Ewan Gleadow’s Top 100 Albums of 2025

What a year for music. The more Cult Following has evolved, naturally, the more music I’ve had the chance to listen to. This is the first year where there’s been a surplus of worthy albums, or near enough. You can probably seeThe Residents in the lowest spot, and that’s because it was a toss-up between that or the new Van Morrison. An oddity to start, and then we’ll get into Geese and Pulp and everything in-between. Crucial to these lists is the anecdotal layer, that unspoken but always present reason for one album working and another not. It’s what decides the ranking, even if one album is fundamentally better than another. Whatever the case, each album on this list is worth listening to, even if it’s just the once. Just skip to the top twenty, really, that would’ve been a lot easier to write, but a Top 100 sounds better for the inevitable social media plugs from artists listed below, doesn’t it? Bold it may be to think my opinion has any standing, let alone warrants a list of its own, here it is nonetheless, because I own this place.

100. THE RESIDENTS – DOCTOR DARK

Experimentation from the long-standing group should be no surprise, and yet it feels so fresh and thrilling. Edwin Outwater and the San Francisco Conservatory of Music must be paid their dues, their work is what brings Doctor Dark to life. Latter album tracks like A Choice? and Ol’ Man River are as vibrant as they are sinister. The world-building does not stop. The Residents are in exceptional form. Spoken word storytelling mixed with a few routes of artistic interpretation, the world around us not so much collapsing in but the ugly faces and snap of medical ethics, just another story in a spiralling country. Gunfire, screams and the horrors of medical malpractice all compile into a listening experience sure to make you sick to your stomach, but also strikes a sincere chord with its hopes of salvation from vanity. 

Read our review of The Residents’ Doctor Dark here

99. MARSHALL ALLEN – NEW DAWN

Reflection is inevitable for an album of this stature, but it comes in subtle blows. String sections on Boma sting the ears as the smoother tones of saxophone and percussion play out. It is the constant reminder, the danger, which keeps Allen on his toes throughout New Dawn. Arkestra veterans, fresh faces of jazz, this Allen piece is a wonderful experience. There is something about it, the arrangements and the playing style, which lingers on the mind as a classic. It is of a certain vintage, the decades of experience and learning to play alongside members of Sun Ra certainly affect this. New Dawn begins as an experience with a firm hand of jazz and ends with an articulate and consistent example of his still strong skills.  

Read our review of Marshall Allen’s New Dawn here

98. ANTONY SZMIEREK – SERVICE STATION AT THE END OF THE WORLD

Those who lived in a town where their dad fitted the statue of Stan Laurel will know what The Great Pyramid of Stockport is all about. Little arrangements mean nothing to the people who live outside its sphere of influence. Stockport’s glass pyramid may be an ugly sight but for those who lived in its range of influence, it becomes an important launchpad. Szmierek makes a decent go of it, the motivational thoughts found throughout and the club-like beat are welcome experiences and their hook is the odd place of origin it comes from. A glass pyramid may feel like an unlikely spot of influence but for Szmierek, this song is as much about making a go of it wherever you are as it is about finding a strange, ugly spot to inspire.  

Read our review of Antony Szmierek’s The Great Pyramid of Stockport here

97. BRUCE SPRINGSTEEN – TWILIGHT HOURS

That longing to stay in one perfect spot is an absolute, pure understanding of the lighter pop style he is aiming for here. The very best of baroque and piano pop offers a listener the chance to bask in the beauty and love of an occasion they never experienced. A convincing storyteller can take us there and make us wish we could stay. High Sierra does that, and it makes the rest of the songs look that much weaker as a result. Twilight Hours is a delightful listen not just because it offers a new range for The Boss, but because it provides those satisfying glimpses of the past, which, as ever, inform the future. Love of the everyday moments, the little bits of life, is what Springsteen offers here, and earnestly so.  

