The publication shared the list earlier this week and it features a total of 50 tracks broken up into two categories. The first category, rounded up by writer Jon Caramanica, has “Caramel” from Sleep Token’s latest studio album Even in Arcadia at the very top.

“A huge, gloriously silly and brutally effective amalgam of abandoned styles ripe for reinvigorating — rap-metal, dream-prog, pop-reggaeton, backpack hip-hop, cosplay rock, metalcore and more,” Caramanica wrote of the song.

“Caramel” was the second single Sleep Token shared from the album after “Emergence.” Even in Arcadia peaked at No. 1 in the U.S. after earning a total of 127,000 album-equivalent units, 73,000 of which were actual album sales [via Billboard].

It was the band’s first No. 1 album in the U.S. and it also landed at No.1 on albums charts in eight other countries.

Merchandise & Collectibles

Sleep Token – Vessel T-Shirt – Black – Adult Shirt

What Other Songs Made the New York Times‘ Best Songs of 2025 List?

Caramanica’s picks include songs by other artists such as Brandon Lake and Jelly Roll, Drake, Tate McRae, The Weeknd and a few others. The first 20 songs were ranked and the rest were honorable mentions.

READ MORE: The 13 Biggest WTF Rock + Metal Moments of 2025

The second portion of the list (titled “Blasts of Sass”) was written by Lindsay Zoladz, who included a rock song at No. 13— Wet Leg’s “Mangetout.”

“On this grinning kiss-off with sass to spare (“Get lost forever!”), Wet Leg’s Rhian Teasdale leaves the target of her ire staring a little too long at a bag of snow peas before the pun finally dawns on him: Man. Get. Out,” Zoladz said.

Justin Bieber, Sabrina Carpenter, Lady Gaga and Cardi B were among the other artists included in the “Blasts of Sass” section.

The 51 Best Rock + Metal Songs of 2025

In a year with thousands of new songs, we’ve narrowed it down to rock and metal’s 51 best.

See how many of your favorite sogs from this year made the list!

Contributions by Chuck Armstrong (CA), Jordan Blum (JB), Rob Carroll (RC), Chad Childers (CC), Joe DiVita (JD), John Hill (JH) and Lauryn Schaffner (LS).

Gallery Credit: Loudwire Staff

dream theater parasomnia cover

Inside Out Music

Dream Theater, “Midnight Messiah”

Release Date: Jan. 22

The third and final taste of Dream Theater’s comeback album with Mike Portnoy, “Midnight Messiah” is a well-placed midpoint track that perfectly balances the flow of Parasomnia.

It might sound a bit crazy to brand an eight-minute song as one that affords the listener some breathing room on this 71-minute journey, but its hooky groove riff and hard-charging chorus tempers the overtly metal proginess with easily digestible rock ‘n’ roll.

Just slightly over mid-tempo, “Midnight Messiah” is reliant on tension as a funereal atmosphere tries to claw back the forward momentum, which makes the chorus such a delightful payoff.

—JD

papa roach single art

Noize Records / ADA Warner Music

Papa Roach, “Even If It Kills Me”

Release Date: Jan. 22

After 25 years, Papa Roach have proven they can still turn pain into power with the track “Even If It Kills Me.” It’s the sound of a veteran act rediscovering their youthful angst and rebellion combined with the wisdom and maturity they found throughout adulthood.

Jacoby Shaddix’s vocals are as commanding as ever, delivering the grit and urgency of someone who’s been to Hell and back and is still standing tall. Raw emotional honesty and sheer adrenaline are what have always made Papa Roach connect so strongly with their fans and they continue to do so today.

—LS

shinedown single art

Atlantic

Shinedown, “Dance Kid Dance”

Release Date: Jan. 24

The restraints are off! Shinedown went hard on their early 2025 hit single “Dance, Kid, Dance.” A combination of a warning siren-esque guitar lick and the relentless pounding beat from Barry Kerch perk your ears up from the beginning.

The song itself is an exercise in social commentary that serves as a generational concern for an era in which our addiction to technology has muddled our social skills, but pills seem to pop us out of our doldrums.

Citing a desire to break free from the conceptual/thematic nature of recent records, Shinedown hit us with one of the hardest rocking songs you’ll find in the their catalog.

—CC

sleep theory static

Epitaph

Sleep Theory, “Static”

Release Date: Feb. 5

The year saw Sleep Theory continuing to check off milestone moments including their first-ever chart-topping singles in “Stuck in My Head” and “Static.” Though fans responded to both, our choice here is the pure adrenaline buzz provided by “Static.”

Opening with a primal scream and filled with electro-driving beats and robotic vocals, this song just pulses with energy. And toward the end, you’ll hear one of the longest-held screams in a popular song this year.

