There is a maturity to this album, however it is still uplifting and fun, to an extent. However, maturity can only take a band so far so we are hesitant to give them credit simply for ageing (and learning while doing so, of course). What we will say is that the brilliance of ‘Rushmere’ comes from the Mumford & Son’s sheer talent and hard work.

‘Glory’ stands as testimony to the ongoing creative confidence of Perfume Genius, and the towering intentionality that streams through his work. With nothing left to prove, he’s redoubled his efforts, and added another Everest to his catalogue.

A cacophonous exhibition of everything that makes Deafheaven so special, ‘Lonely People With Power’ stands resolutely alongside ‘Sunbather’, ‘New Bermuda’, and ‘Ordinary Corrupt Human Love’ as testament to the brilliance of a band that is quickly amassing an unrivalled discography of masterpieces.

The end result is something that feels both familiar and oddly generic, a set of Lucy Dacus covers performed by Lucy Dacus herself that somehow still leaves out the most vital elements.

Dutch Interior’s new album lives up to the hype that surrounds them in a wonderful blend of country, folk, grunge and so much more. It’s hard to categorise them but there is a thrill in seeing such an ambitious debut that lands its audacious swings.

‘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.

This is a deeply original debut from a raw, ambitious band, one whose post-industrial urbane quality (check out this awesome video of them playing in an abandoned New York tunnel) provides it with a terrific sense of place and texture.

Kept to a trim 35 minutes, there’s actually surfeit of highlights on display – each track lands, while owning an incredible sense of breadth.

An outstanding effort rivalling his brilliant work with The Lemon Twigs.

The band embody the peculiar feeling of in-betweenness – the post-apocalyptic experience of being the only person awake – in a way that feels true to their history whilst scaling new heights.

Michelle Zauner’s most mature offering to date, and one that grows on you with every listen. This is a record to get lost in, an album to soundtrack your moments of reflection. Bewitching, bold and most importantly fresh territory.

‘Wish Defense’ is probably FACS’ most fun album.

Confident throughout, there’s a sense of Edwyn matching his incredible wealth of experience to the joy of music-making.

‘Lust For Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’ is infectious, driven by passion and fun, yet built with clear intentions.

It’s simply a masterclass in vibrant, unique and breath-stealing hip-hop whose layers of complexity never stand in the way of its fun, vivid storytelling. Put on your headphones, plug yourself in and enter clipping.’s immaculately-crafted cyber world.

There is so much to unpack in one listen with some many beautiful intricacies to get lost in. With each part of the album bringing something unique.

At its best, ‘Ruby’ is an exhilarating listen that proves Jennie is capable of much more than she’s been given credit for.

This is a debut that is hard to describe and that works in its favour, it is a fascinating listen that defies categorisation but never derails.

While it has fewer standout moments than Squeeze and self-titled debut SASAMI, there are still moments of beauty.

As is often the case with such acts, the anarchic energy doesn’t quite translate to their debut, ‘Hot Shock’, but it nevertheless serves as a largely enjoyable opening statement. The most interesting moments arrive at the back end of the record.

The record is not without some brighter moments and a celebration of unconditional love on ‘Thread So Thin’ and ‘Your Side’.

MAYHEM does, however, re-connect Lady Gaga with a sound – and approach – she deserves to own. With the world growing darker by the minute, one of the planet’s biggest stars is ready to unroot pop’s foundations once more – and we’re totally here for it.

It’s an absolute treat. Littered with innumerable highlights and demonstrating a remarkable consistency across its 16 tracks.

Revealing, often beautiful, ‘Service Station At The End Of The Universe’ has a heart of gold.

Delving into the modern complexities of society, her personal inspirations throughout her life, and developments of self as an artist and producer, the album reminds listeners to question and demonstrate awareness, whilst musically reaches new heights for the producer.

For longtime fans of Everything Is Recorded, this album represents a bold new chapter-one that trades frenetic energy for quiet reflection. And for newcomers, ‘Temporary’ is a stunning introduction to Richard Russell’s ever-evolving musical world.

There is plenty to unpack with plenty of anthemic moments but also moments of calm that help the epic tracks to soar even more. Dobson’s vocals and guitar work are both captivating throughout in a record that rarely has a dull moment and is full of spirit and spark from start to finish.

Yet for all the ideas, it’s a patient album: the deft funk of ‘Music Concrete’ takes its time, with a muttered repeated title, while ‘Space Station Mantra’ pulses and fizzes skywards, bringing things full circle with more motorik murmuring.