Read our review of Bruce Springsteen’s Twilight Hours here

96. WILL VARLEY – MACHINES WILL NEVER LEARN TO MAKE MISTAKES LIKE ME

Varley has written an album where he hopes a listener realises their self-worth. That is no small order, and half the battle is finding an appropriate instrumental structure. He nails it, that and the breezy instrumental style, which becomes a wonderful feature of this new album. It may be the end of the world around us, but it is not the death of a personal one. We must make our peace, Varley says, before it is too late. His sincerity is what carries this open-hearted message. A song like Venus Returns gets to the core of this, the necessity there is to come to terms with the world around us and all its rot. Machines Will Never Learn to Make Mistakes Like Me has all the acoustic passions expected, and its thrills come from the sensitive side. 

Read our review of Will Varley’s Machines Will Never Learn to Make Mistakes Like Me here

95. THE MOONLANDINGZ – NO ROCKET REQUIRED

These are the ever-present and daring tones of a band not with a need to prove themselves but a desire to share their instrumental experiences. No Rocket Required has a frenetic and ever-shifting energy. This is all part of The Moonlandingz charm. Once those collaborative features are out of the way, the big name draws and fascinating back-and-forth in the early moments, The Moonlandingz are left to create what, it would seem, they had always wanted for this release. Album closer The Krack Drought Suite (Pts 1-3) is nothing short of outstanding. A comment on the discontent nature of listeners being dragged into the real world with some excellent instrumental adaptations. That is what No Rocket Required is at its best, a roaring and heavy experience which, even in its darkest moments, shines a light on the love of creativity and collaboration.  

Read our review of The Moonlandingz’s No Rocket Required here

94. PANDA BEAR – SINISTER GRIFT

That isolation right at the core is held together by some softer instrumental work, a sense of placement even in the abandonment is what keeps it from ripping apart your soul. Elegy for Noah Lu goes deeper, darker, than the rest of the album. Panda Bear is on hand to pull us out of this, to not forget the lighter, chipper sounds which preceded it. But Sinister Grift works on the suggestion of brighter times ahead, of a light at the end of the tunnel worth reaching. A seasonal change unfolds, and at a time when the clocks are poised to go back, where the days are getting longer, Sinister Grift feels like a soulful and warm reminder of just how important change, for the self and the sound of an artist, can be.  

Read our review of Panda Bear’s Sinister Grift here

93. ETHEL CAIN – WILLOUGHBY TUCKER, I’LL ALWAYS LOVE YOU

That is a fundamental to Willoughby Tucker, I’ll Always Love You. A recontextualization of previously released material comes through clear enough. Not as strong a sound as Perverts, but then these are two very different extremes from Cain. A selection of songs charting a fictional prequel to Preacher’s Daughter. It’s so much more than that, though. What Cain compiles on this release with her wordplay, the intensity and isolation of strong guitar work on Tempest, for instance, is magnificent. It’s as true a look at the world as you would expect of an artist who, by the sounds of it, is at the top of her game. Those deep worldbuilding exercises are a reflection of the modern world, as they so often are for artists, but it’s the obviousness paired with a gutting clarity that gives Cain the edge. 

Read our review of Ethel Cain’s Willoughby Tucker, I’ll Always Love You here

92. LOLA KIRKE – TRAILBLAZER

Trailblazer is not asking us to believe the genre blur is the point of its uniqueness. It does a tremendous job regardless, but the real joy of Kirke’s third album is the defiance, the sense of independence, heard in the lyrics. That is the clear route through this album, the constant suggestion of being your own person. To be a trailblazer in your own life, to do as you want with full regard to your feelings. Where this may be nothing new, the presentation, the effectiveness of it and the wonderful writing style, blurred so well, is certainly a slice of fresh and hopeful suggestions. Its Americanised moments with Zeppelin III bring it all back to the roots of country and location, but the bulk of Trailblazer’s hopes and dreams, are universal.  

