The Best Albums Of 2025 (So Far) — Staff Picks

2025 has already brought an impressive collection of albums and EPs that have both captured the hearts of listeners and pushed the industry in ways that feel fresh, thrilling, and unpredictable.

From the return of long-awaited icons or the debut of fresh faces, this year has been overflowing with new music that delivers whatever your heart desires — whether it’s inspiration or rage, comfort or adventure, melancholy or joy. In fact, for us here at Billboard Philippines, it’s been a constant game of catch up as we try to keep up on the new albums dropping week after week.

So, let’s dive straight into our picks for the best albums and EPs of 2025 so far — the records that are making noise and setting the bar high for the rest of the year.

Ruby – JENNIE

This summer, we all found out that we want to rock with JENNIE. Sonically diverse and yet cohesive, JENNIE’s debut album Ruby is certainly a standout release of 2025.

From start to end, the framing of the album is intentional whether in its lyrics or its production. The record is star-studded, as well, in its list of collaborators with “JANE” with FKJ, “Handlebars” with Dua Lipa, “ExtraL” with Doechii, “Love Hangover” with Dominic Fike, and “Damn Right” with Kali Uchis and Childish Gambino.

As JENNIE grows into her transition in developing her solo career, Ruby is the perfect sonic marriage between the Western pop style she has been developing throughout her activities in the States, and her roots in K-pop. — Rome Saenz, Regional Music Writer

Tribute To Thyself – Midnasty

For a release entitled Tribute To Thyself, this long-awaited new full-length from Midnasty could not have had a more fitting name. 

At its core, this seven-track album by the veteran Filipino hip-hop group is a celebration of their music’s legacy. It is held together by the trio’s unmistakable melodic and laidback sound that they have refined for over two decades and counting, with an overall sonic signature that’s just as chill as it is captivating, 

Ultimately, what results is a record that not only feels cohesive but stands out as a definitive release, doing a terrific job of letting listeners know just exactly who Midnasty are today. — Mayks Go, Writer and Photographer

For Melancholy Brunettes (and sad women) – Japanese Breakfast

Japanese Breakfast returns with their highly anticipated third album, and it’s nothing short of a masterpiece. Following the magnificent Jubilee, the Michelle Zauner-led act’s latest musical endeavor dives deep into the melancholic, exploring love, memory, and time. Opening track “Here Is Someone” sets the tone, while lead single “Orlando in Love” draws on Renaissance imagery and longing, inspired by The World of Apples short story collection by John Cheever.

Standout tracks like “Picture Window,” “Magic Mountain,” and “Men in Bars,” which features backing vocals from Jeff Bridges, further enhance the album’s emotional depth. For Melancholy Brunettes (and sad women) is the kind of album you’d play on a late-night drive or while lying awake, contemplating life in the early hours of the morning. It’s the type of record that invites you to get lost in thought. And despite only clocking in at just over 30 minutes, which we wish had been longer, there’s a strong sense of cohesion, with each track serving its purpose on the album. — Ralph Regis, Lifestyle and Culture Writer

BGYO – BGYO

It’s been a hot minute since BGYO last released an entire collection of songs, yet all the time that passed has resulted in what may be their most cohesive (and arguably best) record to date — their self-titled EP. On the five-track record, Gelo, Akira, Mikki, Nate, and JL put their name on the line and deliver.

Blending 2000s boy band pop and R&B with a modern twist, the resulting collection of songs are undeniably catchy from beginning to end. Given the sheer amount of catchy hooks, soaring vocals, and layered instrumentation (particularly on highlights like “Divine” and “Trash”), it’s high time that BGYO finally get the recognition they deserve with this record’s success. — Gab Saulog, Lead Writer

Suyen Imnida – SUYEN

There are few debut EPs that do as great of a job in introducing its maker as SUYEN’s Suyen Imnida. Charged with electricity and youth, the album is a direct parallel to 21-year-old SUYEN’s energy and eagerness to introduce herself as your next favorite indie artist.

There’s a certain nostalgia that follows you throughout the entire listen of the album — maybe in its fuzzy guitar riffs or in its playfully-worded lyrics, but there’s a particularly early-2000s feel to the record. In the EP’s six-track run, as well, SUYEN doesn’t settle for a singular tone, and is rather able to establish a variety of sounds as her own. From beginning to end, this extended play is an exciting preview of what to expect from one of indie rock’s youngest and most promising acts. — Rome Saenz

MAYHEM – Lady Gaga

In recent years, Lady Gaga has dabbled across a variety of genres and sounds, encompassing country, ballad, and her signature dance-pop sound. Her first studio album in five years, MAYHEM, acts as the perfect encapsulation of that fact — melding all these influences into one, cohesive 14-track record that could very well be her best work to date.

