A fast-paced, immediate selection ‘Dark Matter’ easily ranks amongst Pearl Jam’s most straight-forwardly enjoyable releases.

There's a clearly dynamism between the couple, resulting in a unified performance and all that lets them down is a weakness in some of the songs, where a greater commercial edge might have initiated more interest. Sophisticated Steel City pop.

It's hyper real hip-hop made just in time for the end of the world.

Smith delivers a record that combines sonic punch with a nuanced and wide-ranging sound palette.

Although the second half of the record loses steam somewhat with a succession of slow R&B vocal numbers like ‘Your Space’ and ‘Feelings of the World’, Sounds of Crenshaw Vol. 1 largely maintains its coherence. Its slight messiness is representative of a life lived, something that in itself never coheres as a perfect narrative.

While Lost & Found doesn’t feel like Jorja Smith’s magnum opus, it’s a brilliant first draft.

‘Androgynous Mary’ is an excellent, excellent debut and examines themes of hope paralleled with despair. They have struck the balance perfectly.

Unlike a time-worn relic that loses its lustre, ‘BLACK’!ANTIQUE’ is a curio of mind-melting hip-hop that becomes more corporeal, revealing its magic with every listen.

This may be the sound of an artist working with a formula: a formula that is certainly an effective, endearing one, but a formula nonetheless.

‘That’s How Rumors Get Started’ shows that it’s possible to stay true to the genre but also engage in light touch experimentation and pursue other interests. This is why she is in it for the long haul.

With a rich string chorus that runs through the final track and the songs preceding it, Soccer Mommy has created a dream-filled escape that always falls back to the present.

The Lion's Roar is full of rich textures that unfurl around Klara and Johanna's bittersweet harmonies.

‘Under The Sun’ isn’t an album to play while doing something else. It might start off as this but eventually you are listening intently, lost in its dense fug of sound and delicate melodies.

Truly, an album to savour.

Pure vaudeville, pure theatre--and pure Sparks.

A sometimes otherworldly, frequently tongue-in-cheek, and occasionally surprisingly punchy album. It’s a distinctive part of the Yorke canon which also stands apart as a musical reference-point marking the convergence of two creative minds.

The music is bright and unconfined, making it the perfect album for catharsis.

Despite Allen’s years of fighting insomnia, he appears to come to some form of conclusion during ‘In Praise Of Shadows’, one which we get a sneaking insight to – magnifying the introspective world of Puma Blue and this dreamy debut album.

Just as grand as one would expect from the German rockers, ‘Zeit’ is a disorienting, glorious dose of Neue Deutsche Härte. Thick with charisma and a sharp sense of theatricality, this is another certified classic.

Turner’s inconsistent seventh LP may not compare with the likes of ‘Love Ire & Song’ and ‘Poetry Of The Deed’ but a willingness to experiment paired with a deceptively simple message make it a decent, if unremarkable addition to his stellar back catalogue.

If... is dominated by widescreen cinematic soundscapes and fabulously evocative arrangements.

Both bold and filled with bravado, yet layered and emotional, YBN Cordae is able to convey his desires, hopes, and fears in an ambitious and well-thought out format. A strong debut from an artist who knows that he is capable of long-term success.

It brings the friendly, familiar sound of a bygone time without begging for the clocks to veer into reverse, and clings to ‘90s noise-pop with the gentlest possible grip. It’s a show of strength too, proving the resilience of the band.

‘Stay Close To Music’ is, in all sincerity, a masterpiece that seeks to amplify the voices that have been pushed aside for far too long.

At this stage of their career Nérija are a solid and virtuosic group, who have delivered two pretty flawless releases in less than three years. If this is what they are capable of now, imagine them when it comes time to make their next album. And that’s something to get very excited about.

Moss’ vocals and harmonisations with herself are a masterclass, supported by creative and tasteful production. Modular synthesis and glitchy-yet-organic drums are the engine of the record, the outcome being Moss’ best studio effort to date.