Read our review of Lola Kirke’s Trailblazer here

91. HAYLEY WILLIAMS – EGO DEATH AT THE BACHELORETTE PARTY

Fame and chart-topping artists are in a karaoke bar of their own making, bending to the whim of outsider interests. Williams shares as much, and this read she has on pop culture seems to be why Paramore is on break. An alienation with the industry leads to a self-released solo album, which sounds far stronger than This Is Why. A strange adaptation of The Bad Touch by Bloodhound Gang derails the sincerity a little, but this is a project meant more as an open assessment of the peaks and troughs. A few rough patches and experiments are far more enjoyable than the flatlining, shallow waters of other pop artists releasing albums this year. Williams’ challenge to the profits and performance which come from chart-topping artists is a powerful moment for the Paramore lead, whose third solo album is a magnificent experience. A wide-ranging piece of work which features an instrumental confidence and liberating, experimental writing style which, while not full of hits, is full of passion.  

Read our review of Hayley Williams’ Ego Death at a Bachelorette Party here

90. MISTER ROMANTIC – WHAT’S NOT TO LOVE?

There’s a warmth to Reilly’s voice which makes this possible, that makes songs like I Guess I’ll Get the Papers and Go Home feel lived in and faithful to the times. He tackles a genre overwhelmed by overt sincerity and love. There is nuance to be had in the almost hopeless sound Reilly brings to songs like Picture in a Frame. It’s the overwhelming dedication he gives that works here, which makes these songs feel like genuine tributes to the era. They expand on it while keeping those core instrumental and vocal stylings the same. These passion projects are rare, because passion is not a viable income anymore. But it is always sweet to hear the established few who do care for art beyond its financial takings piece together a loving nod to a genre which has been left dormant all too long. Reilly has a beautiful voice, an honest intent, and the hope of inspiring people out of their box.  

Read our review of Mister Romantic’s What’s Not to Love? here

89. LUCY DACUS – FOREVER IS A FEELING

Finding other voices to feed into that tone is the tricky bit. Dacus has succeeded in the past with Phoebe Bridgers and Julien Baker, but their overlapping style was expected on The Record. A welcome surprise with Hozier collaboration Bullseye is an exceptional example of what Dacus is aiming for. It is not enough to experience life, but to retell it, to idealise it and rip it apart once more, is the aim of Forever is a Feeling. We are saddled with the emotional weight of everything we do, and all that we say, forever. Some of it may slip from view, and other pieces may feel like a core experience. Dacus does well to oversee the best bits of the singer-songwriter genre, with her openness both understated yet crucial to songs like Best Guess and album closer Last Time. Dacus walks the line between overwhelmingly sappy and cold-hearted reflection, and the result is a steady, occasionally brilliant piece of work.  

Read our review of Lucy Dacus’ Forever is a Feeling here

88. MILEY CYRUS – SOMETHING BEAUTIFUL

Cyrus is keen to surf through art-rock, electro-pop and catchy riffs here. Easy Lover into Interlude 2 is a magnificent showcase of this daring tone. Something Beautiful is, without question, the best example of Cyrus’ range as an artist. Brittany Howard makes for an excellent feature on the upbeat but still striking Walk of Fame while Naomi Campbell is a surprise addition to Every Girl You’ve Ever Loved. Crucial to both appearances is that they too stand in defiance of the expected pop music route. Something Beautiful is a magnificent piece of work, where the confidence showcased by Cyrus is backed by very impressive material. Not given enough credit in the past for being an experimental artist, but that is because Something Beautiful is the first time she has experimented with her sound. Long may it continue, if it means strong releases like this are the norm.  

Read our review of Miley Cyrus’ Something Beautiful here

87. TORBA – II

Those latter moments, the softer spots of brief reflection, drive the point of II home. Onda and Sides is a magnificent double pairing. II becomes an instrumental album which weaves a narrative but leaves wide-open spots for your experiences to fill the gaps. This is not because Pianezzola has nothing to add, but because the pleasure-seeking thrills are personal. The Torba project is an ambitious one because of its lack of detail. All it can do is place markers down for where the adrenaline flows, for where the peak of these late nights and atmospheric days are, and what to do when it all comes apart. II is a messy punch of instrumental flavour. As intense as it gets, and for many it will be enough to scare you into taking action. What action that is, who knows? Torba gets you there regardless.  