MAYHEM perfectly captures the avant-garde aspects of her earlier works like The Fame Monster and Born This Way, yet it keeps these elements fresh with a rejuvenated approach that integrates elements of industrial rock (“Perfect Celebrity), ’70s funk (“Killah feat. Gesaffelstein”), and a whole lot more. The result of the album is an hour’s length of non-stop bangers, even as it transitions into a sweet collection of ballads, such as the chart-topping “Die With A Smile,” the rising hit “How Bad Do U Want Me,” and even the severely underrated “Blade of Grass.” — Gab Saulog

NEVER ENOUGH – Turnstile

When Turnstile released GLOW ON in 2021, It was a listening experience that widely defied the conventions of what modern hardcore punk could, or rather should be. Now, as the Grammy-nominated act makes its return with NEVER ENOUGH, it takes the torch that GLOW ON lit up and makes it burn even brighter. 

From its overarching, synth-laden alt rock soundscapes to the aggression of its hardcore-rooted riffs and drum beats, and the incorporation of brass and flute elements, NEVER ENOUGH is more than just a spiritual successor; it is a spiritual experience of a higher level.

From start to finish, the album is an adrenaline rush brought about by a diverse set of songs that feels nothing less than art being brought to life in poetic, joyous motion. Overall, it’s a wild and colorful emotional rollercoaster ride that I wouldn’t mind getting back on and experiencing over and over again. — Mayks Go

HOT – LE SSERAFIM

LE SSERAFIM’s past two extended plays have dabbled with a variety of genres, yet HOT is what finds the middle ground of what stays true to their artistic journey and identity over the years since its debut. It’s a rare feat to disguise something so personal (and somewhat autobiographical) within a catchy title track, but that’s exactly what the group was able to do with “HOT.” 

By showcasing vulnerability through their craft, the beloved K-pop girl group give their FEARNOTs and casual fans alike a more truthful look behind their carefully-curated onstage personas. Yet aside from the highs of its title track, its other songs infuse a new set of sounds into their sonic palette — whether its the bossa nova-infused pop of “Come Over” or the atmospheric, moody pop-rock of “Ash.” It’s another clear case of their ever-evolving approach to their artistry, giving us a promising look at what else is to come from LE SSERAFIM. — Gab Saulog

BACKSHOTS – Waiian

In all its forms, Waiian’s BACKSHOTS are equal parts well-produced, thoughtfully written, and humorous. True to Waiian’s nature as a rule-breaker, the album is an unpredictable assortment of songs that weaves neatly into a singular coherent record.

With “AUGUST 27,” we’re welcomed into the sonic experience with an immersive skit, where Waiian is being reborn as “Lods.” (We told you, unpredictable!) From there, what we witness is Waiian unraveling his journey with authenticity and self-expression. In spite of referring to himself as “lods” (idol), Waiian bares no pretense of naming himself the best rapper in the game or trying to fight off any “opps.” Rather, we see Waiian for who he is — a musician just trying to make the best of his life. — Rome Saenz

For Years – Kremesoda

Kremesoda’s For Years has been a debut album that’s been years in the making, yet the final product after all this time is one that has been well worth the wait. It’s interesting to note just how different each of the eight tracks on this record sound, especially when compared to the group’s previous singles. 

Gone is the college-like, coming-of-age sound that the band was previously known for, as this record reintroduces them with a ’60s-laden folk rock and psychedelic pop finish that marks their sonic evolution over the time that has passed by. Sure, it pays homage to artists like The Turtles, The Kinks, and even Arctic Monkeys’ most recent works, but the entirety of this album is definitely worth discovering for yourself if you haven’t just yet. — Gab Saulog

The Crux – Djo

The third studio album of Djo, also known as Joe Keery, or everyone’s favorite babysitter Steve Harrington from Stranger Things, is nothing short of a sonic journey into his (sometimes) “lonesome state of mind.” Featuring a bolstering track like “Link,” a Beatles-esque tune in “Charlie’s Garden,” and a worthy closer in the title track, this album is anything but “basic.” Safe to say, Djo didn’t play it safe with this third album, especially after the success of “End of Beginning,” or try to create easy hits just to replicate that success.

With this release, each song sounds a bit sonically different from the others, and we’re glad Djo is focused on crafting an album that shows progression and tells a story with every track. This third release continues his tradition of evolving his sound from his previous two albums, Twenty Twenty and Decide. From here on out, there are no signs of slowing down for Keery and his newfound success in the world of music. — Ralph Regis

Debí Tirar Más Fotos – Bad Bunny

Bad Bunny’s last few albums have been nothing but excellent, yet there’s something quite striking about his latest record, Debí Tirar Más Fotos. Released straight within the first few days of the year, the Puerto Rican musician set quite the bar for any succeeding musical release of 2025 — given its seamless integration of sociopolitical commentary within a cohesive, seventeen-track reggaeton record.

