The Best Australian Albums Of 2025
In The Music’s Best Australian Albums of 2025 list, you’ll see indie rock and metal share space with EDM and R&B, and even a covers album.
Best Australian albums of 2025 (Credit: Supplied)
In the year following Brat Summer and Chappell Roan supremacy, we wondered: would international stars retain the spotlight for another year?
And while there were undoubtedly successful singles and albums by the likes of Lady Gaga, Taylor Swift, Paramore’s Hayley Williams, Ed Sheeran, and others, it didn’t seem that huge international artists had such a chokehold on Australian listeners. And, in the absence of a world-dominating cultural force, Australian artists have shown the world what they’re made of.
Of course, plenty happened in the world of music in 2025. We witnessed the reformation of Rush, Black Sabbath (for one night only), and I Killed The Prom Queen, the break-ups of Sum 41, You Me At Six, Jesus Piece, Void Of Vision, and more, the long-awaited returns of Lady Gaga, Oasis, Metallica, and AC/DC to our shores, and Spilt Milk, Laneway, and Good Things Festivals thrive amid a continuing turbulent period for music festivals in Australia.
During world and national events, Australian music has soundtracked yet another year of unprecedented news cycles, sporting events, and the return of Stranger Things. Australian artists won ARIA and Grammy Awards in 2025, played at (and headlined) major international festivals such as Coachella and Lollapalooza, and opened for numerous international artists.
In The Music’s Best Australian Albums of 2025 list, you’ll see indie rock and metal share space with EDM and R&B, and even a covers album. This is by no means an exhaustive list of the excellent music that came out of Australia this year, but it does showcase the favourite releases of The Music’s small but dedicated team.
So, without further ado, we present The Music’s Best Australian Albums of 2025—no rankings, just in alphabetical order.
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Ball Park Music – Like Love
To listen to Ball Park Music is to experience myriad feelings. On one hand, there's disbelief. How on Earth are they – after 17 years – still making music with the energy, authenticity, and quality that usually expires after a debut album? Musicians themselves may feel a twinge of jealousy. 'Why didn't I write that gorgeously simple, yet deeply affecting, lyric?' they may ask.
But the prevailing feeling is one of pride. Anyone watching the Brisbane legends opening for reformed Britpop icons Oasis this year couldn't help but almost shed a tear at watching former triple j Unearthed stars reaching the big time with their incredible tunes.
Eighth album, Like Love, continues this trend of exceptional songwriting and genuine performance. Whether it's the catchiness of Please Don't Move To Melbourne, the heart-rending nature of the title track, or the euphoria of NORK or Overwhelming Sound, you can't deny that Ball Park Music have – once again – hit it out of the titular park. - Tyler Jenke
The Belair Lip Bombs – Again
Again is what you’d want a record to sound like when a band releases another record, well, again. With their punchy second album, The Belair Lip Bombs did away with the expectations of the difficult sophomore release and levelled up in every way.
From the lively album opener, Again And Again, to the spritely, addictive Back Of My Hand, to the melodic, visceral Hey You, to the confident Don’t Let Them Tell You (It’s Fair), to the bass-heavy, bright closer Price Of A Man, the Melbourne quartet stretch their brand of emotional indie rock (or, as singer/guitarist Maisie Everett describes it, “yearn-core”) to new heights.
It’s the kind of album that will open even more doors for The Belair Lip Bombs. With appearances at next year’s Laneway Festival and a co-headline tour across the US with Newcastle post-punk outfit dust on the way, the well-oiled machine that is The Belair Lip Bombs is ready to take on the world. - Mary Varvaris
Bleak Squad – Strange Love
When it comes to the notion of a supergroup, they can often be hit and miss. After all, sometimes the talented combination can result in a 'too many cooks' situation whereby too many good ideas become a muddy mess instead of the vibrant treat that is promised. Other times, it's an exceptional tour de force of shared abilities aligning perfectly.