Read our review of Torba’s II here

86. BRUCE SPRINGSTEEN – FAITHLESS

There may be adaptations here or there, made for the benefit of a film which never came to be, but what Faithless now offers is a considered walk through Springsteen’s faith. How much of it is intended as adaptations of characters, and how much is presented as the introspective thoughts of a songwriter dealing with his ties to God, is unknowable. That presents a necessary layer to Faithless. We cannot fully dissect the character from the creative. There is a blurring of the line, which gives Faithless a sincerity, but also a bit of Hollywood flair. Those harmonica cries on My Master’s Hand tug at the heartstrings just as much as the commentaries on finding yourself, on faith as a healer and harmer, found on Faithless.  

Read our review of Bruce Springsteen’s Faithless here

85. BRIAN D’ADDARIO – ‘TILL THE MORNING

Blisteringly short but utterly wonderful. D’Addario compiles a few leftovers and finds new life in them, a theme and trace of joy for undying love, felt in the here and now or in the past. Whatever the case, it remains, lasts on as though it were never damaged. Flash in the Pan has some wonderful instrumental work which juxtaposes the title incredibly while follow-up Company is of a standard now expected of The Lemon Twigs. They bring a blur of personable moments and memorable tones from decades ago. It is wonderful to hear how extra pieces leftover from the past can inform a whole new tone, and Useless Tears highlights this blur of storytelling and lush tone so well. Effective and daring instrumental flourishes are found throughout Till the Morning, a wonderful achievement which cements D’Addario as a musician weaving personable stories with flowing instrumental skill.  

Read our review of Brian D’Addario’s ‘Till the Morning

84. THE OCELOTS – EVERYTHING, WHEN SAID SLOWLY

The Ocelots are not short-sighted with this request, in fact, it is as important an ask now as it ever was. Not every song is a heavy hitter, with loving tales of palling around with a pet on Front Door Key or giving love every ounce of yourself on follow-up Tunnels. What remains is a break from reality. The Ocelots bring about a folk energy, a rejuvenating spirit on Everything, When Said Slowly, which is desperately needed to deal with modern times. A tremendous piece of work, where the fundamental folk sound is challenged, changed and adapted into a comfortable understanding of where we may be going wrong, and how we can fix our hearts and heads.

Read our review of The Ocelots’ Everything When Said Slowly

83. GINA BIRCH – TROUBLE

A few highlights feature throughout Trouble, a very consistent album from Birch. Its highs come early, collecting her thoughts on the music of the modern world and its impact on artists forever adapting to new sounds. Towards the end, with songs like Hey Hey, Birch becomes a more direct commentator. Not on life, not even on the themes which had dominated the earlier moments of Trouble, but in releasing grief and anger. It could not be clearer, and it could not get any better, either. A strong piece coming in the last gasps of an album which features not just a strong core, but the conviction to carry its messages of hope and change. A collection of vibrant thrills can be found on Trouble, an album which manages to make its way through that eponymous difficulty with some entertaining, honest moments.

Read our review of Gina Birch’s Trouble here

82. PETE DOHERTY – FELT BETTER ALIVE

A strong first half turns a tad vague in the latter moments. Doherty runs out of steam though it makes sense given these were songs which did not make the cut, or were massively changed, for The Libertines. Even then, Felt Better Alive is a wonderful project which highlights the clarity, the blur of whimsy and sincerity, which Doherty prides himself on. Here is where it may click into place for many people, those who found themselves uninterested in The Libertines’ brand of off-kilter hedonism. Reconnect with nature, the lush fields where barons once lay, and do so with Doherty’s fine style. Felt Better Alive has moments of beauty to it, and those are rare to come by. 

