Top 10 Picks by: Will
As 2025 was wrapping up and I started contemplating the WillToRock Top 10 Albums of the year, I kept arriving at the same conclusion; There just weren’t enough albums that garnered my attention.
But how could that be?! Easy… My favorite album of 2025 rarely left my headphones. I’d listen to a new release, give it a few spins, but all I wanted to do was get back to “My Precious”.
Now this would be a very short article if that was entirely accurate, but you get the point.
Upon FURTHER reflection, I actually found there to be quite a healthy wealth of worthy inclusions. Some downright fantastic albums that are highlighted below. But this year, my top selection was in a completely different league.
(And stay tuned at the end for the addition of Manuel’s Top Albums of the Year!)
WILL’s Top 10 Albums of 2025.
10. W.E.T. – “Apex”
Supergroups often burn bright and fast, but W.E.T. have always felt like something sturdier than a side project, and Apex only reinforces that reputation. Built on the combined DNA of Work Of Art, Eclipse, and Talisman, this fifth album finds the band sounding fully locked in, helped by a lineup that now feels perfectly balanced.
With Erik Martensson steering the songwriting and production, Jeff Scott Soto delivering yet another masterful vocal performance, and a rhythm section that hits with real weight and groove, Apex radiates confidence from the opening notes. “Believer” kicks things off with pure melodic hard rock momentum, while “This House Is On Fire” and “What Are We Fighting For” stack arena-sized choruses on top of razor-sharp hooks that lodge themselves in your brain almost instantly.
Apex captures everything melodic hard rock does best: big songs, immaculate production, and performances that feel inspired. For fans of AOR and melodic rock, this is pure ear candy, and further proof that W.E.T. remain one of the genre’s most reliable heavy hitters
9. The Darkness – “Dreams On Toast”
With Dreams On Toast, The Darkness once again prove that predictability is their sworn enemy. From the opening blast of “Rock and Roll Party Cowboy”, the album swerves between glam metal bravado, country twang, classic rock pomp, and, outright parody, sometimes within the same song. Genre’s be damned, this is unmistakably The Darkness. Justin Hawkins’ vocal acrobatics remain the guiding star, whether he’s leaning into self-aware excess on “I Hate Myself” or crooning through unexpected stylistic left turns that feel like Queen flirting with Nashville, AC/DC crashing a piano bar, or a rock opera that refuses to take itself seriously for more than five seconds. The band’s chemistry is tight, playful, and deeply confident, with Dan Hawkins’ guitar work and Rufus Taylor’s punchy drumming grounding even the most left-field ideas.
What makes Dreams On Toast the most joyous entry to my Top 10 is how openly fun it sounds. This is a record made by a band clearly still enjoying their own chaos, stacking hooks, riffs, voiceovers, and musical curveballs simply because they can. Tracks like “Walking Through Fire” and “The Longest Kiss” tap into the anthemic heart that made The Darkness beloved in the first place, while songs like “Hot On My Tail” and “Cold Hearted Woman” stretch their sound into new, satisfying directions.
It’s over-the-top, self-deprecating, and unapologetically theatrical, but never hollow. In a punchy 40ish minutes, Dreams On Toast delivers a full-course meal of rock excess, served with a wink. The Darkness continue to chase fun, and somehow, that makes them feel timeless
8. Testament – “Para Bellum”
Easily the heaviest entry on this years list, Para Bellum finds Testament hitting with the urgency of a band that refuses to age quietly. From the opening seconds of “For the Love of Pain”, it’s clear something has shifted. The arrival of drummer Chris Dovas injects a feral momentum that pushes the band deeper into extreme territory, blending thrash with blackened and death metal. The opening one-two punch with “Infanticide A.I.” is relentless, faster and darker than recent releases, while Chuck Billy sounds utterly unhinged in the best possible way, snarling and roaring, yet never bleeding into indistinct vocals that would make me run for the hills. Eric Peterson’s seemingly harsher riffs adds a layer of menace, Alex Skolnick’s leads slice with precision rather than flash, and Steve Di Giorgio’s bass work slithers through the chaos with rare finesse. At its strongest, Para Bellum feels like a second creative rebirth, recalling the impact of The Gathering while sounding firmly rooted in the present.
