Splazsh's followup simply doesn't hold the same tension or drive.

They’ve made the brave decision to remember what it’s like to feel and to breathe again, and it can all be heard in the stirring vibrations of Margolin’s words and voice.

Produced by Sam Evian, Loose Future is brighter and more buoyant than Andrews’ prior output, the Arizona-born artist displaying her well-honed songwriting and impressive vocal skills while adopting a pop-adherent sound.

While Clarke remains tethered to his sources, he still manages to flap his way toward the sun. In this version of the myth, his wings hold up, his father congratulates him, and the gods give him a brief yet sincere ovation.

Taken as a political, activistic, and aesthetic hybridization, Reed and Nehill’s work is fiercely confrontive, a treatise on humankind’s penchant for cruelty, its evolutionary missteps, but also its opportunities for redemption.

It would have been easy for songs to have come out overwrought and overproduced here, but instead we have a record of community, of gathering friends around to sing, play with, and support you.

After the muddy emotional quicksand of her previous album, Fohr has found an intoxicating clarity that abandons orchestras for beats. Recorded mostly at night in a basement-studio, the album exudes the limitless, animalistic jungian energy Pan stands for.

AM is a pitch black party record, full of menacing pop and grimy, indelible grooves drowned in bourbon.

Nü Sensae are one of the most formidable punk outfits working right now and Sundowning is the work of a band whittling themselves down to occupy the very tip of fury.

It’s one of the most gleeful and replayable debuts of 2013.

For 11 songs and 39 minutes, Tweedy creates a landscape of autumnal beauty and warm layers of guitars, which oscillate between experimental, almost distorted ambience and clear, saccharine folk melodies. There’s a few straight country tracks here, but for the most part, it’s minimalist genre-revisionism.

The album’s overwhelming atmosphere invites you to pore over the tracks, to take in each detail the light reaches, then comb over them again for everything you’ve missed.

nature morte is a wonderful, difficult album that requires patience and indulgence. The rewards are huge, though.

It’s outside the lines at times and consists of hues and shades you might not expect, but this is what makes Fragile Plane a fascinating listening experience.

The Bad Fire gives plenty of more ground to walk with and more layered depths to explore. It’s likely to stake some real estate in plenty of rotations worldwide, for those hoping for a follow up to 2021’s As The Love Continues that delivers on the same level. It’s ready for you.

Club Shy Room 2 is possibly Shygirl’s least cohesive project, but only because it shows so many facets of the artist’s skillset in its brief 15 minutes. She is sexy, she is bossy, she is fun, she is alternative, she is pop, she is the life of the party.

As it stands, The BPM allows Parks to showcase what a massive talent for writing and composing she has, removed from any constraints or genre terminology. A daring statement of intellectual and rich dance music that demands attention.

Researching The Blues isn't the album to convert non-fans of Redd Kross, but it does manage to tie in with the rest of Redd Kross' discography without sounding dated or out of touch.

Life is Good the most exciting Nas album to come around since It Was Written.

Abandon is one of the most cathartic, brutalizing, and beautiful experimental releases this or any year.

Antidawn is alive, and it expresses itself in those short bursts of iconic moments that shine something back.

Each track posseses different sounds, colours, styles and textures, but they combine to make an odd but strangely appealing whole.

While his latest effort is leaner and lighter than Cataclysm, it doesn’t recapture the essence of Ratchet, which may disappoint some despite the artist’s clear intention to change things up. But for those looking for a breezy indie rock record with Prince-vibes, Shamir delivers.

A Western Circular is likely to remain a curiosity – but it deserves much more than that. Here we have a gleaming, respiring and perspiring ode to the joy and pain of life, the looming shadow of death – and the importance that it gives to our daily struggles. All of these ideas are packaged up in lovingly arranged and sung art-pop songs, which sound as breezy and warm as an evening sitting out on the seafront with some close friends.

Changes is a meticulously crafted album that brims with hooks, deceptively complex vocals, and timely ambivalence; oh, add a sprinkle of hard-won morale – perfect for spring 2026.

By cause and effect, the music submissively ambles between full-on 80s throwback mode and stylish juxtapositions of different sensibilities, sometimes frustratingly so for those inclined to want to feel or hear something new. More often than not, The KVB are simply great at reconfiguring their core influences in fresh ways instead of blowing it up into an all-out pastiche, which isn’t an easy thing to do when your music summons such a specific set of atmospherics.

It’s one of the band’s biggest and best sounding records to date. The band doesn’t lack in sound traditionally, but Bayles’ production takes their grandest qualities and runs them through a meat grinder.

Though far from being a retread, Should’ve Learned bears some of the most evocative and affecting music of the quintet’s output thus far.