With ‘Evolution’ it feels like this has been an album she has been itching to make and she has done so with wisdom, purpose and candour. Truly compelling, her artistry and perspective will make us all open our eyes a little bit wider whilst continuing to hanker after the beautiful human experience.

A muted gem, Joanne Robertson’s restraint sees ‘Blurrr’ reach fresh heights.

Overall, it's a glittering, multi-sensory synth-pop record that compels you to let yourself be transported through cosmic dimensions and the rich, textured under-layers of Beck’s creative psyche.

Phoenix has been four years in the making, waiting in the wings to see the light. And now that it’s finally here, Phoenix is definitely worth checking out.

Notably shorter than its predecessor, MU.ZZ.LE is just as rich and arresting, cataloguing Sumach's echoes, mumbles and stumbles through an album of lethargic trip hop and uneasy paranoia.

All of this ultimately comes together to create an utterly enchanting piece of work. A record filled with countless intricate and carefully considered elements, and yet one that never feels cluttered, or at risk of losing its pervasive emotional resonance.

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 an album that proves Kaytranada’s production skills to be limitless.

Emerging from a phase of growing pains and fitting perfectly into the mould of an awe- inspiring frontwoman, Baron-Gracie lays bare everything from depression and darkness to clarity and optimism with her mature songwriting.

‘Sometimes, Forever’ takes risks, embodies the freeing, ephemeral nature of life, and the joy of following your inner monologue as you follow hers.

Unsettling, certainly, on more than a few occasions. But wonderful is the descriptor that sticks after so many listens to this entirely enveloping LP.

‘Just Look At That Sky’ doesn’t presume to offer solutions; it’s an honest document of what it feels like to wade through anxiety, day by day, not a survival guide or handbook of answers none of us actually have.

‘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.

This is more Ben Frost than Burzum, more interstellar overdrive than terrestrial church torching. And it’s just a bit brilliant, basically.

Content Nausea sees the band’s Andrew Savage and Austin Brown bashing out a short, pithy not-quite-an-LP while their fellow bandmates variously become parents and math graduates.

It goes without saying that he hasn’t lost what has made him a permanent fixture of British music for so long.

MSTRKRFT themselves have quit trying to mask anything about their sound or approach, electing instead to deliver the turbo-aggressive noise record they’ve always threatened to make.

If ‘Sistrionix’ was Deap Vally as a brooding teenager, Femejism is the more grown up and wiser young adult. Strong and independent, it has just realised that it doesn’t need to impress you, regardless of the immaculate construction that can’t help but bowl you over.

Overall ‘Barn’ is a solid Young and Crazy Horse album. The songs a layered with all that good stuff you want a Crazy Horse album to have. Crunching guitars. Laconic acoustic numbers. Mournful harmonicas. Catchy choruses and a sense of urgency. While this isn’t a classic Neil Young and Crazy Horse album it’s pretty close.

There’s no need to know the full context to enjoy ‘Cabin In The Sky’. As one of the most straight-forwardly enjoyable hip-hop albums 2025 has offered us, you’d be hard-pushed to top it for entertainment.

Somebody’s Knocking sees the former Screaming Trees frontman continue his foray into electronica, subtly blending ice-cool synths with dirgey guitars and doom-laden imagery to reveal a love of ‘80s English alt-rock. ... Welcome back.

Morning Phase is a return to the lovelorn introspection of 2002’s ‘Sea Change’--in style, if not substance.

Ride seem to be embrace and move past their illustrious past, resulting in one of the most finessed, intriguing albums of their career to date.

The production in songs like ‘Drive’, with its charming bass line, and ‘Silver Jubilee’, with its flirtation with 2016-electropop, are nice surprises, but overall the record can get a little repetitive with its themes and melodies. .... But her comedic and very specific style does shine through either way, and performing these songs for a crowd will probably add to the depth of future projects.

Twelve years after their formation, the East Coast five-piece have created their finest album to date.

The sparse palette - Lenker’s acoustic, incidental percussion, reassuring tape hiss - serves to isolate the quiet brilliance of the melodies, setting their winding, spontaneous beauty against angst that spans existential questioning and the nuts and bolts of severing ties with someone you care about.

All in all, ‘Liquorice’ is Hatchie at her best yet: it’s poignant, poetic, and above all else, utterly hypnotic.

Shades of light and dark ripple throughout and keep the listener guessing.