Welcome to the Madhouse is near void of anything that makes music artistic and engaging. There is no transaction of musical intent and enjoyment between artist and consumer here. Ultimately, it manages to be infuriating in every stylistic decision for 46 entire minutes.

Recorded in 1977, but not released until 2026, Grupo Um’s Nineteen Seventy Seven serves up ridiculously vibrant and frenzied avant-Brazilian jazz. Throughout the chaotic forty minutes of harmonically and rhythmically complex psychedelia, the synergetic musicianship of Grupo Um is never anything less than Herculean. The track Festa dos Pássaros/Dois Segundos por Segundo, particularly, captures the distinctive essence of Brazilian jazz and percussion in the 60s and 70s phenomenally. ... read more

When Black Country, New Road is forced to stray away from their post-rock roots and settle into more of chamber rock sound, they lose a bit of what made them unique in 2021 and 2022. Nevertheless, they find a way to triumph over this setback, releasing one of the most aesthetically pleasing set of tracks 2025 had to offer.

Madison Beer refreshes her sound with an incredibly fun and engaging set of tracks, that are simply just well produced, well performed, and well worth the wait.

Elipsis is such a well conceived project, with influences playing into each others’ strengths in such a uniquely unexpected way. Particularly, Caminando is a beautiful example of how the interplay between Elipsis’s three parts (world-percussion, Yoruba chant, and jazz) creates such a fluid and dynamic sound. The complex rhythmic and melodic passages in this project are just stunning, and the world desperately needs more melding of styles in this vein.

Very well paced electronic project. The humour blends perfectly with the progression of the album, and the instrumentals are very soothing and nicely produced.

Eusexua improves upon itself with a reissue, creating a more fluid and consistent experience all around. Both the additions and the changes bring a lot to the overall achievement of the record, amending much of the issues I mentioned in my original Eusexua review.

Overall, Eusexua is a decent batch of tracks, but it’s certainly an inconsistent experience track-to-track, seeming to struggle keeping much in line instrumentally or vocally. The quality of the tracks is often mild and uninteresting, but at moments the production can really shine — especially on Drums of Death which arguably contends as one of the best tracks of 2025.

While I deeply appreciate Oneohtrix Point Never’s sampling work on Music For Reliquary House, the gimmicks sort of run their course by its conclusion, still leaving a decent, albeit redundant, batch of vocal glitch tracks. As for In 1980 I Was A Blue Square, Rene Hill provides a more flourishing soundscape, with classical instrumentation as a vessel to transport you through a thoughtful mosaic of unique sounds.

Music for Reliquary House - 60
In 1980 I Was A Blue Square - 75

It’s simply beautiful, so beautiful. Daniel has an incredible and unwavering gift to produce these emotionally stunning and moving experiences. He has been one of the best electronic composers in the game for well over a decade — arguably the best.

Hardcore album, corroded album, falling apart album, rusted album.

Yeah, this rules. The Smile may not be the next Radiohead, but Cutouts is such a beautifully textured and groovy experience. The drumming is awesome throughout this record and the strings are often adding rhythmic complexity. I also think Yorke’s voice — which is really my only gripe with Radiohead — sounds much more mature with The Smile.

Everywhere at the end of time begins sweetly with a warm embrace, slowly robbing you of your breath over its daunting span. To have your world taken from you in front of your eyes is cruel, and this project from The Caretaker does the best I think music can do at gifting you this awful feeling.

Oneohtrix Point Never’s production becomes as powerful and cathartic as ever on R Plus Seven. In my eyes, this album takes us on a tour through an alien society similar to ours: Boring Angels sounds like a baseball game from outer space, while Americas sounds like traversing through a vast jungle on an unfamiliar planet; Problem Areas sounds like a dance party on the moon and, Chrome Country sounds like a funeral service drifting around an asteroid belt. No song on R Plus Seven fails to ... read more

As arguably Oneohtrix Point Never’s preeminent modern opus, Tranquilizer imbues the art of sampling into an experience already marked perfectly by sweltering synths and pads. While mostly this project plays out as a musical equivalent of building castles in the air, at its few conservative moments it reminds us where the ground is. The only sin of this project is that some of these tracks understay their welcome: waking up from a dream prematurely. Regardless, so few albums can speak so ... read more

With a selection of more discrete sounds than much of Oneohtrix Point Never’s other works, Replica produces ambience in an unorthodoxly geometric way to produce one of the great plunderphonic experiences of the 2010s.

clipping. delivers an undeniably savory array of cacophonies; abrasion is an addictive feeling, and clipping. knows this. Visions of Bodies Being Burned is perfectly produced to overwhelm — but it’s irresistible.

A Matter of Time tackles a multitude of genres and succeeds at being numbingly uninspired at every single one of them. Unfortunately, I believe Laufey is held by the masses as an artist much more innovative than she actually is.

It’s strange that an artist can put 4 years into a project and have it be much less of a polished experience than another that took 4 days, but this mostly goes to show that some ideas are fundamentally stronger, regardless of time or effort.

Jacob Collier crafts a complex atmosphere with a simple selection of sounds on The Light For Days, and unlike Volume 4, he refrains from clogging his talent with aimless production. While I do think this album feels somewhat rushed at points, I do ... read more

Let God Sort Em Out brings out the best from every artist featured on the record, yielding some of the best lyrics and flows you will hear this decade.