By Kayla Harper

What started out as a slow year in terms of new releases ended up producing some of the best new albums in a long time. 2025 brought attention to a lot of new artists, or artists who previously haven’t been in the spotlight, as well as the reemergence of classic acts like Lady Gaga, Lorde, Pulp and Bon Iver. However, the most surprising release of the year was from one of the biggest names in music – Taylor Swift.

Most Surprising

I don’t think anyone was expecting a new release from Swift so soon after she wrapped up the Eras Tour aka the biggest tour of all time, and just over a year after her previous double-album release, The Tortured Poets Department: The Anthology (2024). Since signing with Republic Records in 2018, Swift has taken her career into her own hands: creating and releasing music when it feels right rather than adhering to a strict schedule; re-recording her first six albums in order to regain ownership and make a statement about artists’ right to own their work; the result has been seven new albums (Lover, folklore, evermore, Midnights, The Tortured Poets Department, The Anthology and The Life Of A Showgirl) in seven years which is the more than she made in the first eleven years of her career with Big Machine Records (Taylor Swift, Fearless, Speak Now, Red, 1989 and reputation). Generally I don’t think the quality of Swift’s work has depleted as a result, if anything it’s gotten better as she takes full creative control…until The Life Of A Showgirl (2025).

Most Disappointing

The Life Of A Showgirl was not only the most surprising this year because it was unexpected, it was also really disappointing. Aesthetically, the album is stunning with detailed imagery and visuals – brought forth by Mert Alaș and Marcus Piggott who previously worked with Swift for reputation (2017) – playing into the cabaret showgirl theme. However, sonically, it’s Swift’s blandest project yet. Despite the success of her previous work with Max Martin and Shellback (Red, 1989 and reputation), the production on this record is where it drags the most. So much so that even having some of the highest melodic tension and vocal dynamic of Swift’s discography, the production surrounding it is so boring that it barely stands out. To make it all that much worse, the lyrics, especially in the second half, feel rushed, lazy and just barely touch on the showgirl theme that was anticipated. Swift’s overexcessive use of Gen-Z slang terms and carelessly placed curse words overshadow any of her lyrical genius that did exist on this record. While there are some songs that definitely had potential, the production ruined any chances they had.

Most Popular

Aside from the most surprising and disappointing release of the year, there were a lot of albums that people generally agreed upon – innovative new sounds and experimental classics, the list of what was most popular this past year isn’t based on charts, awards or sales (well a little on sales), but on what I personally observed in the online community, in person, and most importantly at work. Working at a record store gives you a good idea of what is popular and what’s not based on what sells, what’s most requested, etc. Of course this can vary between stores and regions, but this year it was generally consistent, across North America at least. Among what have become classic acts like Lady Gaga’s Mayhem, The Weeknd’s Hurry Up Tomorrow and Hayley Williams’ Ego Death At A Bachelorette Party; to artists such as Turnstile’s Never Enough, twenty øne piløts’ Breach, Ethel Cain’s Willoughby Tucker, I’ll Always Love You; the resurgence of acts like Lorde with Virgin and Pulp with More; and lastly, newer artists or smaller artists finally getting the recognition they’ve deserved like Geese’s Getting Killed, Wet Leg’s Moisturizer and Olivia Dean’s The Art Of Loving. All of these records were flying off the shelves all year long, heavily requested in store and talked about in the music community.

TOP TEN OF 2025

I started creating Off The Record over three years ago, but officially launched it two years ago today, my first article being the Top Ten Records of 2023 (based then more on popularity than opinion). However, since then it has become a tradition for the last/first article of every year to be the top ten albums of the year/previous year. It’s slowly strayed away from a generalized list based on popularity and charts, to a personal list, providing an opportunity for me to be vulnerable about the new music that resonated most with me over the past year.

Top Five Honourable Mentions:

These ones almost made the list, but didn’t quite make the cut. However, they still deserve a moment to shine!

5. City Of Clowns – Marie Davidson | February 28, 2025

I wouldn’t have heard this album if it weren’t for working at Turn It Up! Records and Hi-Fi, this became one of our favourites to spin in-store.

4. Something To Consume – Die Spitz | September 12, 2025

A refreshing blend of pop-punk with hints of nu-metal, reminiscent of the early 2000s. Bonus points because we love girl groups and Third Man Records!

3. Burnout Days – Flipturn | January 24, 2025

Literally only started listening to this album this month because a friend recommended it, but it’s solid front to back and has been played frequently since.

2. sable, fAble – Bon Iver | April 11, 2025

I was absolutely obsessed with “S P E Y S I D E” and the EP Bon Iver put out last year which makes up the first half of this album. The rest of it did not disappoint, although it still doesn’t come close to my favourite releases from him (Bon Iver, For Emma, Forever Ago, and Blood Bank).

1. The Crux – Djo | April 4, 2025

Djo’s sophomore release Crux was a step up from his first album, Decide, being all around more cohesive, and establishing his own unique style. I liked it even more after hearing him play some of the tracks live when opening for Gracie Abrams in Toronto.

TOP TEN

Please keep in mind I adore all of these albums and ranking them is really difficult, I don’t really believe in rankings as mine always change depending on how I’m feeling in the moment, but I tried my best (top three tracks from each album are not ranked, in the order they appear

10. Mayhem – Lady Gaga | March 7, 2025

Lady Gaga’s Mayhem was easily my favourite release of hers since her 2008-2013 era. It felt like a resurgence of 2000s/2010s dance pop in the best possible way, featuring irresistible hooks enhanced by the undeniably clever production. It’s classic Gaga and brings me back to early albums of hers that made me fall in love with pop music when I was a kid.