The themes and ideas are the same [as Funeral For Justice], but the execution makes it into something original, and in this case essential. In fact, this is probably the most essential acoustic rock album of the past decade.

At just eight tracks and a 30 minute running time, it does feel a bit slight at times. Yet that’s a minor quibble: much of Pinball Wanderer shows just what Bell can produce when he’s given a rare spotlight.

As they sing in the closing track Fresh Meat, “the past is catching up again”, and maybe its that sense of time moving so quickly that makes this chaotic, exhilarating and often perplexing album such a compelling listen.

By the time Heavens Sent’s mellow guitar line fades out it feels as if Glacier has reached a spiritual breakthrough – the journey to this point, while fragmented and non-linear, is one of the most accomplished debuts of recent times.

Rarely Do I Dream is another beautiful album from Powers, which seems to be a constant, no matter what name he chooses to record his music under. It manages to sound both nostalgic and contemporary, full of songs that evoke the warm glow of childhood, but with a creeping menace never too far away.

If Young’s Archives were tiered by quality (with Homegrown and Way Down in the Rust Bucket at the top), then Oceanside Countryside is at least a B+. It’s a very enjoyable, consistent and relaxing listen that doesn’t come with any of the baggage of many of Young’s heavier releases. Just splendid.

All Living Things shows how Jiha is able to navigate the border between the experimental and the accessible with confidence and deftness, its woozy textures and spectral aesthetics making for an engaging listening experience.

For, as beautiful as the arrangements are on End Of The Middle, it’s Dawson’s lyricism that raises this up to another level.

With Wish Defense, FACS have made a record that is as much a piece of Steve Albini’s legacy as it is to their own magnum opus. It is challenging, confrontational, and relentless – but for all its darkness, something striking emerges. Not beauty in a conventional sense, but something raw, vivid, and impossible to ignore.

The Manics may no longer be generation terrorists (if you can indeed be such a thing in your mid-50s) but Critical Thinking shows that, when they fancy it, they can still deliver a witheringly bracing state of the nation address.

Enter Now Brightness may not be a full musical rebirth but it does feel like a step up, the sound of Reid operating at a higher level to before.

While Polari might not be destined for as many accolades as the all-conquering Brat, it establishes Olly as a solo artist to be reckoned with.

Glutton For Punishment is nothing if not cathartic. Thankfully, Orme’s quite phenomenal songwriting means that she has somehow made the pains of life sound like something that we should embrace and celebrate.

This new musical approach has left Van Etten sounding refreshed. Whether this album marks the start of The Attachment Theory’s career or just a one-off, it’s a demonstration just how the camaraderie of a band can revitalize your sound.

This is some of the most expressive music you could hope to hear in a club in 2025, proclaiming its desires, sexual and otherwise, in a proud but non-threatening way. Their music promises enjoyment – and, set down in a quivering heap 50 minutes later, this writer can wholeheartedly agree.

There’s potential across this record, but not consistent greatness.

The more collaborative approach this time around has led to a more fleshed-out sound than his early, more minimal work, but it still contains the usual Oldham magic.

Louder, Please is an accomplished debut album, successfully straddling genres without being beholden to them and painting a holistic picture of this exciting new artist.

It probably won’t be for everyone – what one person may find mesmerising and hypnotic, another may quickly find repetitive. Salt River is never dull though, despite its slightly narcotic haze.

By now, you know what you’re getting with Tunng – this may be an album with few surprises, but it’s one that seems to greet you like an old friend.

If your taste leans towards slightly sugary and celebration of all things romantic, then you’ll find a lot to love here.

Héritage will no doubt further boost their already strong credentials. There may be elements of familiarity here but there’s also a freshness and sense of integrated cohesion. In short, it shows them to be one of the best in their field, having lost none of their power despite on this occasion dialling down their sound.

It may last just 32 minutes, but You & I Are Earth never feels rushed or slight. There’s a kind of glow to many of its tracks and it’s that glow which gives this record its own power. .... The best album of Anna B Savage’s career to date.

It’s lacking an Espresso, so to speak – but as it is, this debut album is quite the introduction to an impressively talented young woman.

Although the year may only be a matter of a couple of weeks old, You Are The Morning is already one of 2025’s best albums.

Dear Life is a fine album that will appeal to his long-term fans – the sort of steady, consistent record that we’re used to from him by now.