If there are fans who aren’t into this solo album, that’s OK, you still have his 2006 ‘Solo Guitar’ album to listen to, but for those of us who are into ‘White Roses, My God’ there is plenty to engage with. Grief has never sounded so captivating.

One of Kirby’s key strengths is her lyrics, but even with her voice front and foremost her repeated appeal to “wait, wait, wait, listen” seems like it could be genuine. On the other hand, the fact that a first spin inspires a kind of relaxed inattention just makes ‘Blue Raspberry’ more of a slow burn, one which rewards listeners who come back for more.

Underworld refuse to heed their own advice, and the subtle juxtaposition of light and dark elevate Barbara from a decent listen to an enthralling one.

By concentrating heavily on this former and earlier part of Elliott Smith's career, the compilers of An Introduction To... have gathered some of his best songs into a starkly beautiful and coherent album.

Loma is an interesting concoction, but one that doesn't always necessarily gel. It's undoubtedly a lovingly produced set of tracks, filled with an almost tangible level of texture, but the songs often don't match their treatment.

Oh My God is Kevin Morby’s attempt at crafting his own post-modern American Songbook. The sound of a succinct vision--executed precisely as intended.

‘Fake It Flowers’ is a starting statement that runs on unmitigated confidence, a revealing, enthralling, enchanting debut record, one that finally finds beabadoobee throwing open the gates and letting the world into her life. It’s a joy to behold.

Greep’s love of music – from Brazilian legends Egberto Gismonti and Naná Vasconcelos to the avant-rock ventures of his former band and Brixton brethren – strikes out of the album with an incredible force.

The overstuffed nature of its production choices means that ‘God Save The Gun’ perhaps lacks some of the raw, impactful lucidity of the band’s debut, but it nonetheless overflows with singular, soaring and soulful energy.

A transitional work that finds the songwriter operating with a subtle sense of evolution, it’s the sound of a supremely gifted young artist finding space to stop, and ask: what not…?

‘To Love Is To Live’ is a sonic poltergeist with sentiment to boot.

‘Screen Violence’ is so striking it makes 2018’s ‘Love Is Dead’ seem almost blasé in its deliverance.

There’s a lack of precision, with a flabby middle section finding ‘Begin To Begin’, for example, looping aimlessly. Yet when it hits home, Reality Testing more than justifies Lone’s tag as one of the most flexible, dextrous producers in the game.

Amyl and the Sniffers is a thumping, screaming, wailing magnet for misfits, losers, and outcasts, a clarion call for rejects and mis-shapes that is also an obscenely, outrageously good time.

It embraces you like a hug from a friend you haven’t seen for a while. Musically Ellis has created understated gossamer soundscapes that emphasise the emotions of the poems but don't draw the attention from Faithfull’s voice.

A searing, soul-searching jewel.

Fin is one record in conversation with the others--a new model of creativity and one that has produced, at the very least, an excellent piece of work.

Lorn builds winning improvements on an already victorious formula of boom-bap nightmares gone crypt walking.

Having listened from beginning to end scores of times, it always retains its singular charm.

Apocalyptic, transcendental and drenched in a sense of pure epic-ness, here we get that wonderful rarity of a soundtrack that doesn’t just match the artist’s usual output but one that stands as some of its best. Grab your space boots and take the ride.

There is some measure of repetition throughout the album, with that constant beat keeping you on the move. But Twin Atlantic have produced an album of unashamed anthems and it doesn’t disappoint.

As a whole the LP’s similar tempos and approach cause the whole thing to float by like a long-lost memory, nice when you’ve clasped on to it but soon it’ll be running through your fingers and out of sight.

Bold, speculative and profound Impressions is a vital reminder that although we may keep moving forward and putting the negatives behind us, they should never be forgotten.

While Harmony Of Difference will delight jazz fans, it is a truly incredible record irrespective of genre. If you are capable of feeling, you will find much to love here.

