‘Easier Said Than Done’ hears them at their most refined. There is a refreshing honesty told in the lives personified across the album and, in the world of each song, no story is off-limits.

Refusing to surrender the emotional core of his songwriting against the dazzling array of studio fireworks, this is Dijon at his strongest – an artist stretching his discipline into evocative new shapes.

To be clear this is far from a melancholy album, in fact it is more melodic than their EPs, but still retains the very essence of Humour, with their vividly unique view of the human condition.

‘Wishbone’ stands as a confident pop statement, pairing Gray’s impressive vocal prowess with sleek, polished production.

Boasting 17 tracks and 78 minutes of music, ‘STAR LINE’ is a feast from start to finish. A record that points to his breadth, certain aspects – the torpid ‘Tree’ featuring an out-of-form Lil Wayne – don’t quite resonate. That’s fine, though: there’s more than enough here to drown out the noise.

With the album being centred around the concept of time, ‘Carving The Stone’ feels like it will stand the test of it.

It completes Amaarae’s transition from a fringe Alté artist to a future-pop icon in the making.

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.

For all the gruff exteriors and black-clad poses, if metalheads agree on one thing, it’s this: a touch of theatricality—especially when served with fireworks and a scream—always hits the spot.

While there’s comfort in these smooth and soulful blues-rock tunes, The Black Keys could really do with a touch more grit and raucous charm to stand it out amongst their discography. Either way, a solid effort regardless.

Ethel Cain is the most important artist in the world right now, and finally she has the album to prove it.

Hopefully the addition of vocals, and modular synths heard best on the ‘Naga Ghost’ outro, signals more experimentation in the future.

This a confident debut album, one fuelled by a palpable sense of intentionality. If this is the next wave of shoegaze, then the legacy of my bloody valentine, Slowdive et al is in creative hands.

While stepping away from the intimate vulnerability of ‘Snow Angel’, Rapp embraces a bolder pop-star persona, showcasing her Broadway-trained vocals with confident flair.

A record of curious indulgence, ‘The New Is Rising’ stands out through its bloody-minded singularities.

Thoughtfully constructed and bristling with quiet self-belief, ‘Dog Eared’ sounds both fresh and warm. Billie Marten shimmers with a chill confidence, offering clear-eyed portraits of her personal relationships that resonate with universal desires to love and be loved.

Despite the promise of impending doom, ‘Who Wants to Talk About Love?’ is a free-flowing, acoustic dream – a true testament to Bird’s dedication to her craft.

A record of incredible depth, ‘Alfredo 2’ is a celebration of the art, a platform of excellence.

Succinct yet packed with information, ‘Now Would Be A Good Time’ finds three musicians who are bold enough to let the pieces fall where they may. Folk Bitch Trio refuse to over-think the arrangements, and this lends their music an understated intensity.

The entire musical palette lacks any intrigue or seductiveness. Everything feels like it’s cranked up too loud in the mix and pasted with a synthetic and unappealing gloss. However, Raekwon himself is on solid form.

She’s brought herself to the very edge creatively, and the resulting album is stunning. She has earned this moment of glorious reflection.

Far from a filler project, ‘Find El Dorado’ stands as a fully formed artistic statement, reaffirming Weller’s place as a restlessly creative interpreter of song (yet again).

As palate cleansers go, ‘DON’T TAP THE GLASS’ does its job: a mash-up of shrewd and slinky dancefloor capers that dials back the conceptual overload and hits the reset button.

A sonic patchwork of disparate influences over a nucleus of Black London musicality, and imbuing each thread with an undeniable protagonist energy.

Ultimately, for those who find Travis Scott’s work to be style over substance, ‘JackBoys 2’ isn’t going to win them over. For those in thrall to the style, however, there’s much to chew on.

It’s a wild explosion of ideas, to the point where it could be argued that, when taken as a whole album, it lacks a bit of shape or finesse. Regardless, the fascinating production work by its skilled creator and a frankly ridiculous selection of guest features makes ‘Beside Myself’ a singular descent into vantablack-coloured dystopian club-tronica.

