2025 saw the release of numerous phenomenal albums across various genres. Whether it is a top-charting, star-studded record or an indie artist on the way to stardom, Clover Hill students and staff share their favorites.

Mr. Rahman (History)
“Virgin” By Lorde. Released 06/27/2025

Teetering on abstract, Virgin is a compellingly meditative pop art album that celebrates both the sublime and flawed elements of passion. This is my pick for album of the year because Lorde foregoes all extrinsic motivators to celebrate the “wires” within every person and guide their experiences. From ruminating on her relationship with her own physical body to exploring her emotional wellbeing as one person within a world of social affairs, Lorde captures the process of understanding her own identity; the album sonically is minimalist and yet it is industrially abrasive as is most evident on the opener, “Hammer.” Visually, the cover art boldly displays an X-ray of her pelvis with an IUD, immediately posing questions about body autonomy, femininity, and transparency. Lyrically, the album poses the question of what experiencing something even means and how that subjectivity can shape who you are as a person. I appreciated how “Man Of The Year” challenges conventional ideas regarding gender identity, instead opting to view femininity and masculinity as something that shifts within a person depending on what they are doing. Similarly, album standout “Shapeshifter” ethereally conveys the idea that people will transform who they are to fit in with others and simultaneously avoid true intimacy. She recurrently discusses romantic relationships and familial relationships with a focus on how conformity to norms distracts people from complete vulnerability. For instance, “Current Affairs” overtly and controversially references Pamela Anderson’s infamous leaked video to question public intrusion onto the dangerous “edge” of one’s own passion and intimacy. The album’s poignant closer “David” references Michelangelo’s famous sculpture of David to criticize how the public projects symbolic ideas onto it instead of allowing the clay/marble allow David to contain meaning in itself. Amazingly, Virgin shines because this unapologetic dissection of exploring personal identity is met with unfettered optimism and a sensitive desire to grow by getting older and develop new feelings through new experiences.

Mr. MacMullen (Science)
“Big Money” by Jon Batiste. Released 08/22/2025

Big Money is my album of the year because it sounds like true Americana, rooted in where American music actually comes from. Jon Batiste is drawing directly from blues, gospel, early jazz, and old school folk, reminding us that this music was invented and carried forward by people of color.

The key to this album is in the core beats and rhythms he uses throughout the track list.  They’re all reminiscent of classic themes and melodies that pop up all across the Great American Songbook.  Songs like “Do It All Again” and “Maybe” lean into piano, voice, and space, letting the music breathe the way soul and gospel always have. The title track, “Big Money,” uses a classic American groove to question ambition and values, echoing the moral storytelling of old blues records. 

This album quietly reclaims Americana. Batiste doesn’t explain the history — he plays it. You can hear the Black roots that shaped folk, country, jazz, and rock woven into every song.  And yet, he’s created an album that fits any ear that listens to it, black white or otherwise.  It feels honest, lived-in, and intentional. 

That’s why Big Money is my album of the year.

Ms. Barnett (Art)
“Twilight Override” by Jeff Tweedy. Released 09/26/2025

Jeff Tweedy is a singer-songwriter and frontman of the American indie rock band Wilco. I’m a huge fan of both his solo music and his work with Wilco for writing songs that feel personal and reflective without trying too hard. As an artist myself, I’ve always appreciated his ability to experiment while staying honest and grounded in his songwriting. Twilight Override is his third solo album, and it explores themes that feel important to both strong storytelling in music and the depths of my own musings…everyday life, aging, creativity, human connection, and an honest engagement with the world during uncertain times. I’m a huge fan of lo-fi music, especially work that avoids overproduction or gimmicky sounds, and this album delivers. I would describe it as a blend of modern folk, indie, acoustic, and jazz-inspired indie rock. This album is my 2025 choice because I heard the single “Enough” this summer during a moment I distinctly remember…the kind that sticks because it has the perfect soundtrack.  This song wraps up the album with a sense of nostalgia and curiosity about what it means to be human. Overall, Twilight Override is a great mellow soundtrack for a long drive or staying up into the late, quiet hours of the night painting, drawing, and reflecting on whether or not “Has it ever been enough? Has it ever been okay? Have you ever felt full at the end of the day?”