It’s an album full of joy and vibrancy – even when it threatens to become a bit too abrasive, Sanelly’s pure pop sensibility always rears it back. Full Moon is Moonchild Sanelly’s finest album to date, and is about to introduce a brand new superstar to a whole new audience.

Here In The Pitch might only be just over 27 minutes long but it is a disproportionately affecting album full of wonder and magic. It will stand the test of time and be rightly regarded as something of a classic in years to come.

It may not be what you expect if you’re a casual fan, but it’s another intriguing little audio experiment from Wiggs, Stanley and Cracknell.

Vicious Creatures is a sometimes uneven, but never less than intriguing, listen, and kicks off Lauren Mayberry’s solo career in impressive fashion.

The Weightless Hour feels a natural successor to the sadness and grief of Snapshot, but with an added sense of hope and rebirth. It also has all the elements that made Howling Bells such a satisfying listen, while being a sufficiently different experience.

He’s not resting on his laurels lyrically, but we have entered a new phase where his output is reflecting him in a more raw sense. He’s just as inclined to bellow his producer’s name with blood-curdling intensity as he is to ruminate on his place in the rap game, and with results like these his position as “big me” is surely secured.

This is an album full of surprises, and some perfectly crafted, often very moving songs.

This is an album that stands next to Fear Fun or I Love You, Honeybear as one of his finest, and if he intends Mahashmashana to be his own personal cremation ground for his persona, then it’s a hell of a way to go. An inspiring return from one of the most creative, interesting artists out there.

Small Changes may not be as accessible or immediate as Kiwanuka’s previous albums, but it’s another wonderful record from one of our most talented singer-songwriters.

This is the best Warmduscher album, and arguably the best album produced by anyone from the Fat Whites stable since 2017’s The Moonlandingz debut.

It all adds up to the best Du Blonde album.

There’s nothing outright bad on Bouquet, but it’s more that it’s all so insipid and safe. Love and marriage are to be celebrated of course, but on this evidence they don’t make for the world’s most exciting music.

The band’s first album in eight years, its brittle plastic funk and syrupy ballads are offset by meaty riffs and disco beats, but that makes musically for a somewhat jarring listen – especially from a band who have always been renowned for sonic cohesion.

Some of the tracks, especially towards the end, don’t have quite the immediacy of the earlier songs. .... That’s a minor quibble though – at its best, The Good Kind is proof positive that The Big Moon have actually had two excellent songwriters in their ranks for some time.

It’s all very sedate and relaxing, and while that works beautifully throughout the album, sometimes you just want to hear Regan turn it up a notch. Yet, maybe that’s not the point – it’s possibly Headphones that sums up the album’s ethos, a song about being literally wrapped up in music, and it’s that immersion that O Avalanche is best experienced in.

It never feels too claustrophobic. You can feel the care and attention lavished on each track – it’s a full three minutes on Alone until we actually hear Smith’s voice, but that doesn’t seem to matter as it feels like a pleasure to dive into this sound again – the chiming guitars, the shimmering synths. it’s like welcoming an old friend back home.

The new interpretations confirm the timeless quality her songs possess, offering new perspectives on youth as now seen through experienced eyes. It can only be hoped that she has a suite of new songs up her sleeve, for on this evidence she remains one of the very finest vocalists in British pop music.

This album is a joy, with a cast iron guarantee that you’ll be smiling by the end of minute one.

There are so many wonderful things happening throughout the album but one minor issue is that it’s 13 tracks long, where 10 or 11 would have done. Simply put, there are a couple too many songs to maintain the momentum of the first half of the album. That said, U Should Not Be Doing That is the best song here.

Appreciate the storytelling of Strawberry Hotel without shuffling. It’s nearly a five-star experience, too, its facilities and furnishings impressing greatly – along with the conviction that Underworld are as good and as vital as ever.

It’s light, supple and tender, full of balladry and spacey (almost psychedelic) arrangements that seek to soothe and soften your mood rather than make you want to breathe fire (as their early work was wont to do). Unfortunately, it also challenges Indie Cindy for the unfortunate title of ‘most inconsistent Pixies album’ – it is, however, better than that record.

Patterns In Repeat is one of the finest records of her career to date.

If only The Last Flight could have been longer – both initially and on this record – for it is a gripping page turner, the heart of the listener captured as we soar with Amelia Earhart through her last adventure. Returning to earth is momentarily distracting – but only heightens the desire for more.