Bleak Squad, however, is the textbook example of a supergroup done right. Featuring Mick Turner (Dirty Three, Mess Esque), Mick Harvey (Nick Cave & The Bad Seeds, PJ Harvey, The Birthday Party), Adalita (Magic Dirt) and Marty Brown (Art Of Fighting), the group's pedigree is an impressive one, and the resulting compositions are as moving as you'd expect.
Though their name might inspire negative connotations, Bleak Squad's Strange Love is a bright spot in this year's musical landscape. Whether it's their brooding songwriting, their eclectic instrumentation, or Adalita's ever-impressive vocal delivery it's hard to fault this nascent collective, and it's hard to not be left wanting a sequel in the near future. - Tyler Jenke
BOY SODA – SOULSTAR
BOY SODA has consistently impressed R&B and soul music aficionados, triple j listeners, and the ARIA Award voting committee in 2025.
His debut album, SOULSTAR, landed in October. The record spawned the singles Never The Same, Blink Twice, 4K with Dean Brady, and his breakout single, Lil Obsession. Upon its release, SOULSTAR debuted at #32 on the ARIA Albums Chart. Last month, the singer took home the Best Soul/R&B Release award at the ARIAs.
It’s evident that BOY SODA put his heart and – ahem – soul into the record, from the poignant lyrics to the moving performances, with standout tracks including memorable moments such as the brass break in the smooth opener My Body and the stripped-outro of the poignant closer Platonic & Sacred.
It’s both confident and vulnerable with a reflective lens that illuminates the deeper parts of himself for the world to see, some of which he wasn’t ready to explore or share until now. - Mary Varvaris
Chasing Ghosts – Therapy
While Chasing Ghosts initially started as a solo project for Thungutti man and acclaimed songwriter Jimmy Kyle, you can’t imagine it not being a band ever again after hearing Therapy. As a vocalist, Kyle is bold, and the band is turbo-charged. Throw this album on, and you’ll feel like you’ve had the best session of therapy in your life... and then some.
Channelling a raucous, authentic kind of punk rock – Australiana accent and all – Chasing Ghosts effortlessly blend punchy, Rise Against-esque riffs with Kyle’s vulnerable stories. Throughout Therapy, he mines themes such as mental health, domestic violence, and intergenerational trauma. Meanwhile, he also calls out bigotry and marginalisation.
"Therapy shows a level of vulnerability as an artist and a level of authenticity that I've always tried to maintain," Kyle told The Music in an interview earlier this year. "I think it continues that. It's a signature sound that captures this moment in time.” - Mary Varvaris
Don West – Give Me All Your Love
It’s been a big year for rising soul star Don West, who continues to sell out shows at home and grow his presence internationally. And in a list packed with debut albums, it’s little wonder why Don West made The Music’s Best Australian Albums of 2025 with Give Me Your Love, his effortlessly soulful vocal blending with slick instrumentation and production.
Inspired by the likes of Marvin Gaye, D’Angelo, Sharon Jones and The Dap Kings, and Thee Sacred Souls, West is quickly becoming a must-watch soul artist. Since the release of his debut self-titled EP last November, West has steadily built a reputation as one of Australia’s most exciting new artists. Last month, he released his debut album, Give Me All Your Love, featuring standout tracks including the title track, Julia, and Send It Back.
West recently returned to Australia from Europe following a sold-out run, marking his debut European tour. His return Down Under includes another headline tour and festival appearances at Spilt Milk, New Year’s At The Bowl, and Electric Avenue in New Zealand. - Mary Varvaris
dust – Sky Is Falling
It's possible that there aren't enough positive descriptors to adequately summarise dust's exceptional debut album, Sky Is Falling. Emerging from the Newcastle music scene five years ago, the eclectic collective wasted no time honing their craft, sharpening their skills as they ebb and flow between indie rock, post punk, shoegaze, and more. Imagine your cooler sibling's musical taste filtered through a batch of Steel City creatives, and you're getting close.
With crowds the world over already calling for a full-length from the group, dust's Sky Is Falling was met with widespread acclaim. Described as the band's attempt to "make sense of it all" as they emerged into a post-COVID music scene, the record harnesses a sound which is undeniably Australian, yet sees the group thinking beyond any musical borders.