‘Constellations for the Lonely’ is an intricate and masterful record from a band at the top of their game.

‘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.

With this latest album, Ichiko Aoba has created yet another subsuming listen, an oceanic and blissful record that is a masterclass in escapism.

Sometimes, maybe, it sounds like they are trying just a little bit too hard. There’s a certain self-consciousness pervading the record. .... Having said that, Young Knives are confident enough in their own skin to know that just because a musical element may not be “needed”, we would all be much emptier without it.

‘Blindness’ revolutionises The Murder Capital’s sound once more and this prioritisation of urgency and energy brings an infectious listen.

On ‘Jupiter’, Nao has bottled liberation and turned it into a rich tapestry of sound, a sonic explosion of curiosity and play.

Fender lyrically distances himself from his first-hand experiences on ‘People Watching’, adding a new dimension to his already accomplished repertoire. Still, this album is a quintessential Sam Fender experience – a heartfelt, homegrown immersion of the mundane and extraordinary people and places this dweller was lucky enough to know.

Not only does it showcase her ability to blend introspective vulnerability with infectious pop sensibilities, but it also finds McRae discovering the sound she’s most confident in, leaving everyone wondering where she will take it next.

John Glacier had often considered herself as ‘particular’, and someone who knew exactly what she wanted, and with her latest body of work, the artist is moving forward in this exceptional journey taking her to exactly where her mind has manifested itself to.

The only ‘new’ song is ‘It Might Have Been’. Here Young really leans into country vibes. Slow strumming. Lilting, falsetto vocals with a fiddle solo to boot. It’s one of the standout moments on the album and to finally hear the original version, after all these years, is a blast. All of the songs are slightly different to their original versions.

Fusing fragility with fierceness, ‘Polari’ is a confident debut offering from Olly and is an expressive and euphoric collection of floor-filling, punchy tracks that oozes confidence, colour and charm.

An album of rare patience and empathy, ‘End Of The Middle’ doesn’t ever allow itself to descend into forthright commentary. Instead, it presents its scenes to you, inviting you in, and allowing you the time to reflect on the quiet luxury of finding such comfort a drag, in turn asking you to consider the fates of those who would find such a life an aspirational relief from the breadline.

On first listen, ‘$ome $sexy $ongs 4 U’ isn’t terrible, but it equally isn’t a vintage release for either artist. PartyNextDoor has undoubtedly released stronger material, and the pair’s regular duets have reached loftier peaks than these.

‘Automatic’ is emotionally-charged and is full of introspection, intelligent songwriting and despite touching on themes like loss and blurred reality is still poetically beautiful as it always is with the Lumineers.

It’s a welcome return from the marquee indie act, who thread moments of humour, aspiration and joy across the album’s twelve tracks. Their sound is coated in a new varnish which leaves the listener feeling as rejuvenated as the band.

Antonoff, enhances his co-collaborator’s foundations here: take the humming on ‘Sober’ which comes accompanied with subtle, minimal keys – the perfect backdrop to Bartees’ candid songwriting.

There is plenty to admire in the sound and structure, sounding far from a copy of the members’ previous groups. Each member is afforded opportunities to shine, it will be fascinating to see the longer-term trajectory of the project.

Freed from expectation, they can gleefully channel the melodic sheen of the Eighties without veering into needy bombast. There seems to be some tension at the heart of the band’s dynamic right now, but it has inspired a meticulous, strident and euphoric sounding record.

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’.

Catchier, more stirring than ever, Inhaler have done it again. Only this time they achieve with a new-found trust in their guts, it makes this work stronger. A magnificent move forward.

Recorded across Paris and London, the blend of cultures bleeds into the debut’s roots, lacing bilingual lines with effortless Parisian confidence and the harder-edged energy of London’s clubbing scene.

The only tiny criticism is that once or twice Heartworms’ palette ventures a little too close to retro eighties post-punk worship; see the guitars and drum machines of ‘Celebrate’ as an example. But other than that minor quibble, this is a seriously strong debut from an artist in total command of her craft, one that’s all the more impressive for so elegantly incorporating eccentric, sometimes abrasive ideas into its unabashedly pop vision.

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.

Bold, confessional and full of vulnerability, the Liverpudlian quartet serve up poetry amidst the pain with a stellar offering of euphoric resilience.

Leaving behind krautrock and other prog influences, along with most of their post-Brexit new wave tricks, they have begun their journey toward a cohort of self-assured artists—ones who, thanks to their more expansive vision, no longer have to copy the paintings of great masters.