“Static” captured the attention of heavy music lovers and is a definite standout from the Afterglow album.

—CC

Spiritbox, Tsunami Sea

Pale Chord / Rise

Spiritbox, “No Loss, No Love”

Release Date: Feb. 7

Spiritbox songs are like a box of chocolates — you never know if the intro is going to flow into an ethereal haze of atmospheric textures or a volcanic eruption of screams and blistering riffs. “No Loss, No Love” is the latter and the first few seconds give you absolutely no warning before you’re swept up by the magma.

The whole track isn’t brute force, though. It oscillates between crushing heaviness and eerie stillness, where Courtney LaPlante delivers spoken word verses in a robotic tone. It’s a rollercoaster of energy, leaving listeners on the edge of their seats and unsure what to anticipate next.

That unpredictability is what makes Spiritbox so compelling — they never take the obvious path.

—LS

billy morrison featuring ozzy osbourne gods of rock n roll

TLG / ZOID

Billy Morrison Featuring Ozzy Osbourne, “Gods of Rock N Roll”

Release Date: Feb. 14

The Morrison Project was one of 2024’s great underrated rock records, but Billy Morrison wasn’t quite done with the original release. Holding back what would become one of Ozzy Osbourne’s last great singles, “Gods of Rock N Roll” went on to be the centerpiece of the deluxe edition release of The Morrison Project en route to becoming a Top 10 hit.

Ozzy’s melodic voice carries this life-affirming love song while Fred Coury’s beautiful orchestration presented through a 57-piece backing orchestra makes the song a spectacular listen. Add in a Steve Stevens guitar solo and you’ve got a bonafide standout track.

—CC

disturbed i will not break

Mother Culture Records

Disturbed, “I Will Not Break”

Release Date: Feb. 21

Disturbed did not release a new album in 2025, but they did make their mark with the current non-album single “I Will Not Break.” The chart-topping song is a fine addition to the band’s catalog, embodying the defiant spirit and uplifting messaging that frequently permeates Disturbed’s songs.

A driving, gritty guitar riff sets the tone, while David Draiman’s animalistic screeches and rhythmic vocals have us raising our fists to the air and rocking right along. Disturbed know how to write the hits and they’ve got another banger on their hands.

—CC

architects everything ends

Epitaph

Architects, “Everything Ends”

Release Date: Feb. 24

Architects have been one of metalcore’s top bands for over a decade, but they finally reached a career milestone with their first-ever No. 1 song on the Active Rock chart in “Everything Ends” in 2025.

The catchy rocker actually delivers a darker message against its bouncy backdrop as singer Sam Carter belts, “I could be the last one killing the pain / Changing like the seasons but wishing for rain / Don’t stand me up to reason all over again / Cause I’m dying here but everything ends / Everything ends.” The song had the biggest chart success, but is just one of several standouts on The Sky, The Earth & All Between album.

—CC

volbeat by a monsters hand

Vertigo

Volbeat, “By a Monster’s Hand”

Release Date: March 6

Even by Volbeat standards, the chugging guitar riffs and powerful drum stomp feel like they hit a bit harder than usual on “By a Monster’s Hand.”

That’s probably by design as the group conjures a more sinister, darker tone on the track to fit the nature of the subject material.

That said, listeners will also gravitate to the mid-song pace shift which sees the band jamming at a more feverish pitch. This chart-topping single just adds to what is a continually impressive Volbeat catalog.

—CC

dorothy the way album cover

Roc Nation

Dorothy, “The Way”

Release Date: March 14

If there’s one song that perfectly captures the dangerous outlaw attitude heard throughout Dorothy’s fourth studio album The Way, it’s “Bones.” Its haunting atmosphere conjures visuals of dust and tumbleweeds blowing around an isolated desert landscape while Dorothy’s vocals pull you in like a cowboy’s lasso.

The track balances searing guitar riffs with a slow-burning, ominous groove reminiscent of a showdown at sunset. The lyrics are raw, resilient and fearless. Overall, it’s like a storm of grit, glam and rock ’n’ roll swagger.

—LS

yungblud idols album cover

Capitol

Yungblud, “Hello Heaven, Hello”

Release Date: March 18

Europe had already latched onto Yungblud and, this year, the U.K. star finally got his big break stateside. With a newfound popularity driven by his viral Back to the Beginning performance and multitude of mainstream media appearances in the U.S., fans began to look to his most recent album, Idols, and its epic, mood-shifting first single “Hello Heaven, Hello.”

At nine minutes, it’s a bold move for a lead single, but Yungblud has never been one for conformity. Rock and self-expression is about more than tailor-made radio hits and “Hello Heaven, Hello” is just that. It’s rather autobiographical and foreshadowed his biggest release yet, underscoring the necessary hard work before reaping the ultimate reward.

