It’s a rare gift to listen to an album that feels programmed to your tastes, and I’ve been so grateful to experience singer-songwriter Jensen McRae’s sophomore release, I Don’t Know How But They Found Me, in such a way. From the record label Dead Oceans (Phoebe Bridgers, Japanese Breakfast), the album features sharp lyrical passages that highlight the throes of intimacy and the defiant act of excising the bitterness we can be left with—McRae’s gorgeous melodies drape over acoustic instrumentation, with saturated guitars and drums emphasizing her affecting storylines. “Savannah,” “Massachusetts,” and “Novelty” are personal standouts, but there’s not a single skip on this impressive record. - Alex Van Aken

As someone who cannot dance, still loves to dance, and especially loves watching professional dancers, I’ve observed K-pop from a distance for years, never knowing where to start with this genre. On a whim last Fall, I watched Netflix’s Pop Star Academy: Katseye, a documentary series created in collaboration with international record labels Hybe and Geffen Records that follows the creation of a global girl pop group in the style of K-pop. Through this documentary, I came to appreciate the rigorous (at times, too rigorous, given these were teenagers and young women being treated with questionable standards) and perfectionist artistry embedded in K-pop. It’s incredible to see how much thought and detail go into every aspect of a performance, from faces to vocals to even the ways one’s fingers are positioned in specific dance moves. Throughout the series, you watch more than 100 girls be whittled down to a selection of finalists, with the final six coming together to create Katseye. 

Katseye’s first EP, SIS (Soft Is Strong), was good, great even, but it felt distinctly Hybe and Geffen, failing to capitalize on the potential of the group’s six members, who are of differing ages and cultural backgrounds. Songs like “Touch” and “Debut” are bops, to be sure, but it’s clear the girls of Katseye’s weren’t necessarily vibing with its more sanitized, ubiquitous, mainstream sound. But then Katseye released their debut EP, Beautiful Chaos, and the fog cleared on what the girls of Katseye want to do and be. 

Katseye - "Gameboy" Official Music Video: 

Beautiful Chaos is a thrashy, loud, and unique album. It’s more brat than anything else, but even that diminishes how varied its songs are, which range from sonic melodies about womanhood (“Mean Girls”) to confident and powerful club heaters (“M.I.A.”) to ironic underground romps (“Gnarly”) befitting their Y2K fashion tastes. And just when you think you’ve found a description for Katseye’s sound on Beautiful Chaos, you listen to “Gabriela”, a telenuovo-inspired Spanish song of seduction, love, and heartbreak, and all musical parameters around this girl group fade away. “Gameboy,” with its Nintendo samples and catchy chorus, is one I’d especially recommend checking out if you’re reading this. 

Beautiful Chaos is not for everyone, but neither is Katseye – they aren’t k-pop; they aren’t pop; they are Katseye. - Wesley LeBlanc

Great synthwave hits like a time machine trip back to the 80s, and The Midnight are masters of the art form. This lengthy album offers plenty to enjoy, but never stops feeling like you’re making your way through one of those great melodramatic teen action movies from 40 years ago, albeit with a more modern production, strong house music influence, and a never-ending driving pace that will keep you nodding along in satisfaction. Bonnie McKee’s guest vocals on “Runaways” feels like the kind of thing you’d want to have hit as the romantic heroes of your film make their daring escape from dystopia, and “Chariot” could slot happily slot in as the best-case-scenario boss music in that epic sci-fi action game you’re playing right now. Seriously, if you came up on video games and synth-driven beats, and you’re not listening to The Midnight, you’re missing out. - Matt Miller

Many people discovered Foxy Shazam in 2025 thanks to their prominent placement in Peacemaker Season 2, but I’ve been a huge fan since 2012, when they released their incredible album The Church of Rock and Roll. In the time since, they’ve released several albums that I have enjoyed to varying degrees, but nothing has really hit for me the way Church had. Thankfully, 2025’s Box of Magic finally gave me the successor I’ve been waiting for. It’s not as rock-edged as that album, but the songwriting, instrumentation, and production are on par with it. The signature weird fun that Foxy always brings to the table is perfectly complemented by infectious pop melodies, keeping things from either coming across as too subdued or going off the rails in ways I would argue they had in other recent releases. Box of Magic is my favorite Foxy Shazam album in nearly a decade and a half, and when you combine it with their newfound mainstream success, it’s a great time to be a fan of Foxy Shazam. - Brian Shea

I am an old man whose musical taste is pretty stagnant (though I do love this year’s “Born Again” from Lisa featuring Doja Cat and RAYE). I played drums in a metal band in high school and college, but it’s safe to say those days are behind me. I don’t really keep up with the genre. However, the band Between the Buried and Me is the one exception, and I always check out their new releases. I particularly like their latest album, specifically the song “Things We Tell Ourselves In The Dark.” They’ve always been an experimental group that is not exclusively metal, and I like that this album gets into the more melodic and experimental side of things. - Kyle Hilliard