Read our review of Pete Doherty’s Felt Better Alive here

81. WILLI CARLISLE – WINGED VICTORY

Sound and Fury has that feeling to it. Devil-dealing desperation in a sparse song, a spot for Carlisle to showcase how he can carry a tune with just his voice. Crucial to this sound is the playfulness, which makes Americana a catchy genre to work with and subsequently listen to. Carlisle has a dependable voice for those deeper tones of the genre and while Winged Victory has rewarding political depths to it, the instrumentals which come and go are magnificent. Carlisle reconnects with the fundamentals of countrified, Americana pieces. It’s a piece of work which accurately reflects the state of the world but also the humour, the lighter touch of those 1950s and 60s storytelling charms. Big Butt Billy captures the humour, Sound and Fury provides the heartbreak. An incredible range from Carlisle, who continues as one of the great country draws of modern times.  

Read our review of Willi Carlisle’s Winged Victory here

80. CHRIS BRAIN – NEW LIGHT

After a charming half hour, Brain turns his attention on us, the listener. We are asked to take a moment for ourselves, and that is exactly what we should do. Give yourself a moment in the evening, a particular time in the day, to truly reflect on what Brain has written, what he has asked of his listener. Folk charm is one effort, but to change the perception of it as a genre, to relax into those welcome tones of New Light and find one in ourselves. To rekindle the fire, to find that new light. That is what this album does so beautifully, and the tone taken is not just passively sweet but, at its best, actively inspiring. 

Read our review of Chris Brain’s New Light here

79. LORDE – VIRGIN

Overused the word may be, but this is a new era for Lorde. It’s a chance to let go of past hangups and moments where momentum has been lost. Virgin is not magnificent, but the presence it brings with its sparse instrumentals, often absent, is incredible. It’s a daring moment which redefines Lorde. What is the question listeners must answer for themselves. There’s a satisfying openness to the likes of GRWM and If She Could See Me Now. A chance to live in defiance of the past and of previous interpretations. Closer David is as clear a showing of this new era for Lorde. Vocals only, putting the pressure of an audience and their expectations out of mind to deliver a satisfying end to an album which, over time, will define Lorde and the creative process just as much as Pure Heroine did.  

Read our review of Lorde’s Virgin here

78. MAC MILLER – BALLOONERISM

Chilling experiences feel their way through Balloonerism, particularly on Manakins. It is the most obvious of them all, the most intense allusions to life after death and the journey towards it. Pair it with the charming instrumental experiences, the softer touches just as strong a punch as those moments of splendour. That light at the end of the tunnel is nothing short of shocking and for Miller to write so compassionately, so openly, of that lack of fear and the embrace of every moment, is inspiring. Nothing short of surprising and the take-home message beyond this defiance is to shed the anxieties of the everyday. To remove the commotion, to kick against the self-imposed restrictions. Balloonerism is an inspiring piece of which was inevitably moulded by the death of its creator, but even then, the sharp lyrics and the love of life heard within are tremendously moving.  

Read our review of Mac Miller’s Balloonerism here

77. PIGS PIGS PIGS PIGS PIGS PIGS PIGS – DEATH HILARIOUS

Confident metal music with a tinge of fear to it. Not a fear of the genre or the tone set by Pigs x7, but by the conclusion they reach on the world around them. Fighting against the chills of the always online world with tremendous riffs and volatile sound is the rebellion we need. Death Hilarious is a treat. The rising instrumentals of The Wyrm are nothing short of brilliant, and even without the lyrical pangs of suffering in the face of a socially addicted society, there is much to love about Death Hilarious. Colloquial acts of saluting magpies are mixed in with the universal fear. No matter the location, an unsevered link between a populus and the drug-like qualities of social media are present. It has never felt better to touch grass, to walk through the park listening to Coyote Call. Pigs x7 do not ask us to disconnect but reconnect with what matters.  