—JD

callous daoboys lemon

MNRK Heavy

The Callous Daoboys, “Lemon”

Release Date: March 14

And now for something completely different. The Callous Daoboys took a chance at pushing their boundaries and delivered one of the funkiest, soulful songs you’ll ever hear from a mathcore band in “Lemon.”

Singer Carson Pace told Full Metal Jackie, “‘Lemon’ is one of my favorite songs that we’ve ever made. I think our execution of it and the way that we figured out how to throw that into an album and make it work is something I’m really excited by.” Of the track, he added, “‘Lemon’ represents every frustration you’ve ever had with a judgmental lover who wants you to give up on your art. ‘Lemon’ says ‘fuck that, you didn’t love me anyway.’”

The song itself leans more into their emo influences while butting up against an undeniable industrial hip-hop beat. What’s not to love?

—CC

chevelle rabbit hole cowards pt 1

Alchemy Recordings

Chevelle, “Rabbit Hole (Cowards, Pt. 1)”

Release Date: March 26

Where we get our information from continues to be a hot button topic for artists in 2025 and Chevelle took their crack at it on “Rabbit Hole (Cowards Pt. 1).”

As the title suggests, the song addresses the modern tendencies of doomscrolling and falling under the fascination of internet-fueled paranoia amidst a search for the truth (or at least a “truth” that fits our narrative). The track went on to peak at No. 3 on the Mainstream Rock chart back in the spring of this year.

—CC

evanescence afterlife single art

Netflix Music

Evanescence, “Afterlife”

Release Date: March 27

Four years after the release of The Bitter Truth, Evanescence returned with “Afterlife” as if they didn’t miss a step. Like many of their songs, it has a foreboding atmosphere, coupled with Amy Lee’s ghostly, fierce vocals.

The choruses are grandiose and intense, exploding with the kind of cinematic drama that has long been part of Evanescence’s signature. “Afterlife” feels both familiar and fresh at the same time — big guitars and orchestral flavors that hit hard and stay in your head long after.

It’s the sound of a band that’s aware of their legacy and ready to keep moving forward.

—LS

linkin park from zero cover

Warner Bros.

Linkin Park, “Up From the Bottom”

Release Date: March 27

Written after the initial tour for Linkin Park’s triumphant comeback collection (2024’s From Zero), “Up From the Bottom” was included on the deluxe edition of the record. From beginning to end, it succeeds both as another demonstration of newcomer Emily Armstrong’s merits and as a pointed allusion to the nu-metal heights of Linkin Park’s early days.

Above all else, the song further illustrates Armstrong and Mike Shinoda’s chemistry as a duo fully capable of juxtaposing forceful singing and defiant rapping. The rest of the sextet’s defiant vigor and emotional vulnerability returns as well via resolute percussion, raucous guitar riffs and affective programming.

Simply put, “Up From the Bottom” sees Linkin Park continuing to reclaim their former glory with a revitalized yet gratifyingly familiar sound.

— JB

deafheaven lonely people with power album cover

Roadrunner

Deafheaven, “Winona”

Release Date: March 28

When Deafheaven released their Infinite Granite album in 2021, the band drastically altered their sound more toward shoegaze as it stripped away most of its previous black metal elements.

Deafheaven course-corrected on the 2025 follow-up, Lonely People With Power. Here, they mostly revert to the vibe of their early albums, with a little more shoegaze thrown in. The two sides strike the perfect balance on the track, “Winona.” The song’s dreamy intro slowly builds to an all-out black metal assault before lowering back down toward the end.

This is what Deafheaven have always done best, blending genres as they continuously toy with dynamics.

–RC

wet leg catch these fists

Domino

Wet Leg, “Catch These Fists”

Release Date: April 1

Not every song needs to be peace, love and rainbows. Wet Leg tap into their inner aggression with one of the year’s most catty tracks, “Catch These Fists.”

“I don’t want your love / I just wanna fight,” singer Rhian Teasdale belts, inspired by an incident out hanging with friends that was interrupted by an obnoxious interloper.

With infectious energy and killer bass lines, this lead track from the band’s second album Moisturizer shows no signs of a sophomore slump.

—CC

sleep token caramel

RCA

Sleep Token, “Caramel”

Release Date: April 4

Sleep Token’s Even in Arcadia was one of the year’s most anticipated albums and “Caramel” proved to be the record’s breakout track. It became the band’s first ever Top 40 single in the U.S. and went on to receive a Best Rock Song Grammy nomination at year’s end.