Vital, assured and moving, ‘I Beat Loneliness’ is full of magnetism and has an indomitable spirit that is full of fire that refuses to burn out, its intensity smoldering through every note and riff, relentless and alive with raw energy.

The strange, shimmering spirit of his songwriting and production style still pushes its way to the surface, delivering yet another record for fans to leave on repeat.

An impressive development of their sound, KOKOROKO further utilise their talent, alongside a slew of collaborators, to hit on something a little deeper than their previous work.

‘Utopia’ has its limitations. The retro/out-of-time musical architecture feels a bit familiar, although magical closer ‘Hireth’ is a singular highlight. Nonetheless, there’s heady magic to be found herein, if a touch less so than on its creator’s truly otherworldly previous works.

A jungle of genres, which includes an impressive throng of featured artists, from the moody and sultry ‘Ta Ta Ta’ which sees the somewhat controversial Travis Scott dip into focus, and infectious country bop ‘Change Your Mind’ which ushers in the likes of Shaboozey, to Rolling Stones rock icon Mick Jagger.

The album’s potential top-shelf contenders form a tight three-way tie between ‘Mike Tyson Blow to the Face’, ‘Chains & Whips’ with Kendrick Lamar, and ‘F.I.C.O.’ alongside Stove God Cooks. Clever use of a cappella negative space and boom-bap-style drums (‘M.T.B.T.T.F.’), lyrical density (‘Chains & Whips’) and boots-on-the-ground storytelling (‘F.I.C.O.’) make this trilogy stand as not only as some of Clipse’s strongest material, but also as some of Pharrell’s finest production in years.

‘My First Album’ is bold, fascinating, and addictive. A dark pleasure for summer season.

‘Loner’ is an accessible and creative collection of colour-splattered dance music whose myriad delights feels all the more impressive for the fact that, like all the best parties, it doesn’t even seem to be trying to be as fun as it is.

In the end, its sheer creativity and daring means that ‘SWAG’ (just about) justifies its breadth. 21-tracks of frequent daring, this Justin Bieber’s testimony, for better or worse.

Punchier, prettier, and more playfully perverse, ‘Moisturizer’ will undoubtedly help Wet Leg retain their place as one of Britain’s most unique bands. Expectations be damned.

There’s obviously going to be more in here for die-hard devotees than the passing generalist, and the sheer size of the release makes it far from the ideal jumping off point for a newcomer. However, it is an undertaking of rare unfiltered insight that allows those willing to stay the course to get under the skin of a true genius in a way that, had the 1990s gone a different way, may never have been possible.

‘Self-Titled’ makes up for its musical instability with Tempest’s sharp penmanship, and it is difficult not to be raptured on their next word.

‘do it afraid’ radiates optimism; a timeless, full-bodied work that speaks to embracing the beauty of life amidst dark times.

It’s rare that an artist peaks twice in their career, but ‘Virgin’ accelerates to equal climaxes which it was widely, and wrongly, assumed only fan favourite album ‘Melodrama’ could reach.

Showcases an artist gleefully scaling dizzying, wondrous peaks, backed by flawless musicianship, detailed production and marvellous songs.

UNIVERSITY have given us themselves on their debut album, and we thank them for the glorious noise, chaos, mayhem and moments of calm which takes us to another world completely.

‘OSMIUM’ isn’t a fun listen at times: it is filled with harrowing textures and tones, and sounds like a score to a very unpleasant film in places, but it is also enjoyable, in its own perverse way.

A contemplative, decidedly indie collection that trades sonic innovation for stillness and emotional clarity.

From the cathartic harmonies of ‘Julia’s War’ to the raw romance of ‘Candle’, there is a gritty optimism charging through the album, hitting you right in the gut and demanding you pull back the veil on past dread and expose a new outlook of forward-thinking hopefulness.

This is one of modern rock’s very best kept secrets at their peak, a band on the brink of sold-out stadiums.

‘The Universe Will Take Care of You’ is a delightful album – the melodies are strong, the tones are great and the overall feeling of togetherness and optimism carries on after the album finishes.