A record that focuses on fleeting glimpses, on liminal evenings and burgeoning mornings, it’s imbued with sublime melodic flair and a lingering atmosphere that echoes after the final note has been plucked gracefully from Bibio’s well-served guitar.

With ‘Hell Is Here’, HIDE have shown that a quick trip to the dark side might not actually be a laugh, but it can be somewhat enjoyable, as long as you don’t mind the static.

In totality this album will leave you in a pool of your own unraveling. Margaret’s ambient soundscapes invite us to pour into those caverns of ourselves. She bravely lingers between the waning and waxing of duality: beauty, pain, suffering and light.

Ultimately, ‘Introducing...’ thrives because of how natural it feels – a record as authentic as the dust on Dan Auerbach’s control booth, it places Aaron Frazer as a golden-voiced embodiment of this modern soul age.

‘Assembly’ is so much more than a generic ‘best of’, it is a celebration of Joe’s musical genius.

A kind of blue eyed soul take on the Basement Tapes, ‘Fat Pop (Volume 1)’ stands as further testimony to Paul Weller’s disregard for the expectations laid upon him.

Oddly, ‘Butterfly 3000’ shines brightest not through its movement but its precise arrangements. ... On those occasions where King Gizzard fully embraces the groove, however, ‘Butterfly 3000’ is a real treat.

'W' sees Boris fully exploring the lighter side of their sound. ... But the delicate beauty of these moments is magnified when Boris push themselves to the other extreme.

‘Learning How To Live And Let Go’ is a beautiful culmination in the XCERTS’ career.

Transcendental, life affirming and exhilarating, ‘For That Beautiful Feeling’ is pure unadulterated sensory overload and is a strong return for the shape-shifting electronic duo.

Despite the odd lapse in power, ‘Venom’ is a super-charged and dramatic record characteristic of Wargasm’s spirit.

Without a single skip, Cat Burns was able to make a record far greater than what could’ve ever been expected. Yes, it has the impeccable blend of her strong voice, brightly produced ideas, and perfectly curated hits, but it somehow also allowed her to be the voice of a generation.

‘Nothing or Something to Die For’ isn’t an easy listen. This isn’t an album to shuffle into any old playlist. ‘Nothing or Something to Die For’ demands your full attention and doesn’t want to hear your excuses. It’s also not going to be for everyone, but it knows that.

Taken in one sitting, ‘A Firmer Hand’ is a dense and often heavy album that nevertheless contains depths of melodicism, wit and meaning that only become apparent with repeated listens.

A quite singular record from a singular voice, ‘Dunya’ is testament to the strength of Mustafa’s ambitions, and his desire to be heard.

‘It’s Nothing’ is a good old-fashioned album in the best sense: 10 tracks, each well crafted and strong enough to stand alone, combined into a coherent whole.

On 2021’s ‘K(n)ow Them, K(now) Us’ and 2022 follow-up ‘Ibeji’, there were glimmers but on ‘On a Modern Genius (Vol. 1)’ there’s no denying his talent. Everything is bigger, tighter, looser and just in your face. Roll on ‘Vol. 2’.

‘A Blade Because A Blade Is Whole’ shows an artist undertaking the onerous task of confronting his shadow, utilising his own experience to develop a work which depicts a sense of absolution and completion. DePlume succeeds greatly in this, grounded in elegance and fragility as he shares a journey that is crafted for a collective conscience.

Sam Akpro finds a fascinating way to piece together the present time, and in return has produced his finest work to date in an introspective, yet also reflective fashion detailing the complex yet compelling world.

A fantastic example of world-building, Maria Somerville has create something unique and truly forward-thinking; a cryptic, ghostly song cycle, ‘Luster’ will undoubtedly rank as one of 2025’s most significant releases.

‘Echo’ is built around band instrumentation – spanning orchestral Brit rock, jangly pop-punk, wistful country, and alternative ballads – all woven into a cohesive whole.