Though often associated with metal earlier in their career, “Caramel” is more in line with the soulful and emotional rock sound that they’ve been transitioning toward in recent years. It’s a more diverse song, opening with electronic plonking noises, softly building momentum until a reggaeton beat drops in, adding atmospheric depth along the way and eventually crescendoing with a djent breakdown before pulling back to its bare roots.

It’s a vulnerable, emotional song laying out singer Vessel’s struggles with fame and the difficulty of bringing in someone to that environment.

—CC

turnstile album cover for never enough

Roadrunner

Turnstile, “NEVER ENOUGH”

Release Date: April 5

Maybe it’s time to stop debating whether Turnstile are hardcore or not and just admit they’ve expertly tested the boundaries of the genre. During recent releases, the Baltimore band has continued to experiment with the traditional hardcore song. On 2025’s NEVER ENOUGH, they take even more of an eclectic approach, introducing multiple non-traditional instruments, including a flute.

The album’s title track is the ideal opener as it offers a sampling of everything there is to come. There’s synth, twinkling keys, a ton of bass in some parts and a truly hardcore core. At no point does it feel overdone or awkward. Instead, it launches an album full of “what will they do next?” moments.

–RC

ghost skeleta cover

Loma Vista

Ghost, “Lachryma”

Release Date: April 11

This was the second single from Skeletá (co-written by Forge and drummer Max Grahn) and it’s easily gloomier and more atmospheric than “Satanized.”

Honestly, its rebellious guitar riffs, ghoulish backing chants, cinematic keyboard playing and sing-along harmonies evoke the gothic aesthetic of classic Tim Burton. Its lyrics help solidify the ballad’s endearing B-movie romanticism, too, with lines such as “I’m done crying / Over someone like you / I’m done crying / Hope you’re feeling it too now” knowingly leaning into cheesiness while still being admirable and appealing.

As a complete package, these elements make “Lachryma” a must-play for every Halloween party.

— JB

halestorm darkness always wins single art

Atlantic Records

Halestorm, “Darkness Always Wins”

Release Date: April 22

Halestorm have always embraced the darkness, but “Darkness Always Wins,” the lead single from their latest album Everest, is different. Instead of a celebration, it’s the sound of Lzzy Hale sitting down with the parts of herself she used to wrestle with.

It’s a tense, slow-burn of a track with a progression that mirrors the kind of inner turmoil that builds quietly before it comes to a head. It’s Halestorm at their most raw and vulnerable and it forces listeners to look within themselves as well.

The best kind of songs are the ones that make you feel something real and this one certainly leaves a mark.

—LS

dayseeker pale moonlight

Spinefarm

Dayseeker, “Pale Moonlight”

Release Date: April 23

At six records in, Dayseeker remain on an upward trajectory as one of post-hardcore’s most consistent bands. “Pale Moonlight” just adds another heavy hitter to the catalog.

There’s an eerie, brooding vibe to this one, which possesses a haunting opening accentuated by electro-infused vocals.

Singer Rory Rodriguez paints a picture of resolve and giving in to your vices. But it all comes to its heaviest point late as the frontman unleashes an agonizing scream: “Dance with the devil / Slave to the end / Beg for the dirt when they find you in a coffin.”

This one sets the table for a darker Dayseeker on Creature in the Black Night .

—CC

deadguy kill fee artwork

Relapse

Deadguy, “Kill Fee”

Release Date: April 29

You only get one chance to reintroduce yourself. New Jersey metalcore veterans Deadguy seized the opportunity on “Kill Fee,” the lead single off Near-Death Travel Services, their first album since 1995’s Fixation on a Co-Worker.

Stabbing, dissonant guitars and furious drums come crashing in immediately, and lead vocalist Tim Singer’s full-throated bellow summons the same thunder as it first did 30 years ago.

“Kill Fee” is the perfect intro to an album bristling with unadulterated hardcore fury. Middle age never sounded so vital.

—BR

sabaton legends art

Better Noise

Sabaton, “Templars”

Release Date: April 25

With an unquenchable thirst for transmuting battle-torn history into grandiose, stomping power metal anthems, Sabaton have arrived with their 11th LP, Legends. Kicking off the record is “Templars,” a perfectly crafted opener that underscores Sabaton’s penchant for hit-making nuance. Appropriately, there’s a palpable sense of gloom cast over this recollection from the Dark Ages.

While “Templars” may not make many new converts, it’s still a tremendous entry point for newcomers and another sterling addition to an ever-growing epic catalog.

—JD

mammoth the end artwork

BMG

Mammoth, “The End”

Release Date: May 1

Wolfgang Van Halen sounds increasingly more confident and tight with each Mammoth release. The title track from his third album The End, which was also the lead single, opens with the familiar style of guitar tapping only a Van Halen could create — and the fact that Wolfgang actually used his dad’s iconic Frankenstein guitar for parts of the song makes that statement even more accurate.