That intensity isn’t perfectly sustained, though. A lengthy ballad in “Meant to Be” stalls the album’s momentum early on, and a mid-album stretch flirts more with familiarity rather than reinvention, with tracks like “Nature of the Beast” and “Room 117” feeling solid but uninspired compared to the ferocity surrounding them. Thankfully, the band regain their footing with late highlights like “Havana Syndrome” and the title track, both driven by muscular riffing and a renewed sense of purpose. While Para Bellum isn’t flawless, its high points tower over most contemporaries . Testament sound hungry again, heavier and more adventurous than they have in years, proving that even this deep into their career, they’re still capable of sharpening their blades and drawing fresh blood.
7. Helloween – “Giants and Monsters”
Less MORE is More! 40+ years into their pumpkin-plated campaign, the second seven member campaign of Helloween return with Giants and Monsters sounding less like veterans pacing themselves and more like Power Metal warriors preparing for another charge at greatness. The album bursts open with “Giants on the Run,” a turbocharged opener that blasts through tempo shifts and razor riffs like it’s late for a finish line, quickly followed by the all-guns-blazing “Savior of the World,” where Michael Kiske’s voice still soars with absurd ease. The triple-guitar alliance of Hansen, Weikath, and Gerstner slices and spirals across the record, supported by production so crisp it feels like you’re standing between the amps. Even when Helloween ease off the throttle with melodic or softer moments like “Into the Sun,” the emotion never sags; instead, it lifts, reminding you why their tamer side has always felt as relevant as their power packed punches.
What truly defines Giants and Monsters is its balance of gravitas and joy. Tracks like “We Can Be Gods” and “Universe (Gravity for Hearts)” brim with that unmistakable Helloween optimism. Much like the previous entry in this list, there are a few simpler, more straightforward rockers in the mix, but they don’t derail the album’s momentum that steadily builds towards the epic finale that is “Majestic,”. Their nineteenth full-length album is fast, melodic, confident, and as any Helloween release; FUN! A reminder that the kings of power metal are still very much ruling the pretenders from high upon their throne.
This release makes me extra excited to catch Helloween on their 40th Anniversary Tour which will be hitting the States later this year.
6. Black Eyed Sons – “Cowboys In Pinstriped Suits”
What’s in a name…Cowboys in Pinstriped Suits arrived in January of ’25 carrying a lot more weight than a simple debut album. Rising from the ashes of the Quireboys name dispute, Black Eyed Sons sounded determined to shut the door on the drama and kick open another soaked-in-whiskey chapter of British Rock ‘n Roll. Guitarist, Guy Griffin stepped confidently into the frontman role, for an album that feel both familiar and fresh. The album is steeped in the same ’70s blend of swagger, soul and grit that made this band beloved from the get-go. Opener “Lie to Me” wastes no time, rolling in with piano, harmonica, and a groove that nods toward the Stones and Faces without feeling like a robbery. From there, the record settles into a comfortable flow of bluesy riffs, wonderful melodies, and a swath of great songwriting. Basically, the barroom rock that these musicians prove were the heartbeat of the Quireboys.
What elevates Cowboys in Pinstriped Suits from a solid throwback to something genuinely special is its parade of guest appearances. Cameos from Michael Monroe, Mike Tramp, Josh and Stevie D from Buckcherry among others, serve as an enhancement rather than an overshadow of the core band. “Medicine” and “Foolin’ Yourself” ooze vintage charm, while the ballad “Autumn Reigns” shows the group knows exactly when to pull back and let emotion do the heavy lifting. The title track, featuring Joe Elliott, was tailor-made for radio and deeper cuts like “Don’t Throw Me in the Corner” and “Savoir Faire” lean hard into classic rock storytelling with irresistible hooks. Closing on a soulful take of “Can’t Put Your Arms Around a Memory,” the album leaves you with the sense that Black Eyed Sons aren’t chasing nostalgia, they’re inhabiting it. Cowboys in Pinstriped Suits wears its scars proudly, proving that even after upheaval, these songs still strut, sway, and swing.