With only one relatively short album used as a basis for the comp, there’s some repetition over the course of the deluxe edition’s tracklist. It’s a relatively small squabble, though, an unavoidable conceptual one. ‘Mixes Of A Lost World’, for the most part, is a varied, refreshing listen.

His ambiguous and damning lament on modern England – as ever, left beautifully to our imagination.

The Amazons have taken all the best elements of their previous records to create the album it feels they’ve always been striving towards. A whirlwind of polished, widescreen anthems, it’s a full throttle rollercoaster that you’ll want to ride again and again.

As a whole, ‘Sogolo’ stands as a less cohesive package than 2023’s ‘Zango’, but it’s a braver, more energetic, and forward-thinking LP.

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

It doesn’t reach the heights of ‘III’ but probably crests ‘V’. His best work in a decade? A living legend re-asserts his worth, as if any reminder were needed.

For best results listen, not hear it, on headphones. The way the backing tracks float in your head is just bliss.

Succinct – a smidge under 30 minutes, all told – ‘I’ll Be Waving As You Drive Away’ manages to be extremely impactful.

‘Lotus’ is a developmental album that excels in a complexity of genres. It showcases Little Simz’s personal resilience as she takes on this vulnerable melodic journey to selflessly blossom in her introversion.

There’s a feeling that ‘Something Beautiful’ is searching for a unity that doesn’t quite coalesce, all while lacking some of the towering peaks of Miley’s more commercially-focussed work. A fascinating one-off, potentially; ‘Something Beautiful’ adds another layer to Miley Cyrus’ story.

For the most part, ‘Addison’ is a fun, delicious ride, soundtracking a movie where a small-town girl wins the lottery and parties it up in New York City.

That it’s been executed so flawlessly is testament to the musicians involved; acting both as fuel for this summer’s arena shows and an artistic work in its own right, ‘More’ perfectly meets the brief of what a Pulp record should sound like in 2015.

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.

A wonderful, and truly enchanting experience, ‘In Limerence’ will no doubt rank of one of 2025’s most special achievements.

A potent third record that retains a pop heart whilst wandering off into compelling new terrain. Her exploratory take on pop is gorgeous, redemptive, and full of life.

‘2’ is a stronger album than their debut. It takes more risks; it’s catchier and feels like a body of work.

Flitting between the glamorous and raw, the album thrives on contradiction, delighting in camp spectacle and coarse truths. Dancing amidst this ambiguity, Smerz’s allure, vulnerability, and dry humour makes this darkly dazzling record a potent reflection of cosmopolitan womanhood.

Pop classicists with a heart of gold, Sparks are busy out-pacing the copyists, and reminding us all exactly why they remain so beloved.

‘7 Piano Sketches’ feels slight – a bookmark, rather than a tome.

Closer ‘SMILE’ drops the noise, and embraces beauty; the lilting guitars are pinned down by a dulcet vocal, with Rico’s tender singing voice resonates with beauty. Leaving fans on a softer note, she shows true bravery, and no small degree of self-acceptance.

Foregrounding mental health, love, and the transformative experiences of the rail replacement bus, ‘Hers’ is a beautiful glimpse of his creative essence.

Confessional yet cathartic, ‘Metalhorse’ is an emotionally resonant piece of work that is vital, vivid and showcases why Billy NoMates is an undisputed ‘Tor’ de force.

On ‘Anatomy’, her second album, Potter delivers a collection of songs whose meanings are never clear. Are they about relationships, the planet, films distilled into three minutes? It’s this lack of clarity that makes ‘Anatomy’ so enjoyable.

It’s a mature, delicately crafted, and wisely put-together project that speaks of love, growth and family.

On ‘Lifetime’ she masterfully connects her eras, looping back, editing and upgrading the sound of rapture she’s cultivated through time. On ‘Lifetime’, she’s finally arrived at the sound of sweet surrender.

It’s a debut that captures so much of the excitement surrounding her, whetting appetites for the next steps from a potent talent.