‘Violet’ is a bold and ambitious leap forward, but it definitely works in the band’s favour.

It’s a heady dose of spiritual funk that leans into the free expression of jazz. It’s an album that kicks hard from the off. .... Closing with the emphatic ‘Carry The Word’, you’re left feeling how defiantly modern, and devoutly unclassifiable Cymande’s music remains.

Through their ability to find beauty in adversity, Maribou State have created an album that stands as a beacon of resilience and artistry. ‘Hallucinating Love’ is a powerful contender for Album of the Year – a body of work that radiates a perspective on life we too often overlook.

A riveting, vastly effective display of his generational talents, The Weeknd uses this broad canvas to assert the multi-faceted aspects of his pop genius. Unafraid to plumb the depths of his emotions, there are also straight-forwardly fun, explicitly pop moments. For all its undoubted complexity, it’s also an incredibly open record.

Here, he isn’t playing a role – it’s fun, vibrant, and deeply trippy songwriting, well worthy of praise on its own lofty terms.

On this their second album they have created a sonic world that is heavy with atmosphere, tension and gothic drama. The anxiety of the guitars and basslines are a thread throughout ‘Never Exhale’ and yet alongwith the striking percussion it all hangs together as a most glorious whole which will envelope the listener and weave its spell.

A record that feels both eclectic and uniquely defined, ‘WHAM’ packs huge amount of detail into its 15-track, 41-minute run. The neo-hallucinogenic production flourishes of ‘Free Promo’ show his studio control, but the roll call of features – GloRilla, Rod Wave, an electric Travis Scott – illustrate the respect Lil Baby is afforded by his peers.

It’s not a record that will dazzle anyone into any great epiphany, but while its on, you’ll be sure to find yourself charmed by the obvious sincerity of it all.

‘Live at Montreux Jazz Festival 2023’ might not appeal to many non-fans of this shirtless icon, but what it does provide is proof that you can A) Still sound ridiculously vital and feral in your 70s and B) that one James Newell Osterberg Jr. aka Iggy Pop was bringing his a-game right till the end. Look no further if you’re looking for a slab of good old-fashioned, authority-hating, boredom-detesting noise to start your 2025.

While it doesn’t reinvent the wheel, ‘Louder, Please’ is a wholly enjoyable record that captures the spirit of the dance floor with unflinching authenticity.

While there are moments that lack substance, ‘Can’t Rush Greatness’ also provides some of the best music of Cench’s career thus far. Central Cee went into this project carrying the belt of a UK Rap mainstream heavyweight, with ‘Can’t Rush Greatness’ he’s managed to retain that title.

Minus’ new album succeeds with its M.O. In terms of artistry, it’s similar to the work of Kelly Lee Owens, blending accessible pop tendencies with techno infused experimental flair. Yet, and perhaps more importantly, Minus has said exactly what she wanted to say, in the exactly the way she wanted to say it on DÍA.

‘Bloom’ is not a weak album by any stretch. The title aspires to present an album and a band that are maturing and flourishing musically, however it is difficult not to feel somewhat underwhelmed by the final result.

‘Same Kind of Lonely’ holds moments reminiscent of ‘Witness’ and his self-titled debut, while ‘Show and Tell’ stands playful in its sonic clarity. ‘Heavy On My Mind’ peels back the layers of Booker’s internalised truths, before rounding out on ‘Hope For The Night Time’, a ballad-esque piece that gives a final push into his dreamscape.

The second album by the Melbourne five-piece is a riot, in the party sense of the word.

‘You Are The Morning’ slides neatly into a certain lineage, while also more than holding its own. Across its 13-track span the record asserts itself with a beautifully framed sense of character, graceful in its approach and empathetic in its revelation.

Feeling distinct from his broader catalogue, ‘Balloonerism’ equally tethers itself to other points in Mac’s work. There’s a sense of cohesion here, and a consistency of quality that highlights the intent that Mac Miller had for this project.

David takes us on a fascinating journey exploring the human condition in the most captivating and meaningful way.

‘Humanhood’ is the most full-throated creation from The Weather Station to date. The relief is that they still have something really worth saying, which makes the album an early yardstick for all the releases to follow across the rest of the year.

His wheelhouse has always been in conveying emotion, profound sincerity and of course his stellar storytelling, and ‘Look Up’ is the perfect showcase for him to do that.