Mr. Brown (English)
“The Straight Line was a Lie” by The Beths. Released 08/29/2025

New Zealand indie rockers The Beths, have hit their stride with their fourth studio record, “The Straight Line Was a Lie,” Infusing elements of jangle-pop, power-pop, and folk, the Auckland quartet delivers a hard hitting, yet tender, 43 minutes of music that showcases vocalist and guitarist Elizabeth Strokes’ dynamic songwriting. Songs like “The Straight Line was a Lie,” “Metal,” and “No Joy” become instant earworms, adding more ammunition to The Beth’s already incredible singable catalogue, while “Mosquitoes” and “Mother Pray for Me” slow it down and add a touching and nostalgic depth to the record.

Honorable Mentions: “A Welcome Kind of Weakness” – Runnner,  “Bleeds” – Wednesday, “Tuesday Paper Club” – Brògeal, “Getting Killed” – Geese, and “Baby” – Dijon

Miles Sweeney (Senior)
“Riviera” by The Hellp. Released 11/21/2025

Riviera by The Hellp is the electronic duo’s second studio album, encapsulating the essence of the Southern Californian coastline through cathartic synthesizers and gentle melodies. The duo, composed of Noah Dillon and Chandler Lucy, have been criticized for their pretentiousness, being characterized as 30 year old, leather jacket wearing, Los Angeles creatives who make music best described by niche internet buzzwords like “indie-sleaze” and “bloghouse.” Despite their controversial image, the duo has worked above their labeled stereotypes by making innovative and novel music that has created a significant influence in the underground. Riviera shapes the duo’s sound from the upbeat and emphatic songs of their 2024 album LL towards the relaxed melodies of songs like “Doppler,” “Country Road,” “Cortt,” and “Pray to Evil,” while still including The Hellp’s distinctive powerful refrains. The track “Meridian” exhibits the duo’s youthful and melancholic charm, highlighting influence from bands like blink-182. In a time when mainstream music feels watered-down and uninspired, Riviera offers a refreshing sound that expands upon old ideas and moves the needle forward.

Natalie Cutchins (Senior)
“The Art of Loving” by Olivia Dean. Released 11/26/2025

Olivia Dean is a prime example of classic roots of music being revived by a young artist. At only 26 years old, Olivia is able to release a vintage inspired sound to her vocals that hasn’t been heard in decades. In Olivia’s album “The Art of Loving” in particular, she is able to bounce between joyous, lighthearted music to deep, emotional music in a simple skip of the track. “The Art of Loving” contains 12 songs and has a track length of 34:23. In my opinion, it’s 34:23 minutes too short. Myself, and seemingly the whole world,  can’t get enough of Olivia Dean. This is the album of the year due to its sheer vulnerability, lyricism, and her touch on classic jazz sounds. My personal favorite song from the groundbreaking album has to be “I’ve Seen It.” This song has the best use of symbolism that I’ve heard in years within music. In summary, “The Art of Loving” was an impeccable addition to 2025’s album round up and an asset to bring back music’s historic sound.

Bryce Powers (Senior)
“12” by Westside Gunn. Released 02/14/2025

Westside Gunn is a 43 year old rapper from Buffalo, New York, and is the founder and owner of rap label “Griselda.” Released on February 15th, 2025. 12 is “Westside Gunn’s” 33rd studio album, being a part of the collection “Hitler Wears Hermes,” which is a play on the phrase, “The Devil wears Prada.” Gunn’s discography is packed with braggadocious lyrics, high fashion production, and hardcore themes. Being Gunn’s last album in this series, listeners get to experience both sides of Gunn as an artist with a variety of production choices on this 43 minute album. Starting the 11-track album with grimy production over unique samples on the tracks “BOSWELL,” “ADAM PAGE,” and “VEERT.” Throughout the album, Gunn’s close friend, “Stove God Cooks,” is featured on 5 of the 11 tracks, delivering a hypnotizing chorus on the 4th track, 055, which uses a drumless beat led by a soulful sample. Before my favorite track “GUMBO YAYA.” Which is produced by Buffalo native “Daringer,” With fellow Buffalo native, “Brother Tom Sos” giving a flawless hip hop debut. Before wrapping up the album with “DUMP WORLD” which contains a drumless beat with a choir sample and piano, as Gunn and Stove show their authentic dynamic. Joined together by a beautiful chorus sung by Buffalo producer “Elijah Hooks.” Overall this album is a 9/10 taking the cake as my album of the year. With a few albums coming close such as “Hopefully” by Loyle Carner, “Essex Honey” By Blood Orange, and “ShowBiz!” By MIKE.