Rather than escalating, it holds its ground, making it one of Sleaford Mods’ most coherent and controlled releases to date.

Older, wiser and more seasoned, ‘Selling A Vibe’ finds the brothers refreshingly thoughtful and assured. All achieved while sounding as rough, ready and brilliant as ever.

Can any record match up to a 20 year wait? Perhaps not, but when the dust settles fans will have one of Nas’ best rap performances, fuelled by one of the all-time great producers.

This more mainstream-friendly, luscious-yet-intimate sound is a huge gamble for Dry Cleaning, and they came through this stress test shining, delivering their best work so far.

‘Masquerade’ is a compelling, richly textured and beautifully crafted record that lands with real urgency and vitality.

In the wrong hands this kind of indie pop could become trainspotter-ish, or an exercise in technical skills and box-ticking – as it is, ‘Holo Boy’ is a wonderfully enjoyable cycle of straight-down-the-line songwriting.

There is no weak link in sight across 18 varied and often pulsating tracks that dance between darkness and light as Cave’s music so often does. It is a testament to his artistry and continued innovation.

Even without images, you can see the raw emotion etched on Gore’s face as he delivered the poignant torch song ‘Home’ or the energetic maelstrom of windmilling arms that Gahan kicks off toward the end of ‘Never Let Me Down’. .... The album concludes with four unreleased songs recorded during the ‘Memento Mori’ sessions. Quite why these tracks never made it to the final album is beyond this writer.

Dove Ellis’ debut translates his quietly magnetic presence into something much larger, one that barely scratches the surface of what he’s capable of. We’re just at the start.

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.

If there’s a lack of truly revelatory alternative takes, then Anthology 4 makes up for this by shining a light on The Beatles as people, and as studio musicians.

The sugar coated melodies and lush production give ‘Finally Over It’ a frictionless feel this time round, but Walker’s aching monologues keep things grounded in reality.

‘Something To Consume’ is a brilliant debut, ambitious in the best of ways. The Austin outfit possess an unrivaled passion that is genuinely exciting, leaving their listeners eager for more.

Two years on from the initial release of ‘Norwegian Wood’ – cue an onslaught of media attention, baseless industry plant allegations and Courtney Love’s stamp of approval – Picture Parlour have honed a sound that feels admirably self-assured and truly authentic.

‘Everyone’s A Star!’ never loses its sense of fun. The album feels like their debut record, but grown up, bolder, and fully in command of its sound.

It may lack the pop-accented immediacy of ‘EUSEXUA’ tracks like ‘Perfect Stranger’ and ‘Room of Fools’, but there’s a surfeit of transcendent dance music on offer here, deftly undercut with a sensual, inventive, hi-definition approach that is always gesturing towards the future.

Despite spanning only nine tracks, the album feels complete, a full arc from despair to declaration. In its brevity lies potency: an emotional journey which navigates heartbreak, self-discovery and resilience.

Slender and carefully defined, it’s the work of someone unafraid to take chances – it’s good to have him back.

The result isn’t always beautiful, but it’s rarely dishonest.

Not For Radio’s ‘Melt’ is an incredible introduction to her solo world.

Ultimately, ‘COSPLAY’ is Sorry at their most innovative and impressive, with their strongest songwriting to date. The album has everything the band is loved for, but it’s augmented and heightened.

‘Stardust’ is more fun than it is masterful.

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

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.

‘Lux’ is endearingly insistent on taking you away from the lethargy of modern life and transporting you to a surround sound, meta-textual dimension. It’s hard-won, but oh so worth it.

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

‘Caos’ is an arresting, if imperfect, scream from the heart.

Remaining steadfast in their signature sound, Circa Waves released another nine songs which combines with ‘Death & Love pt.1’ to make an 18 track album. Part two’s first single, ‘CherryBomb’ immediately places you into Circa Wave’s soundscape with its relaxed instrumentation, vibrant riffs and catchy choruses.