Le firme di TRISTE©: Francesco Amoroso racconta il (suo) 2025

There’s something fundamentally wrong about year-end lists. Not because music isn’t worth celebrating, but because trying to pin down twelve months of listening into a tidy hierarchy of numbers is, at best, an exercise in personal mythology and, at worst, a meaningless ritual we repeat out of habit. Albums don’t exist to be ranked, art doesn’t ask to be quantified, and the emotional weight of a record rarely has anything to do with its position on a list.
And yet, despite all of this (or maybe because of it) I keep coming back to them.
If I’ve been deeply skeptical for years about the usefulness and meaning of compiling those infamous year-end rankings, I’m even more so this time around about the point of publishing them in the second half of February. We’re all already focused on the future (and thankfully so, since we usually spend far too much time staring back with our wide, nostalgic eyes), and in the first month and a half of 2026, a dozen or so albums have already been released that, I’m willing to bet, will end up in my year-end top 100 (which, perhaps, will be published in March 2027, assuming I ever find the courage to embark on a Herculean and ultimately futile undertaking like this one).
So, what’s the point? Well, I’ve done it now, and as usual I’m happy to share this list of my favorite albums of the past year with anyone willing to read it. This is, of course (though it’s always best to specify it every time), a list based purely on my own tastes and sensibilities, and it makes no claim to represent the best of what was released in the past year.
It also doesn’t include many albums that, while I truly appreciate them, I simply haven’t gotten around to exploring in depth, or that, while magnificent, arrived at the wrong time for me. I could easily make a separate list of at least fifty albums that fall into this category.
So take it for what it is: a list written with heart and passion, gathering some of the 2025 releases that sparked my passion and found their way into my heart. And, as always, if you end up discovering even a single album you missed (and, please, let me know), then all the time I’ve spent putting this together won’t have been wasted.

Happy listening, wherever you are.

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(Make Me A) TRISTE© Mixtape Episode 242: Sunny Intervals

Sunny Intervals

Sunny Intervals combines indiepop, folk and light electronica, as put together in London by Andy, formerly of the band Pocketbooks. Active from 2012 to 2016, when he released three delicious albums, Rooftops (2012), Step Into Spring (2014) and Sunrise (2016), Sunny Intervals returned, after almost ten years, with Swept Away. It is “a late night whisper,” written over the course of a decade, and recorded as lightly and naturally as possible at home, mostly in Andy’s kitchen at night while the neighbourhood was sleeping, with acoustic guitars, light percussion, keyboards and soft synthesisers. A soft mix of indiepop, folk and light electronica, Swept Away was released in April 2025, and re-released as a deluxe Bandcamp version including the original 10-track album and the five-track Almost Imperceptibly EP (and a sort of disco remix of Electromagnetic) in November 2025.

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The Lovely Sparrow – Multiple Lives (video premiere)

The Lovely Sparrows – Multiple Lives (video still)

The Lovely Sparrows are an American indie rock band formed in Austin, Texas in 2005 by singer-songwriter Shawn Jones. Initially releasing a self-issued 7″ single Take Your Hats Off You Godless Bastards, they quickly established themselves on the local scene with a rotating lineup of collaborators. In 2006, the band issued their debut EP, Pulling Up Floors, Pouring on (New) Paint, via Abandoned Love Records, and, their first full-length album, Bury the Cynics, arrived in 2008. In 2011, they issued a new EP, Tall Cedars of Lebanon, and in 2016 revisited material on Hermetic Recordings: Songs 2004-2016. After a long hiatus, the band released the album Shake the Shadow in 2018, reflecting new creative directions after Jones’ personal and geographic changes. I still picture you runningtheir third album, will be out on limited vinyl from Abandoned Love Records, on January 16th, 2026 and today we have the honor of letting you listen to the preview of the new single from the album, Multiple Lives.

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(Make Me A) TRISTE© Mixtape Episode 239: Hirta (+ video premiere)

Hirta (©Ash Drummond)

Hirta is the solo project of Scottish – American multi instrumentalist Alistair Paxton, well known for his guitar work with Shilpa Ray and for touring and working in recording studios with multiple other artists. His debut album is called Soft Peaks. Soft Peaks finds solace in the natural world and comforts through an intriguing map of familiar trailheads and newly chartered terrain. It casts a windswept and lonely spell, yet retains an air of optimism across its ten warm and desolate tracks. This album was self produced and recorded in 2025 in sessions split between the Hudson Valley town of Nyack, NY and rural Bovina in the Western Catskill mountains culminating in both vinyl and digital releases under Paxton’s own imprint, Half Painted Door. Soft Peaks reveals layers of intricate acoustic fingerstyle guitar and plaintive drums under sparse and tasteful contemporary textures. A subtle and evocative blend of traditional folk voicings and indie rock charm which conjures fleeting nostalgia and offers some hopeful light in a dark time. Through songwriting that crafts propulsive repetition and embraces the power of restraint and economy, Paxton’s vocal harmonies remain unadorned and carry a poetic honesty while delivering elegiacal verses both timeless and universal. 

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(Make Me A) TRISTE© Mixtape Episode 238: The Cords

The Cords

The Cords are a Scottish indie pop duo made up of sisters Eva and Grace Tedeschi, whose music distils youthful urgency into sharp, melodic songs driven by guitar and drums. Raised on a steady diet of indie records, they gravitated early toward the sounds of classic jangle-pop and underground pop, forging a partnership built on instinct, simplicity and momentum. The pair quickly built a reputation through a handful of ultra-limited early releases that disappeared almost as soon as they appeared. At the same time, they earned their stripes on stage, performing alongside cornerstone names of Scottish pop history as well as a new wave of like-minded indie bands, bridging generations with an ease that feels entirely natural. Their debut album, The Cords, marks a major step forward. Released by Skep Wax in the UK and Europe (with Slumberland handling the US), the record captures the immediacy of their live sound while revealing a growing emotional range. Short, punchy songs sit alongside more reflective moments, all held together by Eva’s bright, winding guitar lines and vocals and Grace’s propulsive, characterful drumming. The production stays true to their stripped-back approach, letting energy and melody take centre stage. While listeners familiar with indie pop’s past may catch hints of earlier movements and scenes, The Cords is firmly rooted in the present. It’s the sound of two young musicians playing loudly, honestly and without compromise, finding freedom in analogue instruments and direct expression. In doing so, The Cords reaffirm the enduring power of pop music that is handmade, heartfelt and shared on its own terms.

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