An album is soulful consistency, ‘Sincerely,’ luxuriates in diamond-tinted sound.

Without necessarily reaching an unprecedented level of greatness, the record showcases new strengths, this in turn seems far more fulfilling, and no doubt more believable, for a band who are at this critical stage in their careers.

The samples are cleaner, more deliberate — used to tell stories rather than simply reference them. From Sugababes and Basement Jaxx to Just Jack and Nardo Wick, the influences are varied but handpicked. That full-circle moment on ‘Stars’ is one of the mixtape’s most striking flips, a clear sign of how far she’s come.

‘GOLLIWOG’ is an abrasive, demanding album. woods’ afro-pessimist vision of a world fundamentally hostile to every facet of black existence (family, history, spirituality) is a hell of a lot to chew on. However, it’s also a beautifully singular vision, one that’s delivered with thrilling intelligence and visceral, gripping force.

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.

It’s a surefooted, brilliant second album of any era, by any reckoning.

The band expertly place seemingly clashing sounds side by side, but with their lyrical deft and technical prowess are able to make it work effortlessly. Similarly, they consistently bring club-pop energy while employing conventional rock instrumentation, all the while having a level of lyrical honesty and wit others rarely achieve.

‘A Complicated Woman’ is not your average pop record. Then again, Self Esteem is not your average pop star. This is an album born for the stage.

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.

‘Bloodless’ will fascinate anyone who stumbled across the path of ‘Honey’, while also charming new listeners.

‘Weirdo’ is as stark, sharply composed and up close to its creator as the photo that adorns its cover.

It’s one of the most disturbing, hilarious, and unexpectedly touching records of the year.

A radiant, uplifting and spiritual album that feels like home. .... This is an album that does not ask to be understood – it asks to be felt.

It really spotlights his artistry and musical intelligence ranging from indie, electronic and folk. With so much going on it would be easy for it to be overbearing but he finds a way to bring it all together and flow wonderfully.

Something raw, something ancestral is born and found in the freedom of this album. It serves beyond the ear and reaches to the core of the collective heart. I’m captivated by the force and variety from which she’s presented each song.

‘SABLE, fABLE’ is a record of rare beauty and hope that fits neatly into the catalogue of an outfit that has never failed to deliver something extraordinary.

Imposing on first listen, ‘From The Private Collection Of Saba And No ID’ is packed with detail. Both artists have stratospherically high standards, leaving some to wonder how this would work – reaching to perfection, Saba and No ID have conjured something magical.

These 11 tracks are relentlessly melodic, channeling the soulful pop-punk of Descendents and anthemic grunge of Hole rather than any of Scowl’s pit-stomping hardcore peers. Moss’ ruthless scream makes a handful of notable appearances, such as on ‘B.A.B.E’ and titular closer, however, the main focus here is an elegant sense of rock euphony that manifests via a range of differing but cohesive songwriting approaches.

Black Country, New Road somehow remain just as essential as they were back then. It takes time to get your head around ‘Forever Howlong’, with its freeform song structures and heady arrangements — but if you allow yourself the space to unravel its secrets, you’ll be amply rewarded.

Djo triumphs in an accomplished attempt at a third album which spares no songs in getting to the crux of the matter.

There is so much to unpack here across a myriad of styles from jazz to folk and blues but it all seems to fit the subject at its heart, Dennis Hopper. It may not all work but when it does it is mesmerising.

This is equally Carlile’s record, her majestic vocals and distinct edges complementing his. We’re hoping this won’t be Elton John’s final record but it’s certainly one of his strongest collections in years, bookending a musical legacy unlike any other.

Listen closely and the lyrics are raw in places in terms of questioning oneself and yet grow in self-confidence and belief as the album progresses, perhaps reflecting experience. However all of this is wrapped in the most glorious music, full of spirit and vitality.

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.

An often-insubstantial record, ‘Based On A True Story’ doesn’t offer much beyond surface. If Will Smith wanted to get his feelings down on tape, this album doesn’t come close; what emerges is instead a flailing, futile gesture.