Once again, the rocker blows our minds with his ability to craft such layered songs entirely on his own (because he played all the instruments on this album, too). “The End” is a powerful blend of precision and emotion, shifting from high-energy riffs to a soaring, melodic chorus that feels meant for arenas.

It’s Wolfgang at his most self-assured yet, channeling his roots while continuing to define his own legacy.

—LS

royel otis moody

Capitol

Royel Otis, “Moody”

Release Date: May 9

The Aussie duo Royel Otis made good on the buzz surrounding them at the beginning of the year, scoring their first chart-topping single with “Moody” off their sophomore album Hickey.

However, the song did not come without its controversy. While written as a characterization of a certain girl, the band drew criticism over what was viewed as misogynistic lyrics as they portrayed the central character’s perpetual dissatisfaction in the eyes of the male writer. Despite the backlash, the song topped the Adult Alternative Airplay chart in July.

—CC

three days grace alienation album art

RCA

Three Days Grace, “Apologies”

Release Date: May 9

“Apologies” was the second song Three Days Grace shared since Adam Gontier rejoined the band. While it doesn’t share much sonic DNA with lead single “Mayday,” it’s powerful and catchy in its own regard, inflected with pop and electronic flavors, melodic vocal harmonies and big choruses.

It actually doesn’t sound like much of anything Three Days Grace have released in the past, which is a testament to their willingness to keep pushing the edges of their sound and taking risks.

It’s refreshing to see a band do that decades into their career, even if the first listen might’ve caught longtime fans off guard. Growth isn’t always comfortable, but “Apologies” shows it can be exciting.

— LS

president in the name of the father

King of Terrors

President, “In the Name of the Father”

Release Date: May 15

Who are those masked men? From the moment they were announced for Download Festival, that was the question about the new group named President. Luckily the music lived up to the hype as in early May the band released their first single, “In the Name of the Father.”

President certainly gave the populus something to digest, tapping into the quiet-loud dynamic with electronic-sounding metalcore, hard-hitting breakdowns, distorted and at-times autotuned vocals and softer emotional moments laced with pop sensibilities. The song took listeners on a journey of hopelessness, rage, fury and even a little emotional catharsis en route to its conclusion.

That was just the opening sample, but President proved to be one of the most ear-catching bands as the year progressed.

—CC

lorna shore album art

Century Media

Lorna Shore, “Oblivion”

Release Date: May 16

Lorna Shore are turning deathcore on its head — so much so that they led their new album by releasing a song that stretches beyond eight minutes.

“Oblivion” is a glib look at our world in self-made ruin as Will Ramos growls, shrieks and oinks, pondering how much longer we’ll continue to achieve total devastation before it’s just game over for us humans.

As has become Lorna Shore’s brand, “Oblivion” is an obliteration of the senses — a rapturous blend of cinematic epicness and apocalyptic chaos.

—JD

song 3 artwork

Babymetal World / UMG

Babymetal + Slaughter to Prevail, “Song 3”

Release Date: May 28

Kawaii metal collides with the knuckle-dragging savagery of deathcore on the ultra collaborative “Song 3.” It finds Babymetal and Slaughter to Prevail caught in a self-made crossfire of trench-digging grooves and euphoric melodicism in a most curious cocktail that goes down surprisingly smooth.

Released in an era where collabs are basically the standard, this is the record-skip moment that heavy metal needed, demonstrating that there’s still wondrous juxtaposition to explore after more than a quarter century of subgenre hybridization.

—JD

creeper sanguivore 2 album cover

Spinefarm

Creeper, “Headstones”

Release Date: June 6

With a nod to classic heavy metal on the first offering from the Sanguivore sequel, Creeper’s playfully seesaw between Paul Di’Anno era Iron Maiden and their own knack for irresistible rock opera sing-song moments. Equally playful is the double-entendre laid bare in the refrain — “So give us head… stones!” Heh, well played.

While “Headstones” is a bit more of a stylistic outlier on the group’s 2025 album, it’s far from ill-fitting and showcases another facet of Creeper’s play on the most beloved ‘80s music tropes.

—JD

drain album art

Epitaph

Drain, “Nights Like These”

Release Date: June 9

“The energy I feed, you feed, we feel alive,” vocalist Sammy Ciaramitaro proclaims at the beginning of “Nights Like These.”

The line not only perfectly encapsulates the rest of the high-octane song, but also Drain’s overall approach on their …Is Your Friend album. The California hardcore band accomplishes so much in so little time on each track.

“Nights Like These” goes hard, but also packs a couple of twists and turns into a song that is under two minutes.

