honestly don’t know what to say about this one. It’s a little more abstract lyrically than the other songs or maybe I’m just stupid. I’ve got some ideas about the lyrics but it’s all very speculative. I do really like the line “beat you until you beg to live” but I’m not confident enough about its meaning to say anything other than, it’s a good track but it could’ve been longer.
Everything Happens For a Reason: I don’t know why this had to be its own song especially since it leads straight into here comes the rain but hey…. Everything happens for a reason.
Here Comes The Rain: A really happy go lucky song about how even after a bad day, good things will come your way. Very fun but once again, not as heavy-hitting as other tracks.
La Brea Tar Pits: A really bitter-sweet way to end the album. Sonically it’s got a resolute and accomplished sound to it but the lyrics reflect a recurring fear of fading into obscurity. This is shown the best at the chorus as the lyrics describe himself sinking to his death and desperately asking for help, yet the strings sound as if there’s nothing to be scared of and that everything will be alright in the end (where have I heard that before) As he continues to sink though we return to the idea of getting help from others. Asking to be thrown a rope as he’s sinking and how the skills of someone else can help him get farther. Then as the album closes we are left with just the orchestra slowing down and resolving into a beautiful chord.
Conclusion: When this album is acting at its most concise it’s insanely touching. The ideas of taking a step away from your obsessions to spend time with those you love and learning to balance the two is an eternal idea that we need to hear. Sometimes life is boring, sometimes people are difficult, and sometimes you get kicked down, but there’s always something or someone good that will come along. Sometimes it’s the love of your life, and sometimes it’s just a really good book. The flow of this album is also something to commend. Everything feels in its right place and while other tracks shine much brighter than others, that doesn’t make the weaker ones bad at all. Also, orchestra and Weezer were meant to be.
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