*Looks at my previous EUSEXUA review*

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"Stardust" is another uniquely Danny Brown experience, offering a varied mixture of EDM, hip-hop, and flashes of hyperpop. Some of his clearest lyricism yet tackles his demons and how sobriety has forced him to face them. A couple of moments dip into cliché territory, but there’s nothing here that’s bad by any means. It’s a consistent and strong release that once again shows why Danny is held in such high regard.

Magdelena Bay Try To Make a Bad Song Challenge (IMPOSSIBLE)

A different vibe from Neddie on this LP. It's a little less ambient-meets-brostep, and a little more 2010s YouTube compilation.
Still a few good tracks here, but it is a notable step down in my opinion.

Twigs carries the momentum she established on "EUSEXUA" into this follow-up album, maintaining the same sensual, sexy blend of art pop and EDM, but with a generally more mellow texture—while still delivering an absolute banger.
It’s intoxicating and almost every bit as good as "EUSEXUA".

Definitely a departure from their previous releases, dropping almost all garage and drum & bass sentiments from their sound in favour of something more disco and dance pop flavoured, and whilst it's an enjoyable listen, it's not particularly substantive. It's fun to tap your foot along to, but I see much on this album that I'll be eager to come back to.

I can definitely appreciate how boundary-pushing this album is, but as someone that doesn't listen to much experimental hip-hop, there are a couple of moments here and there that are just a little too out there for my taste. Still, there are plenty of tracks that I do absolutely vibe with, and for that, I still have to give it a pretty strong score.

I think I set the mood perfectly when listening to María Zardoya's first solo album. A bus ride home on a dark autumn evening, rain streaming down the windows as the countryside rolled by. My journey was accompanied by beautifully mellow pop, with gorgeous, stripped-back instrumentation and a vocal style that sits perfectly between Sade and KAZU—super smooth and velvety. That, paired with near-flawless production, comes together to form a beautiful project that, while not the ... read more

Even though I *only* gave Allie's 2024 album "Girl With No Face" an 80, it ended up closing out the year as one of my most listened-to records, packed with singles I kept coming back to. So really, I was hoping any new material would just be more of the same. And that is exactly what we didn’t get.

"Happiness Is Going to Get You" all but drops every ounce of synthpop and electropop from the previous Allie X projects I’ve heard, in favour of something far ... read more

Sorry are back once again with another strong LP to add to their collection, bringing their DIY indie rock style that keeps every release fresh. This album is quite exploratory, with each track offering something new. While that approach involves some risk—resulting in a couple of tracks that aren't quite as strong as others—Sorry have still crafted another great album.

It’s a big undertaking for any band to release two LPs in one year, but PPC manage the task brilliantly. While I do prefer the first release of this year, "Pogo Rodeo" is another strong addition to PPC’s fast-expanding catalogue. Its sound—aside from the first couple of tracks—stylistically diverges quite a bit from "Carpe Diem, Moonman", this time leaning into something a little Beatlesy and a little blues rock, all wrapped in the band’s ... read more

In a scene filled with increasingly promising acts following in the footsteps of The Windmill Scene's founders, The Orchestra (For Now) have truly managed to stand out as one of the strongest bands among them. Their first EP showed that this band had incredible potential, and now, "Plan 76" solidifies that promise with yet another exceptionally strong crop of songs that—whilst perhaps not quite as remarkable as "Plan 75"—stand out as one of the best EPs of ... read more

Although this has clearly been marketed as a sister album to 2024's "MG Ultra", "...Ultra X" isn't just a continuation of where the band left off. The sound is far less video game OST and much more rock-based. Don't get me wrong—it's still glitchy, synth goodness, but there's definitely a heavier, more guitar-driven edge here.

And whilst this album definitely fucks, I can't help but notice that the best tracks really stand out among the ... read more

Though not as instantly memorable as some of the other hip-hop albums that have dropped in 2025, "The Boy Who..." still stands as one of the deepest and most introspective. It’s rare to hear lyrics that flow this well while also carrying real weight—meaning, story, and a sense of purpose. Song to song, it moves through Dave's personal struggles, the pain and perspective of others, and wider societal issues without ever feeling forced or overly preachy.
The ... read more

Versatility seems to be the aim of the game on Jim Legxacy's latest mixtape, weaving pop, hip-hop, R&B and afrobeats into a soup of good to great sub-3 minute songs.

Whilst Just Mustard's third album hasn't garnered the same critical attention as their sophomore effort, "WE WERE JUST HERE" proves itself to be another strong continuation from the band, showcasing their signature flavour of grimy, industrial/Post-Rock-tinged shoegaze.

It's a beautifully eerie soundscape that leaves me feeling contemplative. I really wish the lyrical work did more to convey this, as I sometimes think it's just a bit too first-draft and missing a ... read more

I've known of The Bronx for quite a while (mainly through Caughthran's vocal feature on Biffy Clyro's "Asexual Meat Kitchen") but this is the first time I have actually sat down and listened to one of their albums. And where better to start than their debut, which is honestly really good.

Every aspect is strong: instrumentation, vocals, and overall songwriting. It can be a little bit uninspired in some areas, with a number of aspects being quite derivative of ... read more

I've said this in a few reviews this year, but in a year where the pop industry is the weakest I've ever seen it, it's comforting to see such strong pop music still being made in the underground.

If EP 1 proved that After had the capacity to craft nostalgia-driven alt-pop, "After EP 2" shows the band absolutely nailing that concept—and expanding it. Tracks like "Baroque" lean into a more rock-oriented sound (one for Lavigne/Clarkson fans, for sure). ... read more

Like pretty much veryone else that has listened to this album, it's impossible to ignore that this album is very much a nostalgia driven recreation of 2000s alt pop and trip hop. You can immediately draw parallels to the music of Imogen Heap, Natalie Imbruglia and more.
But in a world where this type of music coming out is few and far between, that's not immediately a bad thing and this EP shows After have a shitload of potential.

Whilst TLDP's second album is a superb follow-up to last year's debut effort, I still feel like the ceiling of this band's potential has not yet been reached. From the Pyre is more of the same—which isn't always a bad thing—but there are glimpses of something more here and there. I'd love for them to take a couple of years to really focus on a more "album-y" album (if that makes sense), because they clearly possess the talent to make something ... read more