5. Smith/Kotzen – “Black Light/White Noise”
The welcome release of Black Light/White Noise in April felt like the moment Smith/Kotzen ceased being a “project” and fully stepped into their own weight as a band. And thank goodness, because if you know me, you know I believe a world with more Kotzen is a happier world. BL/WN is a collection of songs you’d expect from the two protagonists; an album steeped in blues and classic rock delivered with modern muscle. The songs groove and swing with riffs that feel carved rather than polished. You can hear decades of influence all through the album, from the swampy seventies grit to flashes of eighties hard rock. Tracks like “Muddy Water” and “White Noise” lock in deep grooves, while “Heavy Weather” stomps along into a melodic payoff. The title track has a darker, mid-paced chug with it’s guitar work nodding into vintage hard rock psychedelia.
What really sells the album is its balance. For all the guitar firepower on display, the focus never drifts from the songs themselves. “Life Unchained” slowly builds before erupting into a driving, hard-rock surge, complete with Kotzen/Smith solo exchanges, while the closer, “Beyond the Pale” strips everything back into a slow, haunting finale that makes you immediately want to start it all over again. Vocally, Adrian and Richie complement each other beautifully. Black Light/White Noise is two master musicians pushing each other to dig deeper and we as fans are definitely the benefactors.
4. Dorothy – “The Way”
Three years after Gifts from the Holy Ghost cracked the door open to a broader audience, Dorothy Martin storms back through it with The Way, an album that feels less like a follow-up and more like a declaration. This record takes the raw, hard-rock backbone she established in 2022 and stretches it wider, deeper, and heavier, threading Southern grit, and spiritual reckoning through every song. “I Come Alive” sets the tone immediately, opening in near-silence with a haunting vocal display before detonating into a full-blooded arena rocker. From there, “The Devil I Know” and the swampy, low-slung “Mud” prove Dorothy is just as comfortable riding a thick groove as she is belting sky-high choruses, her voice commanding every shift in mood with total authority.
The album’s middle stretch is stacked with highlights, none bigger than “Tombstone Town,” where a guest turn from Slash turns the song into a cinematic dust-cloud chase through the Wild West, complete with a searing solo that fits the track like a loaded revolver. Elsewhere, “Bones,” “Unholy Water,” and the “Haunted House” reveal The Way at its most emotionally potent, blending brute-force riffs with lyrics that wrestle openly with faith, resilience, and self-confrontation. The title track closes the album on a stark, piano-led note that hits just as hard as the loudest moments, trading volume for vulnerability without losing weight. The Way is Dorothy’s most confident, fully realized work to date, a modern hard-rock album that sounds confident and fearless. Dorothy is carving her own road forward, and this album feels like the one people will point to when they talk about where that road truly began.
3. Halestorm – “Everest”
With Everest, Halestorm sound less like a band chasing momentum and more like one daring gravity to argue back. The record is massive without being bloated, raw without feeling unfinished, and cinematic in a way that rewards full immersion. Tracks like the orchestral-leaning “Darkness Always Wins” bloom in headphones (always my preferred listening device), while Hottinger’s intricate solos and Arejay’s thunderous rhythms frame Lzzy’s voice at its most commanding. Her rasp carries both scars and conviction, especially on the title track, which feels like a mission statement.
What really elevates Everest is how alive it feels. This is the closest Halestorm have come to bottling the chaos, sweat, and emotional whiplash of their live shows into a studio album. These songs were created without fear of critique and sound born from the soul. Six albums in, Halestorm aren’t reinventing themselves for relevance, they’re refining their identity with teeth bared. Everest doesn’t promise a view from the top. It celebrates the climb itself, bruises, battle cries, and all.
2. Mammoth – “The End”
With The End, Wolfgang Van Halen now has Mammoth sounding more self-assured than ever. Clocking in at a brisk ten tracks, the album wastes no time making its point, delivering a tightly packed blast of modern hard rock that hits hard. From opener “One of a Kind”, Wolf establishes yet another defiant-feeling release filled with with stadium-sized hooks that feel slightly grittier than it’s predecessors. This album feels surgical with each song trimmed to its strongest core. The musicianship is predictably formidable, but it’s always in service of the song rather than showmanship for its own sake. Three albums in and the time was appropriate on “The End” to unleash a barrage of finger tapping which certainly resonates as an homage to his father as well as a statement that Wolf is who he is.
As he has done previously, Wolfgang historically plays all the instruments himself and this one was recorded live at 5150 Studios producing an album that reinforces its sincerity. He’s dropped the “WVH” and finally released a record simply as Mammoth which feels symbolic of his confidence. Wolf isn’t trying to prove himself anymore, he’s claimed his space, carrying the torch of rock forward with conviction, precision and genuine heart.
