Album follow-ups, sequels and deluxe editions can often feel diluted after an artist has loaded the original with the best of their material, but FKA twigs has entirely avoided this trope. 'Afterglow' takes elements of EDM, glitch pop and UK bass which were hinted at throughout 'EUSEXUA', but takes them to another level and cements twigs as a once-in-a-generation creative power in the process

ROSALIA is the kind of once-in-a-generation artist who can transcend language: you don't have to be fluent in any of the thirteen languages featured across LUX to be able to understand her, and feel the emotion in her music. This album is a masterclass in orchestral art-pop, and easily one of the best albums of the year, if not the decade

2025 was calling out for a rap album of the year, and Dave delivered. As simultaneously introspective and outward-looking as ever, 'The Boy Who Played The Harp' is contemplative through and through, overflows with emotion and cements Dave as the greatest conscious hip-hop artist the world has right now

From 'The Life of a Showgirl', fans were expecting Taylor Swift's magnum opus: production from Shellback and Max Martin, interpolations of George Michael and The Jackson 5, intriguing track titles and a feature from her protege Sabrina Carpenter. However, that's not what they got. TLOAS is admittedly a great pop album, but some strange choices hinder it, including the entirety of 'Actually Romantic', which sees Swift take the malice that fuelled ... read more

Even the more solemn songs on 'Midnight Sun', particularly 'The Ambition', are fun and subtly experimental. The remainder are celebratory, sultry and infused with the spirit of partying, bringing an apt end to a summer of great pop music

Despite the twelve features present on 'Don't Look Down', it quickly becomes clear as the album progresses that Kojey Radical shines brightest when on his own. Cristale and SOLOMON, in particular, bring welcome additions, but the solo track 'Conversation' is the best song on this album, and it's difficult not to wonder what the rest would sound like if Kojey allowed himself to go alone more often

Everyone can agree that 'AM I THE DRAMA?' needn't be as long as it is, but its merits far outweigh the downside of its length. Although the album does become a slog as it reaches its hour mark, Cardi B's exploration of hip-hop styles, sharp flows and undeniably amusing lyricism make it entertaining nonetheless

Many compilations end up sounding disjointed as a result of many artists and their separate styles failing to combine, but the third instalment has brought eleven voices together that flow seamlessly. Every single song is a highlight, and many shine a light on newer singer-songwriters such as Elio Evangelou and Sophie Jamieson who cover all bases, successfully conveying infectious emotion while channelling the beauty of Middle Farm's Devon location

Every song on 'THAT'S SHOWBIZ BABY' could have been a single, but that is both JADE's biggest triumph and only shortcoming: this album plays like a collection of songs, rather than a cohesive piece of work

It's astounding that such a bland piece of work can come from someone who is, unquestionably, a genius, who has changed music for the better throughout a career spanning forty years. The only interesting song here comes courtesy of Hayley Williams, and even that isn't much compared to her own recent release: in an honestly shocking turn of events, David Byrne has failed to impress, regardless of how nice it may be to see a legendary artist have fun

'Cutthroat' is a brilliant, exhilirating post-punk album which sees Shame returning to their roots with only one minor misstep as it reaches its end. 'Lampiao' sees the band try their hand at storytelling via the medium of Latino funk, yet the song ends up feeling out of place

Royel Otis if they were more interesting, from the other major Oceanian country, not perverts and also brothers

This collaborative EP is nothing short of a landmark in modern music. It's expansive, subtly experimental and thrilling from start to finish, seeing the two UK giants exceeding any expectations as they join forces for five brilliant and invigorating tracks

CMAT opens her third album with a verse in Irish, on a song that closes with a devastating bridge indicting those who have subdued her titular place of origin. From there, the album continues to provide powerful statements delivered with Ciara's signature charm, tackling commodification on 'Take a Sexy Picture of Me', the pressures of ambition on 'Iceberg', and self-destructive behaviour across the record as a whole. It's a pleasure to see an artist as important as ... read more

Gracie Abrams if she was fun

'Songs For The Spine' retains the same musical qualities as The Royston Club's debut album, yet seems to lack the charm of its predecessor, ultimately and simply standing as a decent indie-rock record and not much more. 'Cariad' provides a highlight, exploding as it approaches its end, but is hindered by production missteps and an absence of originality which leaves the Wrexham band empty of innovation

Kicking off an amazing month for new releases, Ethel Cain returns with a dynamic, ethereal, slow-core masterpiece. With just one song below the five-minute mark, and that being an instrumental, 'Willoughby Tucker' demands the full attention of its listeners, but in return offers a thrilling continuation to the Ethel Cain storyline. Hints of recent EP 'Perverts' can be found amongst the dark ambient americana of 'Preacher's Daughter', while 'Nettles' ... read more

In every way, this is the perfect follow-up to Chromakopia. It's laced with the same mannerisms as his earlier discography, and is still self-produced, but allows for a lighter side to Tyler, the Creator to be revealed after he figuratively, lyrically took his mask off on the previous album

Kesha's strangely named sixth studio album '.' starts strong with the masterpiece that is 'FREEDOM', but it's all downhill from there as the Los Angeles star attempts to emulate her early hits, consequently never reaching the heights of 'Gag Order' and only succeeding in emulating the dated, derivative dullness and artistic failure of Katy Perry's disastrous '143'

With 'moisturiser', Wet Leg have somehow done the unexpected in topping, or at the very least matching, their debut in quality, fun, substance and sexuality. The record is 38 and a half minutes of pure talent, and as a result stakes its claim as one of the best albums of the year so far: Teasdale and Chambers have unleashed a statement against the doubters who saw them as a one-trick pony