'Siren' is a brilliant debut EP from the London-based band, although Jacob Slater's Wunderhorse may want to draw up the lawsuit: the two both have ties to The Windmill scene in Brixton, with the main difference being that Keo don't have a fanbase insufferable enough to put casual listeners off, at least just yet

For the most part, 'hopefully' is a lot more subtle than Loyle's previous work, leaning more into his introspective side as opposed to the politically-charged lyrical activism that crops up across his three other albums. However, this is not to the detriment of the album, and songs such as the title track, which features the dub poet Benjamin Zephaniah, demonstrate that the UK rapper remains socially aware and conscious of the world around him

Thank you Addison Rae for releasing at local times, and for delivering a wonderful debut record: the singles here are undoubtedly the best, but that doesn't stop the album tracks from shining too

'In Limerence' is a gorgeous, confessional, melancholy set of songs in which the emotion in Jacob Alon's voice is stunningly perceptible. The album will leave you in tears with its heart-shatteringly pensive lyrics and instrumentation charged with despondency: it is, without a doubt, one of the best debut records of the year so far

'Crooked Wing' is a complex body of work. Somehow striking a balance between powerful and subtle, the album is filled to the brim with songs that will hurt your heart but leave you wondering why: the Barnett brothers offer hints of genius, but always seem to snatch away any brilliance or chance of catharsis at the last moment

This is, by a long mile, Matt Maltese's best album yet. Lush instrumentation includes some seriously stunning string sections, and the Buckinghamshire artist has also successfully combined a chorus of backing vocals which reverberates throughout the 11 tracks with his own vocals, which are at times off-kilter and deadpan yet somehow amaze and haunt all the same

On her second EP, the Auckland artist seems to have found her feet, presenting four tracks that are more fully-formed, original and sonically interesting than those featured on 'why aren't you laughing?'

Sleep Token are nowhere near interesting enough to warrant 7 minute songs, and they once again prove their name to be apt: 'Even In Arcadia' is a complete snooze-fest, with barely anything of merit

'Never/Know' is a true return to form for The Kooks, a band who have not reached heights like this since their iconic debut album. Even the colour scheme and title of this latest effort is reminiscent of 'Inside In/Inside Out', and singles such as 'Sunny Baby' and the effortlessly catchy title track demonstrate that Luke Pritchard and co have gone back to the pure, consistent fun of their indie rock roots

'I'M A HURRICANE I'M A WOMAN IN LOVE' is a significant step up from Låpsley's previous full-length effort: overall it is a more dynamic, more interesting, more engaging listen than its predecessor, revealing the North Yorkshire artist's true potential

Cardiff's HIMALAYAS fall directly in the middle of Royal Blood and Nothing But Thieves: at times they strike a thrilling and energetic balance between the two festival headliners, but occasionally the band so obviously emulate their inspirations that their own music seems regurgitated and unoriginal

Prima Queen's 'The Prize' may begin blandly, but it's certainly a slow builder: the three-track run of 'Meryl Streep', 'Spaceship' and 'Fool' is one of the best of the year so far, and reaching it makes the rest of the album worth listening through

It might take a while to build to them, but in 'Penelope' and 'Issues', Nii has crafted two genuinely brilliant tracks that perfectly exemplify his potential - it's a shame that the rest of this EP doesn't reach the same level of quality

Highlights from Litany's debut album include 'Kingpin', 'Jean' and 'Hello, Anxiety', the latter of which features budding popstar Kai Bosch. Across most of these eleven introspective tracks, the singer-songwriter does Yorkshire proud, even shouting out Leeds in the process, although a few duds lessen the record's full effect

'A Complicated Woman' begins with the brilliant 'I Do and I Don't Care', which may well be one of the most hauntingly hopeful, gorgeously resilient album openers ever made. Rebecca Lucy Taylor's openness and vulnerability never falter across the record's eleven remaining tracks, presenting a self-affirming vision of her own femininity which causes the title to become perfectly apt

Erin LeCount is one of pop music's true innovators. 'I Am Digital, I Am Divine' is subtly dark yet utterly mesmerising: the Chelmsford singer-songwriter has constructed a near-perfect EP filled to the brim with songs that all deserve hit single status

Isabel LaRosa's debut album sounds and feels like Tate McRae's 'So Close To What', if it was more manufactured and made by someone with a less impressive voice and less willingness to expand their sound. LaRosa has unsurprisingly made a record full of songs that are perfect for TikTok, but not much else

Confidence Man have always been genre-bending, but this remix album contains sounds you wouldn't expect even from Australia's best indie-electronic group. Featuring standout collaborations with Paige Tomlinson, King Gizzard & the Lizard Wizard and Fcukers, '5AM (LA LA LA)' is nothing less than a thrilling journey through electronic music

This isn't the complete dumpster fire that may have been expected from a near-eighties Elton John, but he is admittedly helped out quite significantly by Carlile's more youthful vocals. 'Who Believes in Angels?' also quickly grows tedious: the songs seem to blend into one and yet drag out extensively at the same time. Overall, though, the record is listenable, and that's probably the most listeners could ask from an Elton John record in the 21st century

Thank god for Georgia Ellery. 'Forever Howlong' is beautiful, adventurous and dynamic: everything that anyone could expect from a Black Country, New Road album in 2025