1. Those Damn Crows – “God Shaped Hole”
Some albums feel engineered. God Shaped Hole feels carved out of GRANITE. Those Damn Crows’ fourth record strips away gimmicks and grandstanding and replaces them with something far more powerful. Each subsequent TDC album has shown a songwriting growth in maturity and musicianship but from the moment “Dancing With the Enemy” kicks the door open, it’s clear this band has stepped into a new tier. Everything here sounds bigger, sharper..intense. This is a band that knows exactly who they are now, and they sound unstoppable because of it.
What truly elevates God Shaped Hole is its diversity and range. “Glass Heart” pairs amazing melodies with lyrics that openly admit vulnerability creating a beautiful anthemic song you can’t wait to shout back at them on stage. “Fake” and “Let’s Go Psycho!” hit with some of the heaviest moments the band have ever recorded, driven by crushing riffs, relentless drums, and a refusal to repeat themselves just because something worked before. At the other end of the spectrum, tracks like “Dreaming” and the folky, hypnotic “The Night Train” create space to breathe, reflecting on grief, hope, and the quiet moments between chaos. The musicianship is locked in throughout: Ian “Shiner” Thomas and David Winchurch trade riffs with bite, while Lloyd Wood and Ronnie Huxford form a rhythm section that can pummel or pull back with equal authority. Over it all, Shane Greenhall delivers a career-defining vocal performance, shifting effortlessly from raw fury to devastating restraint.
Then comes “Still,” and any remaining defenses crumble. Closing the album with a song that confronts suicidal thoughts so openly is a brave and it lands with haunting beauty that lingers long after the guitar has stopped. It doesn’t just end the record; it reframes everything that came before it. God Shaped Hole isn’t just the best Those Damn Crows album to date, it’s the album that separates them from the pack entirely. Big enough for arenas, intimate enough to feel personal, and fearless in its emotional scope, this is the rare record that connects on every level. In a year full of strong releases, God Shaped Hole stands above them all. Album of the year: No Hesitation. No Debate.
************
MANUEL’S Top 5 Albums of 2025
The Mars Volta – Lucro Sucio; Los Ojos Del Vacio
Another UFO flying across the rock skies. Cedric Bixler-Zavala and Omar Rodriguez-Lopez delivered another stunning and multi-shaped album that doesn’t fit in any box. Pushing boundaries and blurring lines between genres, Lucro Sucio; Los Ojos Del Vacio is a record to listen to from beginning to end. No skips. This record contained a few gems like “The Iron Rose” and “Cue The Sun”.
Queens Of The Stone Age – Alive In The Catacombs
Incredible live concept EP recorded in Paris’ underground catacombs. A brilliant idea that had been in the works for years and was finally made possible. Five QOTSA tracks reimagined for this incredible acoustic performance. The record was followed by a “Catacomb” tour which was definitely one of the best shows to hit the stage in 2025.
Wet Leg – moisturizer
The British band came back with a second record that confirms what we suspected; they have a LOT to offer. Catchy tunes like “Catch These Fists” and “CPR” blend in seamlessly with mellow tunes like “Pokemon” or the beautiful “11:21”.
L.A. Witch – DOGGOD
This is the third and best record so far from the LA band. Recorded in Paris, France and produced by French musician/DJ Arnaud Rebotini. This albums still contains all the LA Witch signature elements, the gothy atmosphere, the surf rock vibe but reaches new heights on DOGGOD.
Deftones – Private Music
The metal powerhouse comes back with their best record in over a decade. Chino Moreno & co. sounding more inspired than ever. The first single released “My Mind Is A Mountain” was an omen of that bitching LP to follow.
Other albums worth mentioning:
Wolf Alice – The Clearing
Chevelle – Bright As Blasphemy
Messa – The Spin
***********
And lastly, my annual reminder, that it’s the time of year for giving (and as we’re all animal lovers at WTR), I want to once again offer up Tails Of Gray Senior Dog Rescue for your charitable consideration.
Peace and Love and Music to All!
Related:
WillToRock’s Top 10 Albums of 2024
WillToRock’s Top 10 Albums of 2023
WillToRock’s Top 10 Albums of 2022