–RC

rivers of nihil self-titled cover

Metal Blade Records

Rivers of Nihil, “The Sub-Orbital Blues”

Release Date: June 15

It’s fitting that Rivers of Nihil chose to go the self-titled route with their fifth studio record, as it’s their first without founding vocalist Jake Dieffenbach. Thus, it acts as an introduction and statement of purpose for the revised group and with opener “The Sub-Orbital Blues,” they boldly declare that they’re back and arguably better than ever.

Every element of the track ensures maximum addictiveness, with equally hypnotic clean and guttural singing trading places around Rivers of Nihil’s beloved dynamic belligerence. The divine harmonies are an especially unexpected but useful touch, too, and in general, “The Sub-Orbital Blues” embodies everything great about progressive death metal.

—JB

i prevail violent nature album cover

Fearless

I Prevail, “Violent Nature”

Release Date: June 20

Violent Nature is the first I Prevail album with Eric Vanlerberghe handling harsh and clean vocals, but fans wanting the first sample of that had to wait a little longer after the first single was dropped.

This track is as true to its title as can be — a devastating body blow that’s 2:10 of pure extremity. Nope, no cleans here! Stacked breakdowns, dramatic pauses, eerie tapping, circle-pit grooves, rapid-fire palm mutes and even a low-slung moody part all rapidly intertwine in a way that will crack your psyche.

—JD

bilmuri more than hate art

Columbia Records

Bilmuri, “More Than Hate”

Release Date: June 27

Whether you’re a longtime fan of Johnny Franck or this was your first run-in with him, there’s no question that Bilmuri’s “More Than Hate” stands out as one of the best songs of 2025. The dynamism Franck and his band showcase is next-level; from the heavy guitars to the melodic verses, “More Than Hate” has a little something for every rock fan.

Adding to the enjoyment is the continued speculation — though it’s basically been confirmed — that Bad Omens’ Noah Sebastian lends his vocals to some prominent moments in the track. As if that wasn’t enough, Franck has expressed his own appreciation for the song, namely how it’s been received. “I have a song on the radio, it’s wild,” he shared on an episode of Loudwire Nights. “I never thought that would happen in my life, so I’m happy to be able to get another chance to do it and happy to be able to be in the game for this long, man.”

—CA

foo fighters todays song

RCA / Roswell

Foo Fighters, “Today’s Song”

Release Date: July 2

Foo Fighters’ first new song since 2023’s tear-jerking But Here We Are, “Today’s Song” is a heartfelt commemoration their 30th anniversary. In particular, and in keeping with the tender reflections and catharsis of But Here We Are, the tune sees mastermind Dave Grohl and company continuing to look back on their harrowing history as they fight for perseverance, growth and hopefulness.

Beginning softly and somberly – with dreamy guitar lines and rugged yet vulnerable vocals – it soon evolves into an impassioned and inspirational rocker. Specifically, it moves between encouraging powerful and introspective sparseness wonderfully as Grohl utters poetic lyrics (“Don’t let this cruel world compare you / Waiting for someone to repair you / Two sides to a river / Too troubled to cross”).

As such, “Today’s Song” is an extremely moving piece that, contrary to its title, will remain timeless.

— JB

deftones private music

Reprise / Warner

Deftones, “My Mind Is a Mountain”

Release Date: July 10

What always seemed to set Deftones apart from their nu-metal counterparts in the ‘90s was their ability to bring additional influences from outside the genre to the forefront. The move is still one of their strengths in 2025.

On “My Mind Is a Mountain,” they channel mid-’90s wall-of-guitar alternative rock bands such as Hum and Failure. It’s done in a way that doesn’t sound overly dated either. Instead, it is a slight update to a classic alt-rock sound.

–RC

black veil brides

Spinefarm

Black Veil Brides, “Hallelujah”

Release Date: July 17

“Hallelujah” is exactly what fans of the heavier side of Black Veil Brides are thinking once this juggernaut dropped over the summer. After introducing six different musical ideas within the first 30 seconds alone, expectations for the remaining four minutes are completely reset.

While the anthemic hallmark of the BVB sound remains intact, it’s enveloped in this newfound heaviness that can only be possible when writing music straight from the heart.

—JD

nine inch nails as alive as you need me to be

Interscope / Walt Disney

Nine Inch Nails, “As Alive as You Need Me To Be”

Release Date: July 17

Welcome back, Nine Inch Nails! While Trent Reznor and Atticus Ross’ latest work remains in the film world, the Tron: Ares soundtrack was released under the band’s name this time.

Leading the way was “As Alive as You Need Me to Be,” an electro-funk rocker that was full on Nine Inch Nails swagger while tapping into Reznor’s angsty side as he belts out “Give me something to believe in” during the song’s chorus.