It's bold, it's exploratory, and it's satisfying, with dust following the footsteps of their influences, yet breaking off and forging their own path. They might view things with a sense of uncertainty, but there's no reason to be wary when they're crafting an album as impressively accomplished as Sky Is Falling. - Tyler Jenke
Floodlights – Underneath
It never made sense seeing Floodlights compared to Midnight Oil over the last few years. Not to say that it wouldn’t be an honour to be considered alongside such Australian music icons, but Floodlights really just don’t sound like the Oils. And with Underneath, they put aside any old-school comparisons and put together a moving piece of work, and their most expansive album to date.
From the euphoric soundscapes of JOY to the Nick Cave-like beauty of Buoyant and Horses Will Run to the simple magnificence of 5 AM, Floodlights have become Australia’s next great alternative rock band with their third album.
Underneath is an album that sees Floodlights approach their craft with greater clarity. It's intimate and raw, while thematically addressing the group's hopes, fears, and passions, resulting in a record that is powerful, resonant, and arguably one of their best works to date. - Mary Varvaris
Folk Bitch Trio – Now Would Be A Good Time
Melbourne’s Folk Bitch Trio – Gracie Sinclair (she/her), Jeanie Pilkington (she/her), and Heide Peverelle (they/them) – have won the hearts of Australians and fans across the globe with their stunning harmonies and indie-folk style of songwriting.
Folk Bitch Trio’s debut album, Now Would Be A Good Time, was released in July of this year. The album earned the group four ARIA Award nominations for Best Group, Breakthrough Artist, Best Independent Release, and Best Adult Contemporary Album. It was also shortlisted for the Australian Music Prize for Best Australian Album of 2025.
This year saw the group headline mostly sold-out shows in Australia, North America, and Canada, as well as open for King Gizzard & The Lizard Wizard and perform at the prestigious Meredith Music Festival. Now Would Be A Good Time saw Folk Bitch Trio record in Auckland with Tom Healy (Tiny Ruins, Marlon Williams) during winter 2024. The group’s strongest link, of course, is music.
Jeanie Pilkington explained, “We all talked about loving music when we were growing up, and knowing we wanted music to be a big part of our lives. But for me at least, when I looked into the future, it was this relatively mysterious thing.” - Mary Varvaris
MUDRAT – Social Cohesion
Decades from now, some may be looking back at 2025 as the Year Of The Rat. MUDRAT, to be precise, whose debut album Social Cohesion has undeniably become one of the most important Australian releases of this year.
Though Sean Thompson – the project's frontman and de-facto figurehead – admits that the record was a rushed job, it's no less effective. It's music and politics working together in equal measure, it's righteous anger and visceral fury in full force, and it's a record which pulls no punches. One doesn't need to look too hard to work out what message MUDRAT is portraying on SOCIAL COHESION, but when it's this vital, couching the meaning may just make it less effective.
In an age where voices that speak for the minorities, the disenfranchised, and the overlooked are vital; at a time where we need to address inequality of all kinds; and in a climate where genocide, fascism, and racism need to be stamped out more than ever, MUDRAT is fast becoming a beacon of hope. He might simply view himself as a conduit rather than a spokesperson, but when it comes to the music and the message working in tandem, no one is doing it better than MUDRAT. - Tyler Jenke
Ninajirachi – I Love My Computer
2025 has undoubtedly been the year of Ninajirachi. Both naysayers and people who never really embraced EDM (let alone girl EDM) jumped on the bandwagon—a testament to Nina Wilson’s crafty songwriting and relatability throughout an album, in a genre that could be mistaken for being soulless.
For her debut album, I Love My Computer, Ninajirachi won Best Solo Artist, Breakthrough Artist, and Best Independent Release at last month’s ARIA Awards. She also won the Australian Music Prize, Breakthrough Artist of the Year for the NSW Music Prize, and Australian Album of the Year at the 2025 J Awards.
Beyond the critical acclaim, though, what makes I Love My Computer so special is Wilson’s uniquely Australian storytelling. Capturing hearts across the nation with a song about listening to music as a teenager on the bus from a regional NSW town (Sing Good and iPod Touch are just two examples).