Yet even if it does run out of steam a bit towards the end, there’s enough on Tension II to cement Kylie’s reputation as the Queen of Pop. Whether it would have worked better as an EP is debatable, but it complements its predecessor nicely without ever quite overshadowing it.

3AM (La La La) feels like an album to lift Confidence Man up to the next level. As Brat Summer draws to a close, it seems like we’re about to prepare for a 3AM winter, and this will be the soundtrack.

Ten tracks which are probably the distillation of what Japandroids are all about. It’s a noisy yet tuneful swansong, full of fierce guitar chords, pummelling drums and songs about seedy downtown bars and hard-partying women.

Only the slightly lightweight nonsensical The Ram-A-Lama-Ding-Dong Song fails to land (thankfully, Zimmerman’s opening request of “does anyone have a kazoo” is met with a negative) but otherwise this will serve as a fine introduction to Zimmerman’s music.

It does lack the melodic hooks of some of Field Music’s previous albums – there’s certainly nothing as instantly accessible as Them That Do Nothing or The Noisy Days Are Over, and some may find the somewhat ‘busy’ atmosphere of the album a bit overwhelming. However, it’s always good to hear the Brewis brothers back together, and Limits Of Language is a fine way to celebrate their 20th anniversary as a band.

It all adds up to another reliably excellent state of the nation from Heaton – there may be no real surprises on The Mighty Several, but it confirms his national treasure status, whether he likes it or not.

There are also a couple of tracks that threaten to fall into formulaic power-pop territory, such as Tired Old Dog and Lift Heavy. Yet there’s still a lot to enjoy on Film Buff, and it also acts as justification for Shea’s decision to carry on with the band when Vikingstad and Lokøy left.

Too often on For Cryin’ Out Loud, he plays it far too safe and sounds up sounding like any other pop singer – and, as there’s a lot of competition out there, a bit more daring may be required should Finneas come out of the production/songwriting shadows next time.

There’s nothing particularly new on Stream Of Life, but that’s not an insult – in fact, listening to the jerky, frantic pop of I Knew That You’d Say That, you’re almost transported back to those heady A Certain Trigger days. Maxïmo Park have steadily become a reliable, consistent band – this is another example of their quiet excellence.

AI vocals or not, this is an album that goes up near the top of Caribou’s achievements, a feelgood set of tracks clinging on with determination to the summer, providing a sun-drenched idyll as Europe heads towards autumn. Dan Snaith is clearly in rude health – and with Honey his experimentation has paid off.

By the time it finishes, it’s hard to avoid thinking that Cutouts is the best album by the best side project of the best band of all time. If you don’t get there, or if you read that and find that it doesn’t sell it to you, then you simply can’t be helped.

A lot of guest names (including Jon Hopkins, Little Simz and Ayra Starr) and songs with literally the worst lyrics you’re likely to hear this decade. Possibly most unforgivably, there are barely any memorable tunes either – which used to be Coldplay’s great strength.

This is the most challenging yet of Hayden Thorpe’s solo oeuvre – but also the most rewarding, for you can appreciate it without knowing anything about Orford Ness. The music compels you to undertake a voyage of discovery, to travel in your mind if not your body – but if you’ve been there, you will recognise the sights, the sounds, the sea spray and the ever-constant wind.

There isn’t any doubt that The New Sound will divide people – for every listener who has their mind well and truly blown, they’ll be another who derides it as self-indulgent tosh. However, you certainly won’t find another album this year that sounds so intensely creative, ambitious and packed full of ideas.

While no record of this nature could have presented SOPHIE’s music exactly the way she envisaged it, the album is enjoyable and a fitting addition to her legacy.

It ["Too Many Rivals"] is one of the most beautiful and upsetting moments of an album filled with beautiful and upsetting moments.

The basic template is still there – a slightly moody post-punk atmosphere, with plenty of room for Coxon’s saxophone – but the songs feel more fully formed this time around.

It’s a fun listen the first time, and a reasonable one at the second listen, but how it does after that is anyone’s guess. Enjoy, but proceed with caution.

The cover of In Waves may be black and white, but the music within proves every bit as colourful as his debut, with the added bonus of frequent dancefloor highs. What a thrill it all is.

This is flat, formulaic and forgettable.

A highly listenable collection which will be seen as one of her finest albums to date.