The track landed Grammy nominations for Best Rock Song and Best Song Written for Visual Media.

—CC

AFI, Silver Bleeds the Black Sun …

Run For Cover Records

AFI, “Behind the Clock”

Release Date: Aug. 5

“Behind the Clock” might be the best song The Smiths never made. Instead, it is the standout track on AFI’s 12th studio album, Silver Bleeds the Black Sun… The release continues the band’s evolution, albeit with a sharp turn toward post-punk goth rock.

On “Behind the Clock,” Davey Havok references characters from various David Lynch films. The song’s vibe is parallel with much of Lynch’s work, steeped in mid-tempo darkness with slight bursts of excitement. It’s exactly what you’d expect from a song that calls out characters from Lost Highway and Mulholland Drive.

–RC

bad omens specter

Sumerian

Bad Omens, “Specter”

Release Date: Aug. 8

Bad Omens continue to be one of metalcore’s emerging bands with “Specter” leading the way amongst some impressive 2025 selections. Though a new album has yet to be announced, “Specter” was the first of four songs to arrive in 2025 and subsequently became a Top 5 song at radio.

The track itself is filled with eerie electro-glitches and a moody, atmosopheric wall of sound as it slow builds its way toward a heavier finish. That vibe sets the perfect backdrop for a song that ultimately deals in loss and betrayal.

—CC

testament para bellum cover

Nuclear Blast

Testament, “Infanticide A.I.”

Release Date: Aug. 21

First off, congrats to Testament for writing a song about A.I. but not being total boomers about it.

Metal songs attacking social media and technology often miss the mark, to say the least, but the thrash legends hit the bullseye with the lead single off Para Bellum. The blast beats (courtesy of Chris Dovas, who makes his studio debut) convey a sense of utmost urgency as Chuck Billy races through doomsayer lines such as “The future’s destined to replace the soul / Dire warning, we have lost control.”

Dubbing the tech as a “genocide” of a generation, Testament position that the greatest setback is not that we will be ruled by artificial intelligence, but that the humanity we’ve built across bridges of time will be burned forever.

—JD

the pretty reckless for i am death single art

Fearless Records

The Pretty Reckless, “For I Am Death”

Release Date: Aug. 22

If The Pretty Reckless seem to have a bit of a fixation with death, it’s because it’s a theme that’s shadowed them over the last few years. But the upbeat spirit of their latest single “For I Am Death” feels like the moment they finally turn and face the darkness with a smirk.

Driven by a guitar riff with a sinister swagger, the track struts along as Taylor Momsen embraces autonomy and numbness, chanting like someone who’s stopped running from the shadows and is claiming them instead. It’s a bold, catchy song and listeners clearly agree — it’s the band’s eighth No. 1 single.

If this is what staring down mortality feels like, we’ll take more of it.

—LS

alter bridge silent divide

Napalm Records

Alter Bridge, “Silent Divide”

Release Date: Sept. 3

It’s hard not to be impacted by the current world climate, but Alter Bridge are here with some words of wisdom. Imploring listeners not to take the bait in a rage-filled social media echo chamber, Myles Kennedy sings, “Keep your head down / Ride out the silent divide.”

Helping to push the messaging is a chug-heavy opening and a blistering guitar solo from Mark Tremonti deeper into the song. “Silent Divide” sets up plenty of anticipation for 2026 with Alter Bride’s self-titled record set for a January release.

—CC

between the buried and me the blue nowhere album art

InsideOutMusic

Between the Buried and Me, “The Blue Nowhere”

Release Date: Sept. 4

The catchiest song Between the Buried and Me ever wrote, the title track to their latest LP sees the band fusing their trademark cosmic complexity and mesmerizing melodies with the transcendental guitarwork of modern Devin Townsend. Seriously, just try not to get lost in its invigorating vibes as frontman Tommy Rogers sings the heavenly chorus.

Some fans may dislike its accessibility and lack of ferocity, but BTBAM have long been making music like this and “The Blue Nowhere” is a perfect example of them balancing top-tier songwriting and instrumentation as they definitively prove that they can carry on as a quartet.

—JB

Amy Lee, Poppy + Courtney LaPlante End of You

Sumerian Records

Amy Lee, Poppy + Courtney LaPlante “End of You”

Release Date: Sept. 4

Collaborations between heavy artists happen all the time these days, but when was the last time we got three powerhouse women on one track? Evanescence’s Amy Lee joining Poppy and Spiritbox’s Courtney LaPlante on “End of You” instantly became one of the year’s most anticipated songs and it still managed to surpass our expectations.

Each vocalist gets a moment to shine — Lee soars in the cinematic choruses, Poppy takes the lead in the second verse with a razor sharp presence and even shares a scream with LaPlante, who dominates the bridge effortlessly flipping between her vicious snarls and ethereal clean vocals.

