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.

It doesn’t really coalesce into a total success, despite some unquestionably fun moments, clear skill and grand ambition.