The Jesus Lizard are back with a bang, and this is a resurrection that we all deserve.

They’ve probably been around for too long now to attract any new fans, but Moon Mirror is a fine example of just how consistent one of the USA’s most overlooked rock bands have been over the decades.

ten days finds him in a state of flux, running through a variety of styles, and while the results aren’t perfect it’s certainly his most interesting album yet.

Floating Points continues to create striking, original electronic music, and with this album comfortably achieves his aim of creating a set of bangers rich in colour and content. Harnessing his electronic orchestra for wholly uplifting means, Sam Shepherd has made something rather special.

Those who want instant gratification and singalong anthems will be disappointed – this is more of an album to immerse yourself in, and lose yourself to, and also confirms that Nilüfer Yanya is one of this country’s most exciting talents.

The Forest Is The Path too often sounds like Snow Patrol on autopilot.

Soft Tissue shows Tindersticks at their masterful best, a band that is crystal clear on where they want to go creatively and how they want to get there. They may never truly get the wider attention they deserve but for those already invested the emotional rewards only continue to grow and deepen.

If LL was aiming to re-establish himself as a living legend in the rap scene, THE FORCE accomplishes this in spades as he sounds as fired up as ever. All he needs is a bit more polish.

Ultimately, the sense of pastiche, and the fact that it’s a bit one-note (even at just 31 minutes running time) counts against What’s Wrong With New York?

By now there’s no doubting that Fat Dog are a blindingly fun prospect, and there’s plenty of potential contained within Woof, and it’s no surprise that they’ve garnered such a following in such a short space of time.

It [There’s Always Been A Bird In Me] brings a very successful return to a close and confirms how these sonic voyagers still have much to offer.

Manning Fireworks is an album that you’ll keep coming back to time and time again, a record that firmly secures MJ Lenderman in the pantheon of great singer-songwriters.

Luck and Strange is an elusive album, gradually revealing its secrets with repeated listens.

There may be only five tracks, five calling points on the journey, but Lagos Paris London is a compelling travelogue and a fascinating meeting of musical minds. Sparks fly throughout its music-making, which provides genuine thrills and spills.

Returning as a duo obviously suits them, as this may be the band’s best album to date. Viva Hinds, indeed.

Jon Hopkins has created something rather impressive, a work of symphonic dimensions that is compelling from first drone to last – and which achieves his stated aim of taking the listener on a journey. In this case the journey is akin to a voyage through space and time, creating a special musical experience.

On Wild God, he’s open and honest and raw and impassioned and vital.

Occasionally you get the impression that she’s trying a bit too hard – Bed Chem attempts to make a filthy pun on the word ‘camaraderie’ that trips up over its own unwieldiness. However, there’s a lot to enjoy, even love, on Short N’ Sweet.

Ultimately, Champion is the sound of a band fully focused and completely in control of what makes them special.

Is Romance their best album? Possibly. The best rock album of the year so far? Certainly.

For a debut album, there’s remarkably little filler to be found, and you can’t help thinking that this is just the beginning, and that’s there’s an awful lot more to come from Wishy.

Hamish Hawk’s best album to date, a big, bold lesson in taking risks and letting the mask drop when things threaten to get too arch. It’s the sort of record that already sounds timeless.

The only problem is, that like other Charly Bliss records, it sounds better in little chunks, rather than as a fully-fledged album. There are 12 tracks on Forever, and it’s undeniable that after a while, the songs begin to sound rather the same.

There’s a lot to be said for Fucked Up keeping it simple, they really inject their songs with palpable passion that simply pours out of the speakers.

What makes this the best Beabeadoobee record to date is its willingness to explore whatever musical direction takes her fancy. So there’s a delightful little waltz-time on Coming Home, while A Cruel Affair revisits Laus’ love of bossa-nova and embroiders it with some slide guitar

No Name is wonderful, magical, truthful and the most consistently surprising rock album of the year by some margin. Just Jack White doing Jack White things.

Like their fellow musical experimentalists Black Country, New Road, Personal Trainer may not always hit the mark, but even their failures are more interesting than 95% of their contemporaries.

Despite a tendency to drift into generic country-rock filler territory at times (the Noah Cyrus-guesting How Far Will We Take It, and Ever You’re Gone being particularly guilty of this), Stampede is more effortlessly entertaining fare from the man in the mask.