“End of You” is one of the most empowering songs we’ve heard in a long time and not just because it’s by women, but because it’s about closing a chapter, rising from the ashes and transforming into something stronger than ever. It was one of the most memorable heavy moments of the year and will certainly go down as one of the most iconic collabs in modern heavy music for years to come.

—LS

mudvayne sticks and stones

Alchemy / BMG

Mudvayne, “Sticks and Stones”

Release Date: Sept. 10

After a few years of reunion touring, it’s great to have Mudvayne back in the fold with new music in 2025. “Sticks and Stones” reminds us of how much they’ve been missed.

Chad Gray taps into childhood trauma on the comeback single, flipping the narrative of the nursery rhyme to reflect the pain that words can hold.

Mudvayne use this nu-metal-leaning song as a cautionary tale, sharing the broken feeling built up from dealing with abuse. But as Gray says, “I think I’m just trying to remind people to love their children. Don’t use them as a bullet to fire into your ex or whomever you’re with now. They’re innocent and impressionable.”

—CC

limp bizkit making love to morgan wallen

EA Games / Hollywood Records

Limp Bizkit, “Making Love to Morgan Wallen”

Release Date: Sept. 11

Limp Bizkit kept the good vibes going in 2025, dropping a stream-of-consciousness rap track that dropped nods to Chester Bennington, David Bowie and, of course, the titual country star Morgan Wallen on “Making Love to Morgan Wallen.”

The song, targeted for the Battlefield 8 original video game soundtrack, actually has a backing that’s not too far off from another of their soundtrack hits — “Take a Look Around” from the Mission: Impossible 2 soundtrack.

“Making Love to Morgan Wallen” also pulls listeners in with a call-and-response chorus that’s bound to make it go off live as well.

—CC

cover art for aerosmith ep with yungblud one more time

Universal

Aerosmith and Yungblud, “My Only Angel”

Release Date: Sept. 19

Aerosmith teaming up with Yungblud is the collaboration we didn’t know we needed. “My Only Angel” opens with Steven Tyler’s unmistakable rasp, stirring the bittersweet feeling that comes from realizing how much we’ve missed hearing him sing on something new.

The song has Aerosmith’s signature bluesy swagger but with a modern attitude, especially when Yungblud steps in for the second verse. His vocal timbre blends seamlessly with Aerosmith’s sound and at times it’s hard to distinguish whose voice is whose.

“My Only Angel” is what it sounds like you when you put two generations of rock stars in the same room and we’re here for it. If this is Tyler symbolically passing the torch to Yungblud, then the future looks loud, bright and chaotic in the best way.

—LS

lamb of god sepsis single artwork

Epic

Lamb of God, “Sepsis”

Release Date: Oct. 2

Lamb of God have been one of the most reliable purveyors of blackened, groovy thrash for the past 25 years. But a little change can be good for the soul.

On “Sepsis,” Lamb of God trade their patented head-crushing thrash for gnarled, distorted bass grooves and a sludgy, bellicose stomp. Randy Blythe alternates between defiant, spoken-word vocals and a larynx-shredding scream, bringing some hardcore attitude to the band’s metallic fury.

When “Sepsis” picks up speed in its second half, it’s a reminder that Lamb of God can still throw down like no other.

—BR

megadeth tipping point single artwork

BLKIIBLK / Frontiers

Megadeth, “Tipping Point”

Release Date: Oct. 3

“Tipping Point” isn’t just any old lead single — it’s the final lead single of Megadeth’s career and the first preview off their self-titled farewell album.

The metal legends stick to what they know best, serving a full-throttle thrasher crammed with blazing solos, crunchy riffs and relentless double-bass drumming. Newly recruited lead guitarist Teemu Mäntysaari dominates the track with plucky leads that have plenty of panache but don’t overstay their welcome.

When Dave Mustaine snarls “You won’t defy me, you won’t deny me, I’m at my tipping point” during the song’s mid-tempo outro, it’s clear he’s lost none of the piss and vinegar of his youth.

Read More: A Sleep Token Song Is No. 1 on New York Times’ Best Songs of 2025 | https://loudwire.com/sleep-token-caramel-new-york-times-best-songs-2025/?fbclid=IwY2xjawOu3zlleHRuA2FlbQIxMABicmlkETFaSU9ob2JBWDV2Y3NrdWdtc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHiXmWgGPMwRpHvVirO-G43xPZnjSzzkgK5XS6ziIYQs75aLN6J2rAy_8bkfC_aem_shxj1RN0h3TFNaUXcIQ12Q&utm_source=tsmclip&utm_medium=referral