A record so evocatively laden with peaks that it makes the Alps look like as a flat as a plastic football pitch, ‘Panic Shack’ is basically the most fun you’ll have with a British debut this year.

With ‘Soak’ Black Honey are at their most fully fledged, brandishing a sword against the darker sides of society while still allowing time to reflect inwards in moments of raw introspection.

This is their most mysterious and rewarding album yet.

‘Microtonic’ is not just the soundtrack of a rattling dance towards doomsday, but a eureka moment for bdrmm in which they’ve fallen into the vast potential of their musicianship.

The crisp, contemporary production is a revelation with the finer details bursting out at every moment. It’s a stark contrast to the original demo, which sounded like they were playing in your neighbour’s flooded garage and hurriedly recording everything direct to tape before the C45 ran out.

It’s majestic and beautiful in ways I never expected black midi to reach, let alone attempt.

Avery’s evolution as a songwriter is plain to see on ‘Tremor’.

His incorporation of lo-fi house and cosmic techno uplifts through the smallest dosage, and induces a powerful stupor until you're out the other side, perching on a Balearic mountaintop.

Mason is going from strength to strength, and new album Above the Light is quite possibly the most grandiose thing he has released to date.

The album showcases Veirs’ warm vocals, deft guitar picking and country-inflected songwriting. It’s not all so stripped down as to be dull, however, and songs like the title track are intricately woven tapestries of strings, woodwind and cooing backing vocals.

This marvellous studio-recorded successor [to his debut album] is more expansive but no less affecting.

Rebirth is completely captivating.

There is a defining (and high-definition) period where the mix becomes less interactive, a little noodlier, and more prey to a mass observing sway.

The record thrives because of this surface-level wokeness, Miguel continuing to occupy his own lane as a vital, progressive artist.

Shea Butter Baby manages to meld contemporary R&B with other sounds like soul, funk, and blues, all while introducing us to the Ari Lennox of today – and the inspirations that guide her every move.

These monumental tunes are totally bewitching from start to finish with heartfelt moments and deep intent packed into every second.

Shorn of expectation and match fit in the middle of a long tour, four friends found each other again.

With its Krautrock-tinged rhythm, backwards guitar and soaring chorus, it suggests that this rested and revitalised incarnation of The Coral still has plenty to offer. Having grown tired, their enthusiasm is audibly restored.

The Neon Skyline is one of those albums that will probably never achieve the popularity with the influencers and loud crowds that one sometimes lazily associates with a “successful” artist. Instead, it’s more likely to be enjoyed by hardcore fans in a small venue eschewing the limelight for a communal lament of the lives of the narrator, Charlie, Rose and Claire.

Big Joanie makes their own home on the record, and in the process, their own mark on contemporary rock. In a nutshell: Big Joanie is a band that deserves your attention.

A collage of trip-hop, screeching guitars, and anguished vocals, ‘Evangelic Girl Is A Gun’ is a truly complete project, a series of vivid portraits well worthy of their own gallery.

The songs are slow moving wonders that gather emotional steam with each passing moment. The pay off to this is an album full of unflinching narratives, and thoughts, that, if you let them, have the power to stop you in your tracks. ‘Night CRIÚ‘ is an album to get lost in with this night crew.

With every track, she proves she’s an artist unafraid to test the edges of her sound – and to make them entirely her own.

What ‘Perfect Saviors’ succeeds in, however, it exploding those aspects ever outwards, renewing The Armed and emboldening their most ambitious, rewarding album to date.

Yuck is a satisfyingly catchy re-enactment of what would happen if J.Mascis, Kim Gordon and James Iha had formed an early Pavement tribute band.

‘Savage Mode 2’ matches ruthless entertainment to phenomenal artistry, a collaboration that works on a number of levels. Once more exposing fresh layers to 21 Savage and Metro Boomin.

The strengths of My Name Is My Name vastly outweigh its minor faults, and Pusha’s studio debut finds itself easily nestled into the year’s top five rap releases.