Closing the album out, it becomes clear that Moonchild Sanelly takes a more reflective approach to the project, one that is undoubtedly her strongest to date.

Fun, lean, and concise, ‘The Human Fear’ finds Franz Ferdinand looking to the future without any need to panic.

‘Perverts’ is not an easy album to listen to by any definition – but that never takes away from how exceptional it is.

As raw and energetic as ‘Who Let The Dogs Out’ is, it’s over after a breathless half-hour. There’s enough variety to keep attention firmly on this exciting duo, who might just be one of the best up-and-coming British bands.

Boasting 17-tracks and a full hour of music, ‘DeBÍ TiRAR MáS FOToS’ is a love letter to his heritage that boasts some of Bad Bunny’s most definitive moments.

It’s a record littered with towering pop peaks.

A work of maturity and quiet meaning, ‘Morayo’ stands alongside some of the defining moments in Wizkid’s work. Staying true to himself, this may be his most honest full length yet, driven forwards by a higher power.

Introverted and understated but not underwhelming, ‘The Night’ rewards repeated listens and while it is unlikely to provide the viral moment that returns Saint Etienne to their rightful place in the charts or troubles new audiences, it will more than satisfy the committed and may, with the benefit of an even longer lens, be among their greatest achievements.

The band’s blend of baroque and alternative rock, sounds immense live and this show has rightly been selected as a testament to that. This is also a perfect bridge to whenever the group release their next material and with 21 tracks is somewhat of an early Christmas present for the band’s legion of fans.

An eager act of fan service, the results represent one of his most consistent records from the past 20 years.

At nine tracks, some short, Bananagun’s return is always enjoyable but never quite stellar. Bakel’s ability to conjure a thrilling live sound and tangible atmosphere deserves plaudits – let’s just hope that next time around, there’s a little more structure and a sound they can call 100% their own.

As solo records go, Mayberry’s first is fun and often touching, but like many before, it is trying to find its identity.

An exciting and slightly experimental new chapter for the band and their most cohesive release in quite a while. A late-year stunner.

A trim 10 tracks – and 35 minutes of music – ‘Pink Cactus Café’ feels like a pared back record, a slightly old fashioned ‘two sides of vinyl’ structure.

I think it’s safe to say that ‘GNX’ alone feels like another significant addition to Kendrick’s flawless discography. Not only shocking the world with the nature of its release, but also delivering a project to the same exceptional standard that we’ve come to expect from him.

Closing on a magnificent note, it pulls together the threads on this incredible tapestry of work, a complex but warming achievement, one that feels just right to pull around your shoulders on these cold winter days.

It’s intimate yet expansive, it’s beautiful, but also reveals the ugly truth that death is inevitable for us all, but how you live your life is what counts. ‘Mahashmashana’ is assured, emotive and luminous,

This timeless and fascinating collection takes you on an unparalleled sonic journey that represents the brilliance, emotional connection and enduring legacy of the band that can be found in abundance both on record and the live stage.

A stylish, impactful and accessible collection, ‘Negative Spaces’ is music for our post-genre, post-everything digital age.

As a whole, this ambitious compendium of some of George Harrison’s finest tracks are ideal for fans discovering the magic of ‘Living In The Material World’ for the first time, or indeed for those wishing to revisit it.

In its pursuit of a more full, cinematic listen, the project is occasionally hindered by its sense of spectacle, struggling to form a genuine, consistent bond with its listener. Even so, 070 Shake illuminates a path that not many can tread with such confidence, an elevating spirit that pushes the parameters of her craft.

The wonderful ‘Isn’t That Enough’ recalls Neil Young’s ‘Harvest’ – it’s followed, aptly, by ‘Heart Of Gold’ – and these songs carry within them a quietly pervasive sense of direction, as though the album itself became a means of continuation. There are moments of real melodic distinction, too.

Whilst still channelling her pop song writing tendencies, there is a distinct sense of emotional depth at the heart of ‘Bouquet’, which feels as though it finds Gwen Stefani at the peak of her songwriting craft.

Never straying too far to their admired soundscape but enough so to still be refreshing. ‘IWH2BMX’, ‘Get It Til I’m Gone’, ‘Nocturnal’ ooze confidence.

Tracks like ‘Overflow’ and ‘Stained’ are the album’s most impressive. They fuse electronica and rock with genuine elegance, in a way that feels contemporary and, to a certain degree, even cutting-edge. .... Few other tracks catch fire in the same manner, however.