The (ex-)WALT studio manager’s top five underground albums of 2025

This year has produced several fantastic albums, from long-awaited reunions in Clipse’s “Let God Sort Em Out” to young artists striving towards new levels of stardom like PinkPantheress with “Fancy That.” These releases and more have received deserved acclaim, though the musical underground has produced an equally prolific amount of good content. 

Defining “underground” is beyond the scope of my word count, though I will use my former title of WALT Studio Manager to declare my arbitrary definition of the term as law and highlight some of the best, under-appreciated projects of 2025.

#5: “Boleros Psicodélicos II” by Adrian Quesada. Known for his Grammy-winning work with Grupo Fantasma and The Black Pumas, Quesada brings his guitar wizardry to a great mid-summer release. 

The tracklist features a different vocalist on each song to compensate for Quesada’s lack of vocals, and this variety brings an equally diverse set of styles throughout the album. This stylistic mix keeps the listener on their toes as tracks vary from the orchestral, Sinatra-esque “Bravo (with iLe)” to the stripped-back ballad “Cuatro Vidas (with Mireya).” 

Some feature-heavy albums feel disjointed, though Quesada’s soulful production and guitar licks construct an instrumental stage for the featured vocalist to shine on. Overall, it’s a well-crafted, pleasant listen, even if the tracks become a tad repetitive towards the end. 

#4: “choke enough” by Oklou. Many experimental projects tend to get lost in the weeds of trying to sound different. However, Oklou puts together 13 ethereal tracks which flow into each other with ease. The layered vocals and instrumentals on “ict” and the titular “choke enough” transport the listener into Oklou’s whimsical, bizarre corner of space. 

The lead single, “take me by the hand” featuring SoundCloud pioneer Bladee, adds Bladee’s typically incoherent sing-talking over the already excellently layered production, making this track a standout. The rest of the album varies in style and quality, but it’s a solid release with high enough highs to validate must-listen status. 

#3: “SALVATION” by Rebecca Black. Known primarily for the much-maligned “Friday,” Rebecca Black has spent the past few years reinventing herself as a legitimate musician. In the wake of “BRAT summer,” Black leans into that hyperpop sound Charli XCX brought into the mainstream. 

Although this album runs for only 21 minutes, it “has no misses,” as the kids say. “Sugar Water Cyanide” is the hit, mirroring the structure of Charli’s “Club classics” with a melodic first half and a distorted, bass-heavy second half. The album ends equally as strong, too, with the closing track, “Twist The Knife.” With its catchy bass line, thumping drums, and wall of harmonies in the chorus, Black comes about as close to Lady Gaga’s “The Fame Monster” as one can get in 2025. A short, but punchy sophomore release from the rising pop star. 

#2: “Pain to Power” by Maruja. For fans of Black Midi or lead singer Geordie Greeps’ solo work, “Pain to Power” comes as a spacier, angrier take on Greeps’ jazz-rock sound (“post-rock,” as music snobs call it). 

The album’s experimental nature demands a dedicated listen, and as chaotic saxophone and screeching vocals pierce the veil of reverb-heavy guitar instrumentals, that dedication results in great pleasure. 

The album’s abrasive Rage Against the Machine-esque lead singles “Look Down On Us” and “Break the Tension” garnered the most attention from fans, though “Saoirse,” “Zaytoun,” and “Reconcile” spark the greatest interest with their more contemplative, yet equally biting composition. Fans of Radiohead might notice similarities to “OK Computer” and “Kid A”; not the easiest of albums to consume, but a soon-to-be cult classic. 

#1: “HYPERYOUTH” by Joey Valence & Brae. Following up their excellent sophomore effort “NO HANDS,” Joey Valence & Brae (JVB) foray into new musical territories with “HYPERYOUTH” and produce the album of the year. 

The duo’s first two projects garnered fame for their modern takes on the Beastie Boys’ unserious, in-your-face charm. However, the opening set of tracks on this project show the duo’s hunger to try something new as well. “BUST DOWN” with Tia Corinne and “SEE U DANCE” with fellow star of 2025 Rebecca Black provide fun dance hits with seamlessly blended features. “IS THIS LOVE” and “HAVE TO CRY” provide more laid-back takes on that club sound and feel straight out of 1994 in the best way. 

The group experiments with new sounds on these tracks and others, though they show that they have not lost their fastball on the mosh pit-worthy “WASSUP” features JPEGMAFIA and an epic remix of Playa Poncho’s legendary “Whatz Up, Whatz Up.” 

Dance albums do not get more complete than “HYPERYOUTH,” as Joey Valence & Brae capture the sound of a 90s EDM classic while sounding equally modern and fresh.