Sam Rubin’s 2025 is a short but courageous record that blends thunderous indie rock energy with synths, samples, and drum machines, pushing his sound further into experimental territory. The opening trio (“2025 Intro,” “Hate,” and “Never Again”) sets the tone with cohesive arrangements and a palpable sense of urgency through powerful drums and guitars, further showcasing Rubin’s producer skills.
Across just under 17 minutes, Rubin’s signature self-produced sound merges synths, samples, and drum machines into a textured, sometimes chaotic storm. Tracks like “Hate” and “Never Again” showcase an evolving cohesion, where layered arrangements feel intentional, even if, at times, the vocals are swallowed by the thunderous instrumentation.
“Frame Rate” is the sole feature with safezonefire, and it is accompanied by “Crosshair,” making for a loud middle section, but both these songs command attention in this regard. As a whole, the project works well to feel complete, which can be monotonous, but the short lengths of the songs help avoid feeling that this is dragged out. “They Have” is an interesting departure from the sounds before it and embodies a different feeling. The track feels lighter but also crescendos into really intense drums that, at times, feel disjointed. The disjointedness of the track, however, works more than it does not. There is a sincerity to the DIY feel, and there is a wholeness to the way the broken pieces come together to form something compact. I admire the level of experimentation, and more so when a producer is able to move across genres, challenging themselves to make music that is a world apart from what they are used to. This is Rubin’s third studio album, so he may be well-versed in transitioning between worlds, but it is interesting to see experimentation. Production, after all, is playing around with sounds to create something whole. Sam Rubin, the producer, is present in this project in more ways than one.
2025 is a spirited project that blends heavy indie rock with experimental production choices. There’s a thematic shift toward hope, gratitude, and personal conviction, marking a departure from Rubin’s earlier, darker material. “Treat It Like New York” stands out as a daring centerpiece, with its unconventional structure and sonic risk-taking. The reprise of “Treat it Like New York” at the end is a welcome surprise. You don’t see many artists doing reprises these days, so it adds a cool, thoughtful touch to the project. It brings the album full circle and shows that Rubin is thinking about more than just making songs.
Written by Nthatile Mavuso
