As the soundtrack to a night in a sweaty underground club, ‘Crystalpunk’ stands tall - all the more for its thematic emotional heft. A daring - if, at times, a little overdone - and ambitious statement.

As a collection, ‘GOLDSTAR’ is the type of first impression that may well leave one slightly lost, a little confused, and with their head certainly spinning, but after it all anyone who meets them will be damn happy they did.

Not perfect, then, but further evidence that their upwards climb remains a steady one.

Tempering the unfettered experimentation of their last outing, 2022’s ‘Tableau’ (where tracks clocked in anywhere between 50 seconds and eight minutes), ‘Only You Left’ does indeed emerge as a more structured project, roughly bound by a central polarity of “wood versus metal”.

A record that couldn’t be more consistently him. It paints this, his seventh studio album, as a compendium of his best parts, and perhaps his first to truly do so.

‘Book of Churches’ is a debut effort rich with promise.

Here, Kim Gordon effectively reflects the absurdity of the times, without claiming to offer a solution.

The project’s peaks tend to dominate the landscape, yet for something that sits somewhere between music’s most illustrious meet-up and a bona fide 2020s Hall of Fame, there truly is something here for everyone.

An excellent record that is at points raw but more often joyful, but is also proof of the importance of taking time out.

By balancing the mastery of her nostalgic sound with universally relatable lyrics, Mitski turns the unlikely into generational truths.

It adds up to a gorgeous album that overflows with easy-going energy.

A real insight into Nicky Palermo’s mind, ‘A Short History of Decay’ is one of Nothing’s most inward-looking releases to date.

Indian instrumentation adds a new tool to Damon’s sonic arsenal. In the wrong hands, the results could be gimmicky but here the Gorillaz formula never waivers. .... The decision to mine the Eastern take on death - a much more optimistic alternative to our Western one - frequently yields joyful results.

On her seventh studio album, the Canadian musician spreads her brash and ultra-horny sentiment across another collection of vibrant, high-energy bangers.

Although the execution of ‘Masquerade’ sometimes feels uneven, there is plenty to be excited about. Whether Cardinals become the next big band to come out of Ireland, only time will tell, but as of now, they’re certainly making a strong case for it.

His most cohesive work to date, finding parity in both its nostalgia and its modernity, and yes, through its forward-thinking and innovative collaborators. It’s a dance-pop album in parts, and a creative powerhouse in others.

Nostalgic and brimming with pop gems - but mostly, a lot of fun.

It’s not necessarily one to be filed alongside ‘Parklife’ or ‘Definitely Maybe, but there’s a distinct whiff of the era’s wistfulness across ‘Human’ and ‘Spies’ - plus a cheeky repeated “hello” in ‘Pretty Face’ that’s surely a nod to the Oasis track of the same name.

‘Empty Hands’ feels defiant in its ambition but never disingenuous or forced. An album unafraid to continue reaching towards the huge spaces not often reserved for this genre.

Scattered takes of pop, gruff-punk and sun-kissed melodies underpin these tales of despondency to cement a whole new style for a band near two decades in, a sound that Joyce Manor have yet to have presented but one that fits them perfectly, and a masterful progression of all that has come before.

While at points lingering a little too long, ‘When A Flower Doesn’t Grow’ is a solid outing overall, able to pack a striking punch alongside its messages of genuine substance.

A huge step forward musically, as it would appear to be personally.

Dan is increasingly using Daphni as a tool with which to broaden the horizons of his own understanding of dance music; to simply to take it at face value, though, it might already be the most relentlessly feel-good album of 2026.

‘EXPO’ is not quite Charlie Brooker in song, but it’s not too far off. Fully immersive but a little disquieting.

At a time when country-tinged indie rock is by no means in short supply in America - Wednesday, Waxahatchee and MJ Lenderman all spring to mind - Ratboys have earned their seat at the top table.

‘URGH’ sees Mandy, Indiana once again defy any pigeonholing, demonstrating an unabashed growth that still stays true to its insurgent roots.

‘So Much Country’ is a confirmation that just two EPs in, Westside Cowboy are already confident about where they’re heading.

(Almost) never not accomplished, albeit - as a whole - a little confusing, this second time around.