Meanwhile, Infohazard takes a surprise melancholy turn in a minor key-led arrangement, and throughout the album, you’ll be bopping your head and ready to press replay. Across the record, she’s both nostalgic for a community-based form of the internet, while not shying away from its drawbacks. The album’s layers continue to reveal themselves the more you listen. - Mary Varvaris
Paul Dempsey – Shotgun Karaoke Vol. II
For more than 30 years now, Paul Dempsey has been proving he knows his way around a song. Whether it's with his beloved group Something For Kate or his solo work, the man doesn't miss. But when he sets his sights on other artists' songs, that's when a new brand of magic takes hold.
With covers being his wheelhouse for decades now, 2013 brought with it the release of his Shotgun Karaoke record, and 2025 bringing with it the highly-anticipated sequel. To follow the analogy, Shotgun Karaoke Vol. II might as well be considered the Godfather Part II of albums – a worthy successor to the original, and one worthy of as much – if not more – acclaim than what preceded it.
Dempsey doesn't just offer his own take on these classic songs (which include classic songs from Cher, Don Henley, and R.E.M., and deeper cuts from Bright Eyes, Max Q, Supershunk, and Tanita Tikaram), rather, he makes them his own. He might approach these songs with a sense of spontaneity, but the covers are done with the sort of care that can only come with years of adoration and respect for the originals, proving that he's having just as much fun as we are. - Tyler Jenke
Platonic Sex – Face To The Flywire
Platonic Sex never go where you expect them to on Face To The Flywire. The opening track to the Brisbane quartet’s debut album, Over It, is almost an ambient track—only accompanied by Bridget ‘Brando’ Brandolini’s falsetto.
It’s just an example of surprises to come, as the band distil five years of growth, community, and catharsis into 12 stunning tracks. Album highlights Shark Teeth, Undoes, and Catch stretch the boundaries of indie rock, with epic conclusions highlighting the group’s personal roots.
If the band’s live presence radiates a communal kind of joy, their debut album turns that energy inward. Face To The Flywire doesn’t feel like a fresh start so much as a diary finally laid bare, pieced together from years of scribbles, scraps, and unfinished songs that have been waiting for their moment. Platonic Sex are here—no more waiting for their moment. - Mary Varvaris
The Pretty Littles – Force
The journey to The Pretty Littles' Force was a long one. Dropping five years since their last LP, almost two years passed between the release of its first single and the full album's arrival. But what a worthy wait it was. While the record's beginnings were fraught (with the band unsure of its future and on the verge of dissolution), frontman Jack Parsons emerged with an album that deserves to be featured in discussions of Australia's all-time best.
Though labelling Force as "a real bastard to make," Parsons and the team come through victorious, armed with a pack of songs which are lyrically wry and humorous, dripping with a sense of social commentary that speaks to the darker underbelly of Australian culture. Pairing this almost slice-of-life approach to Aussie life with belting musicianship and Parsons' impressively impassioned voice, this is an album that makes you feel each and every note.
Force might have flown under the radar for some in 2025, but it's a masterclass of songwriting and performance. Cuts like Australian Dream or the title track are worth the price of admission, but stay for the deeper cuts, with Possum, Nothing To Do, and Darky Gardiner proving The Pretty Littles are a prime example of Australia's quiet achievers. - Tyler Jenke
Ruby Gill – Some Kind Of Control
Fresh from a welcome return in late 2024 with the release of the single Some Kind Of Control, the acclaimed Ruby Gill returned with their long-awaited second album this year.
The follow-up to 2022’s I’m gonna die with this frown on my face, album number two from Gill is “cheekier, looser, gayer and even more raw” than what we’ve heard from her past music. Harnessing a sense of unflinching honesty, pairing it with a trademark witty assuredness, and delivering by way of explorations over body autonomy, political ruminations, and queerness, it’s a record that not only encapsulates Gill as an artist, but an individual.
While Gill has previously described Some Kind Of Control as a “coming out record,” it’s also an album that presents itself as a snapshot of where Gill has found themselves these past few years. Shortlisted for this year’s Australian Music Prize, Gill upped the tenderness and humour while keeping the instrumentation sparse, offering a highly relatable, comforting listen to fans, new and old.
