‘Sincerely,’ sometimes meanders – six woozy minutes of ‘Lose My Cool’ is too much – but more often, it matches the dreamy intimacy of Uchis’ stunning 2020 smash ‘Telepatía’. Here, her music shimmers with confidence even when her lyrics hint at deep-rooted insecurities.

‘Even In Arcadia’ shatters any pressure of expectation into oblivion, building on the bravery of its predecessor, sonically, while its lyrics reveal the most exposed version of Vessel we’ve seen yet. From Eden to Arcadia – and beyond – let the worship continue.

She’s no longer content with being the elusive girl behind the screen, proving she can shapeshift, push boundaries and still keep us hooked – all in under 20 minutes.

Still as sharp and impactful [as 2023's self-titled debut] but focused more on the spaces in between her stories than the plots themselves.

We already knew Samia was a sublime songwriter, but on her third album, she sets a new bar – and then some.

Matching Murphy’s career-best lyrics are some of the rest of the band’s most eclectic compositions.

Through a rich exploration of genres and a new level of emotional depth, it becomes clear that ‘Skeletá’ was made with a new vision in mind, and comes as the promising start of a new Ghost chapter.

In the end, ‘More Chaos’ does exactly what it says on the tin: it’s overloaded, aggressive, and unruly – and that’s the point.

Though ‘Send A Prayer My Way’ doesn’t always grip you with the immediacy of either Baker or Scott’s respective solo careers, it’s still refreshing to hear two very well-established songwriters exploring such distinct new territory together.

Though this is not Bon Iver’s answer to ‘Brat’ summer by any stretch of the imagination, many of these same existential questions also linger on ‘SABLE, fABLE’ – a record that grapples with his own identity as much as it does the twists and turns of life. Though some fans feared this might well be an epilogue to the Bon Iver project, it comes across as more of a rebirth.

Admittedly, many of the techniques Skrillex uses in his transitions haven’t aged well. There are only so many sped-up snares and risers you can listen to without thinking of that one Lonely Island sketch (or this hilarious Soundcloud mix). But the drops are so worth it – and in a post-hyperpop world, it’s even more impressive that they still manage to make so much impact, like on the long-awaited ‘Voltage’, or the grinding halftime banger ‘San Diego VIP’.

‘Star’ is his most cinematic and widescreen work yet. Clean, cavernous sound design directs all attention to his speak-sing drawl, while ear-candy sampling – such as the pitter-patter of rainfall and indulgent vrooooooms of a race car – makes for effective world-building.

There’s a fresh warmth to ‘Forever, Howlong’, but don’t mistake that for sonic pathetic fallacy. The pregnant protagonist of ‘Nancy Tries To Take The Night’ has one of the most devastating narrative arcs on the record; the combination of banjo and nylon guitar makes for such an unusually rich tone for the band, bolstered by Hyde’s sonorous alto that grounds the song.

Akpro’s debut is a dark, winding ode to the UK capital, grounded in his own experiences and expressed with a subtle mystery. This sense of nuance – often missing so early in an artist’s journey – makes for one absolutely captivating listen.

In an album full of surprises, though, it’s the last track that will catch most listeners unawares: a cover of My Bloody Valentine’s ‘Sometimes’. The shoegaze original buried its words underneath abundant layers of guitars, but from SPELLLING, lines like “You can’t hide from the way I feel” resound with a limitless echo.

‘Lonely People with Power’ could perhaps have used a little pruning. For the most part, though, it stands as a testament to the power not just of forging your own lane, but becoming master of it, too.

Though longing and mortality have long been recurring themes in Dacus’ music, the stakes feel even higher – and even more gripping – when there’s so much to lose.

Instead of offering a truly revealing glimpse into their relationship – as the album cover suggests – ‘I Said I Love You First’ maintains a noticeable distance between artist and listener, and leaves you feeling a little empty by the end.

A swaggering display of confidence by a band in total command of their craft, ‘Tsunami Sea’ is solid-as-granite proof that heavy music retains its vitality and relevancy in 2025. The punishing elegance of Spiritbox’s new album will punch a hole through your chest and wrap its aqueous arms around your heart.

As a (black) whole, ‘Night Life’ is an impressive return from a band that has taken a long time to metamorphose into this fabulous current form.

Opulence is the perfect playground for Zauner’s spiky sensibilities, an allegorical minefield for the morbidity and bloodiness of our hedonistic modern existences. No one nails that like Japanese Breakfast.

From underground hero to untouchable force, Playboi Carti cements his spot as rap’s feral frontrunner.

As slippery and unpredictable as ever, this Courting record is indie music for pop fans and pop music for indie fans – there’s enough for everyone to take a bite.

She asserts herself not just as a global star, but as a fully realised artist, shaping her sound and vision with an intentionality that signals real growth.

The album is eclectic, unapologetic and, at times, a little lost in its own spectacle.

Like Queens Of The Stone Age at their party-starting best, HotWax’s debut album is full of filthy rock’n’roll that’s made for dancing. That next great guitar band has arrived.

Ultimately, ‘Mayhem’ feels like a great Gaga album because it’s just so much fun. At times, it’s a bit like reconnecting with an old friend who makes sense even when they seem to be chatting nonsense.

The run time might seem a tad lengthy to some, but it would prove hard to tire from a voice as listenable as Tala’s.