Valentina Magaletti drummed for her life, Sarz got hips swinging and Daniel Avery got slinky and serpentine: our writers pick their favourite unsung LPs from 2025
• The 50 best albums of 2025
• More on the best culture of 2025

Towards the end of Tether, there is a song called Silk and Velvet; its sound is characteristic of Annahstasia’s debut album. Fingerpicked acoustic guitar and her extraordinary vocals – husky, expressive, elegant – are front and centre. The arrangement is subtle but not drearily tasteful: arching noise that could be feedback or a distorted pedal steel guitar, which gradually swells into something climactic before dying away. The lyrics, meanwhile, concern themselves with selling out: “Maybe I’m an analyst, an antisocial bitch,” she sings. “Who sells her dreams for money.”

Strange folk, lost pop, disco oddities and, um, Dido – here are the forgotten tracks that became this year’s most replayed revelations
• The 50 best albums of 2025
• More on the best culture of 2025

I grew up listening to the Mamas and the Papas’ hits but had never heard their albums before this year. I had no idea anything as creepy as Mansions lurked within their sunny oeuvre. Its sound is ominous, its mood one of stoned paranoia, its subject rich hippies sequestered in the titular luxury homes, haunted by the sensation that the flower-power dream is going wrong.

The late musician bristled against his record companies, his producers and fame itself – but that friction ignited both his AOR hits and his raw, spirited take on the blues

• Chris Rea, rock and blues singer-songwriter, dies aged 74
• Gallery: a life in pictures
• Comment: Driving Home for Christmas captures the season’s true spirit

For an artist best-known for a string of slickly commercial adult-oriented rock hits – Josephine, On the Beach, The Road to Hell, the Yuletide perennial Driving Home for Christmas – Chris Rea’s career was a rather more fraught business than you might have expected.

He had something of the splendidly grumpy refusenik about him. His debut single, Fool (If You Think It’s Over) was a transatlantic hit, earning him a best new artist Grammy nomination (he lost to Billy Joel, an artist the single had garnered comparisons to), but Rea announced that he “despised” the song: “It’s just not me.” He chafed at his record company’s expectations: his 1978 debut album, Whatever Happened to Benny Santini? got its title after his label suggested that he might consider adopting a stage name, and he later protested that the producers he worked with made his music too glossy and “smoothed-out”.