It’s time to reflect on the year in music! This month, we’ll be highlighting Jam of Today’s favourite albums of 2025. Working our way up to the #1 album, which will be revealed on the 31st of December, we’ll go one by one past this year’s favourites. Today, our #22: ‘Superheaven‘ by Superheaven.

Here’s me, a near thirties man who’s been enjoying emo music for the majority of his life. Starting off with bands like Fall Out Boy and Panic! At The Disco, it later evolved into the likes of Bring Me The Horizon, AFI, and Title Fight, a post-hardcore group enjoyed by many people my age who all share one single emotion: sadness. An emotion richly fed by the disappearance of this group since their sudden hiatus in 2018. Luckily, alongside the rise of Title Fight was another group who gained likes by this exact same demographic: Superheaven, or Daylight as they were called prior to losing a legal dispute with a Spanish band sharing that same name. Thank god the Pennsylvanian band has released their first album in 10 years this year.

It all feels strangely nostalgic, Superheaven’s comeback sharing the same name as the band’s. It’s just like playing that old Title Fight album over again. I mean, this album does pretty much feel like taking a leap back in time. You simply can’t shy away from the fact that the entire thing is a trip down memory lane. Take bands like Soundgarden, Everclear, Chevelle, Local H or Deftones and you can easily represent an entire pile of (post)-grunge and shoegaze icons in just this one album. Nothing wrong with that, though. If anything, I quite like listening to something that sounds equally as new as it does familiar at times. Besides, Superheaven’s comeback is timed perfectly now that both aforementioned genres are enjoying a massive gain in popularity amongst several generations once again.

With this in mind, you easily cruise past the 10 songs in this album. There’s a few outliers in ‘Humans For Toys’, ‘Numb To What Is Real’, and ‘Stare At The Void’ which simply sound like the best executed songs on this album, but there’s nothing quite wrong with any of the other tunes either. It’s not the most exciting album I’ve listened to this year, yet its sense of familiarity made me spin it quite often at times where I didn’t know what else to play. And for that reason, I found myself pushing this album up the ranks in my End of Year list. This return of sad, dragging emo grunge has certainly made a positive impact on my year, as contradicting as that may sound.