“This record does feel very thematic, which wasn't intentional, but it is just actually what was going on in my life,” Gill told The Music earlier this year. “It's still happening in some ways.” - Mary Varvaris
Shady Nasty – TREK
Back in February, Sydney trio Shady Nasty crashed into the scene with their triumphant debut album, TREK. Fusing hip-hop beats, shimmering guitars and talk-sung vocals, every moment of TREK is packed with surprises.
With production from The Presets’ Kim Moyes, the concise, eight-track album is a brutally honest time capsule of the daily grind of keeping afloat while chasing the musical dream. The housing and cost-of-living crises are captured on this record, while Shady Nasty seek catharsis in the midst of hyper-connectivity. Shady Nasty’s introspective commentary on masculinity, on and offline footprints, brands and culture speaks to a realised, precise statement that encompasses their debut project.
Odd time signatures and the mystery of the group abound, as the trio remains firmly in the underground. Their music has attracted the likes of post-punk outfit Shame and British DJ Fred again.. in equal measure, and listening to the trio’s moody, melodic chords and brazen lyricism, set to ultra-modern production, those relationships somehow make sense.
TREK is an uncompromising journey of existing and breaking free from social and familial expectations, making for one of the most intriguing records on this list. - Mary Varvaris
Stella Donnelly – Love And Fortune
Stella Donnelly returned with her first new music in three years this year. She kicked off the Love And Fortune album cycle with the double A-side, Baths and Standing Ovation—the former an entirely a capella track, and the latter a stunning indie-folk number.
Love And Fortune continues Donnelly’s stellar run. A collection of breakup songs, but not as you know them. The album is about the dissolution of relationships and the release of expectations. Like her previous works, Flood, Beware Of The Dogs, and Thrush Metal, Love And Fortune is devastatingly intimate. But, as hinted with Flood, she unveils her musical universe a little bit further: inviting listeners into a cinematic, touching record.
“These songs wouldn't leave me alone,” Donnelly explained. “Like seagulls, they screamed at me when I rode to work, they pecked at me while I wrote essays, and they stole my chips the second I thought I was happier without music.” - Mary Varvaris
Teen Jesus & The Jean Teasers – GLORY
GLORY is an apt title for Teen Jesus And The Jean Teasers’ second album. This year, the Canberra outfit returned, looking and sounding confident while expanding their rock sound on singles BALCONY, BAIT, UNSCARRED, and MOTHER.
GLORY is an album brimming with empowering energy that explores themes of infatuation, disgust, and self-acceptance. Musically, the songs are widescreen indie-rock you can strut to, sing along to, and cry to. It proudly captures messy nights out, mascara smeared, and a phone battery on 1%. It’s eye rolls and Cher Horowitz-level sass. It’s relatable, it’s fun, and it’s personal when it needs to be.
“We’re so excited to get this album out,” singer Anna Ryan told The Music in a recent interview. “I would say, on everyone's behalf, [GLORY is] the most proud of our music that we’ve been, and yeah, I think you can just tell how much we’ve grown as a band with this album.” Indeed, they’ve levelled up from everything that came before, and it’s a thrill to listen to. - Mary Varvaris
Thornhill – BODIES
BODIES is the kind of album that grows on you, and Thornhill encourage repeated listens. The Melbourne alt-metal band have experimented with their sound since their formation, but a decade into their career, they’ve never sounded like this.
This is an album that’s heavy without offering platitudes like “look at how heavy we can get”—they just get on with it. And BODIES is mysterious, revisiting the early 2000s with songs packed with riffs and music videos calling back to films like Blade, and they even sound a little bit sexy.
Intense, creative, and steeped in their unique blend of ingenuity, it’s a record which sees the band in full flight, going headfirst into authenticity and evolution without alienating their fanbase or forgetting why they got into the world of music to begin with. Put simply, it’s a tremendous album that is the result of plenty of hard work for the quartet, and one which they’re clearly very proud of. - Mary Varvaris
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