While the album itself is filled to the brim with hard-hitting salsa bops (enough to get you to dance in the club), there is also so much to unpack over several repeat listens. The stellar production all throughout give it a fresh touch that rejuvenates the genres it comprises, while the rapper-singer’s personal ruminations are what give an abundance of depth. — Gab Saulog

Even In Arcadia – Sleep Token

To try and define Sleep Token by a single sound or niche would be a disservice to fully understanding their raw and unbridled artistry. 

There’s a certain kind of sorcery that the masked genre-defying group possesses — a captivating musical tenacity that is evidenced beautifully by their fourth studio album Even In Arcadia. Here, Sleep Token continue to showcase that they can’t be boxed in, blending elements of progressive metal, pop, trap, metalcore, R&B, djent, and more. With this, beyond the theatrics and the lore-rich nature of their origin, the quartet has proven that they are some of the most innovative and unapologetic artists of this generation.

Ultimately, what has resulted from this is Even In Arcadia — a surprisingly cohesive and tasteful mixture of songs, equally emotional as it is hair-raising and nothing short of musical genius at the grandest scale. — Mayks Go

The Firstfruit – MARK

NCT’s Mark has always been known to be diligent and intentional in his music, and his first-ever full-length solo project doesn’t fall short of any of these expectations. With The Firstfruit, Mark takes each listener on a sonic journey throughout his upbringing.

The record is deeply personal, even from its introduction being led by a voice recording of a call shared between Mark and his mother. In its complete run, The Firstfruit captures the ‘third culture kid’ experience. Having grown up all across the globe, in the cities of Toronto, New York City, Vancouver, and Seoul, Mark takes listeners on a journey through his unique upbringing through The Firstfruit, which is appropriately sectioned into four parts, representing each city. — Rome Saenz

Plain Girl – Jolianne

Jolianne’s diaristic debut extended play, Plain Girl, has won over several hearts upon its release — including mine. The record’s willingness to explore the joy, heartaches, and confusion of growing up makes this a project that is both deeply personal and sonically rich, especially when packaged into a catchy “Disney R&B” sound that is as endearing as it is catchy.

Throughout the record, Jolianne’s soulful vocals are on full display, amplifying the emotional aspects (and cathartic nature) to each and every track. The result of the six-track record ultimately portrays her journey of self-discovery as a coming-of-age soundtrack that is as personal as it is snappy. — Gab Saulog

Fe3O4: FORWARD – NMIXX

Fe3O4: FORWARD marks a bold and thrilling conclusion to NMIXX’s Fe3O4 trilogy that includes Break and Stick Out, that blends genres with their signature “mixx-pop” style of blending different genres

It feels like a complete six-track EP doesn’t lose its touch in sounding cohesive. The opening track “High Horse” eases you in with a subtle piano intro that transitions into a bit of punk‑pop energy. Meanwhile, “KNOW ABOUT ME” is chaotic fun and something that sounds all over the place, which isn’t a bad thing. As you get through all six tracks, everything comes together with the group playing their parts pretty well. Closing things out is the track, “Ocean,” which is quite a dreamy finish to Fe3O4:FORWARD.

Even for what it is and not taking into consideration of how it stands in the trilogy, Nmixx isn’t here to alienate new listeners who aren’t familiar with their sound, or even with their “mixx-pop” genre as a whole. — Ralph Regis

Tsunami Sea – Spiritbox

If you’re like Spiritbox and are coming off the success of a widely acclaimed debut album, as well as having two Grammy nominations to your name, it’s not surprising that expectations of listeners are at an all-time high. And yet, with the release of their second full-length record, the modern metalcore band have not just met those expectations. Rather, they’ve defied them all entirely.

With Tsunami Sea, Spiritbox have evidently taken a much darker route with their sound, taking the very best of their constantly evolving sonic identity over the years and showcasing just how much more inventive and heavier they can get.

Ultimately, while many bands have fallen victim to the sophomore slump, Tsunami Sea proves that Spiritbox are not one of them by a long shot. — Mayks Go

Fancy That – PinkPantheress

PinkPantheress reaches new artistic heights with her latest mixtape, Fancy That. Not only does it feature her longest tracks to date (almost clocking in at three minutes per track!), but it’s also arguably the most seamless and cohesive collection of songs in her growing discography. 

