‘Things Take Time, Take Time’ sees her breaching into a new territory while still residing in the safe net of her previous sound, making it an album to introduce her to a new audience and a pleasing one to entertain her already exciting fanbase.

A few listens, however, will peel back a casing and find that every track has its own M.O and spans the curvature of the emotional kinsey scale.

A step forward in terms of production and vision, but no doubt at quite a personal cost to Lukid.

By releasing a debut with such honesty at its core Lianne will find a nation falling in love with her.

Despite the continuing theme the mixtape is no way disappoints, exuding a level of excitement and appreciation of a body of work that Erykah display’s both through music and her own style.

An odd but beautiful and often remarkable album, Atlanta Millionaires Club has a depth of feeling that is difficult to shake off. Material that evidently emerged from a dark point in her life, this should represent the point Faye Webster steps out into the light.

‘This Stupid World’ is another wonderful instalment in their extensive catalogue.

‘With Heaven On Top’ is comforting yet absorbing, timeless but timely, a space to escape in while still feeling challenged, and still feeling entertained. Whatever it is, Zach Bryan has cracked it.

A rich, fascinating, and perplexing album, The Curious Hand continually deals out new and unexpected elements, stretching Seamus’ until it breaks into the spirit of fanciful experimentation.

Often moving, and never dull, ‘Secret Measure’ is a softly thrilling return, assured in its place in the world.

It's one young man's proper opening salvo cast as an entire genre's dying breaths. But for a last gasp, it sure sounds vital.

Sometimes its hard to separate the art from the artist, but Lily Allen has once again drawn upon brutally honest and painfully raw experiences from her own personal life to create an all-encompassing and emotive sonic journey that keeps your finger firmly on the repeat button. Absolutely nothing to be ashamed of here.

“Absolute carnage” was how we described Maruja’s Glastonbury appearance earlier this year, and while no studio recording can capture that sort of live magic, ‘Pain To Power’ comes pretty bloody close.

‘Red Moon In Venus’ solidifies Kali Uchis’ appeal as both a fringe artist leaning fully into her idiosyncrasies, and a crossover one executing universal easy-listening with élan.

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.

For a 2026 experimental capitalist-critique, dedicate half an hour of your time to this album. You won’t regret it.

Meshing 80s pop revival, conscious club classics that could slide into her diverse DJ sets, moodier and more alternative, experimental sonic paths, Avalon Emerson is embracing more of what she loves, more of the unknown and the joys of collaboration in the & the Charm project with ‘Written into Changes’.

With this 17-tracker, Joshua Idehen and Parment fashion a musical balm in an age of discontent.

‘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.

Sounding like club music for grown-ups wanting a decadent summer of love return without wanting their troublesome kids tagging along... Likely to be a hit in the woods and beyond.

It’s a huge record, a panoramic thriller that places three incendiary MCs against a digital orchestra – an ambitious, lavish, and extraordinarily successful release.

The heart of the matter on this record carries so much weight and substance, but it is presented in light playful ways and therein lies its appeal and beauty. It has light and shade.

It’s note-worthy how fresh and vivacious ‘Man’s Best Friend’ sounds.

Enriching yet austere, its methodology seems to embody the title of a previous Claire Rousay song: ‘everything perfect is already here’.

Stranger is at its best when it steps away from the safety of cloud rap melancholy in favour of Lean embracing his outsider identity.

Calling this 'No Waves' suggests a symbolic sympatico bond between the duo, best evidenced by the graceful way that Gordon and Nace hone in on controlling this beautiful racket with apparent ease.

Though her personal tragedy has been transformed into an affecting record of real beauty, one truly hopes Li’s next chapter isn’t quite so agonising.

From the shoegaze-tinged jangle-pop of 'Future Love', to the dreamy indie of 'Clouds of Saint Marie', Ride sound incredibly fresh-faced.