While the garage and drum & bass elements are still very much present, Fancy That integrates ’90s dancehall and 2010s indie sleaze with seamless precision, giving it a razor-sharp edge throughout every track. From its eclectic opener “Illegal,” the standout “Tonight,” and even The Dare-produced “Stateside,” it’s knockout after knockout throughout all its nine tracks. It’s pure fun and energy, which makes it no surprise that nearly every track on the record has gone viral. — Gab Saulog

Sincerely, – Kali Uchis

Lush, glamorous, and dramatic — these are just some ways in which I could find the words to describe Kali Uchis’ sixth full-length album, Sincerely,. Following 2023’s Red Moon in Venus and 2024’s ORQUÍDEAS, the record is meant to serve as the conclusion to Uchis’ album trilogy.

Where Red Moon In Venus is a seductive R&B record and ORQUÍDEAS positions itself as a danceable pop feature, Sincerely, has an almost ecstatic yet downbeat quality to its production.

Each track flows seamlessly into each other, and shows Uchis’ vocal prowess to its furthest degree. Being that the album is nearly entirely about love, it’s best enjoyed with a honeymoon gaze and a dreamy attitude. — Rome Saenz

Übermensch – G-Dragon

There was a lot of anticipation that weighed on this album following G-DRAGON’s eight-year hiatus.

Renowned as one of (if not the) K-pop’s most established self-produced idols, Kwon Jiyong didn’t let those expectations down. Every beat on the eight-track album oozes with intention, from the bright brass on the confidence anthem “POWER” to the melancholic synths accompanying keys on “DRAMA.”

Serving as a self-introspective piece where Jiyong delves into the person who he was and has grown to be behind the cameras, the album takes a raw and stripped-back approach to the typical K-pop comeback. Such an ambitious project is one only fitting as a warm welcome back to the industry for the King of K-pop. — Rome Saenz

Last Fool Show – BLASTER

BLASTER’s long-awaited sophomore album, Last Fool Show, is finally here — and it was definitely well worth the wait. Despite its gothic, almost ethereal imagery, this newly released record sees the beloved musician exploring the confines of psychedelic pop, funk, and soft rock all at once. 

It’s a bold display of his musical evolution over the years, highlighting how he’s at his most self-assured and perhaps even at his most whimsical when it comes to his craft. It’s clear that he has evolved his sonic capabilities to the next level, which gives it a promising indication of where else he can head in the near future. Yet for now, we’re still relishing in the sonic delights of what he accomplished here. — Gab Saulog

It Was A Moment – SOS

Finally… SOS have come back with a new album. It Was A Moment is a triumphant sophomore album that is worth the wait, chronicling the journey of SOS as artists and people, a journey that is very present in the storytelling found throughout the album. Fans of Whatever That Was may feel a bit different about this latest album on first listen, which is expected. The sound the boys have put together features songs that sound familiar and new at the same time. By incorporating synths and techno beats into their arsenal, SOS haven’t confined themselves to playing it safe with their new sound this time around. 

Tracks like “I’m Kidding,” “Money,” and “Yumi & The Apocalypse” catapult this current era of the indie-alternative band. This album is a coming of age for the band, their artistry, and the fans who continue to fall in love with their music. We’re just glad we get to live in a time where a studio version of “Amore” exists, and it’s the opening track, no less. — Ralph Regis

bahay namin maliit lamang – Hev Abi

After his monumental 2024 with hit after hit, Hev Abi’s first move for 2025 was to release his six-track EP, bahay namin maliit lamang. Literal to its title, it’s a relatively short EP with production roots in house music (that can be observed in the way Hev Abi treats his bass lines and beat patterns throughout the record).

A proud product of collaboration with his Downtown Q’ crew (Unotheone, LK, and gins&melodies), the record cruises its listeners through dim lights and the cool city atmosphere. Tracks like “showbiz lang, sorry babe…” and “Julie pakipot” mirror the hit-making rapper’s evolution in songwriting and his journey in success, while referencing his earlier work like “Babaero” and “Lil Kasalanan Shortie.” — Rome Saenz

Simula At Wakas – SB19

In a constantly evolving genre like modern P-pop, innovation is the name of the game and, undeniably, SB19 are at the very center of it all.

Their latest EP Simula At Wakas stands as proof of this, serving as evidence of the members’ innate commitment to their craft. From the heavy-hitting bangers like “DUNGKA!” to the emotive tracks like “Quit,” this record sees SB19 walk upon familiar musical territory while embracing artistic evolution in the best ways possible.

Ultimately, this has resulted in the chart-topping quintet’s most electrifying collection of songs yet — a testament to their consistent dedication to surpass who they were before and to transform into who they can potentially become. — Mayks Go