Read our review of Pigs Pigs Pigs Pigs Pigs Pigs Pigs’ Death Hilarious here

76. DAVID BYRNE – WHO IS THE SKY?

As much can be heard on Moisturising Thing, a surprising but sweet knock at the desire to stay youthful. “It’s a fuckin’ cliché,” he warns. He’s right. Happiness is internal, and Who is the Sky? makes this clear. Exclusivity is not exceptional. Expense is not a reward. I’m an Outsider is a beautiful high point from Byrne, which asks listeners not to be content with what they have, but to be truly delighted. Who is the Sky? benefits from its light instrumental touch, the frequent string sections and shimmers which come from a place of love. Byrne offers nothing but that, even in moments which hear him hit out at the expectations of a social life using the internet as a crutch. A wonderful piece which shares Byrne’s flair for genres which others may avoid. Their fears are no match for Byrne’s desire to create with everything he can, something which can be heard so clearly on Who is the Sky? It’s a question only a listener can answer, and even then, it’s the abstract, avant-garde response which matters most.  

Read our review of David Byrne’s Who is the Sky? here

75. PRIMA QUEEN – THE PRIZE

We are living through an indifferent time. Only when we step foot into the echo chamber, the like-minded outrage and fears of those who think like us, do we feel action. The wider world are indifferent, truly. The Prize is tinged with a sharp openness and instrumental variety which cements Prima Queen as having depth. Their narrative sense in the latter half is clear enough, and thoroughly well-rounded. Just take a listen to Spaceship. They are keen to upend what we expect from the frivolities, from the spectacle of romance in song. They succeed time and again on The Prize.

Read our review of Prima Queen’s The Prize here.

74. ROSE GRAY – LOUDER, PLEASE

Louder, Please, confirms there is enough of a thriving scene in the UK club culture and late-night dramatics to make an entire album. Gray does not repeat herself but captures the microscopic moments. The rush of a last-minute night out, as walked through on Hackney Wick, is the best of the bunch because of how frightfully accurate it becomes even with the specifics making up one of many nights. We may forget the overall experience but the little flickers, succumbing to sound, are inevitable. We keep hold of those memories, as Everything Changes (But I Won’t) and say we will stay here forever. But a time comes when we speak to a loved one for the last time. Tear it up on a sticky club floor to those fine songs from history for one final night. It all comes to an end but Louder, Please, is welcomingly defiant. A reminder we can deal only in memories. We cannot return to those moments, but we can revisit them in our minds, where we pick them apart and hope to learn from it. 

Read our review of Rose Gray’s Louder Please here.

73. COUNTING CROWS – BUTTER MIRACLE, THE COMPLETE SWEETS!

Duritz remains an incredible storyteller and Counting Crows stand tall as a band in the right place, backing these Bruce Springsteen-like occasions. The Tall Grass is nothing short of staggering. A bit of a sluggish transition into Elevator Boots, but it feels like the end of a chapter, an ongoing story kept alive by the sudden change in tone. We wish to be someone else because the life we have now is what we have gotten used to. That appears to be the message of the long and winding story presented on Butter Miracle, The Complete Sweets!, with its consistent lyrics and warm instrumentals. Counting Crows are back with a bang, their ingenuity and constant push for innovation, be it in the stories they tell or in the music they deliver, remains a charming part of their discography. Butter Miracle, The Complete Sweets! is a treat indeed. 

Read our review of Counting Crows’ Butter Miracle, The Complete Sweets! here

72. BONNIE ‘PRINCE’ BILLY – THE PURPLE BIRD

Intimacy and reassurance from brass pops and broad instrumental range come through The Purple Bird time and again. New Water finds it well, hand olds onto the hopes of a coy optimism. Swaggering ballads like Guns Are for Cowards bring an exceptional depth to The Purple Bird, which had plenty to begin with but adds another layer with a slowed acoustic moment on the John Anderson-featuring Downstream. Tales of water-adjacent moments, the use of those flowing rivers washing over the old ground, making the way to something new, are delicately placed throughout. A subtle addition to make, but well-kept and maintained the whole way through The Purple Bird, an admirable piece of work with some lush instrumentals. 

Read our review of Bonnie ‘Prince’ Billy’s The Purple Bird here.

71. ALLIE X – HAPPINESS IS GOING TO GET YOU

Happiness is waiting, but for who? Those who can take a risk or accept where they’re at now is not where they’ll be soon after listening to this latest Allie X release. A song like Uncle Lenny calls on people to push past those who are holding them back, consciously or not, and to consider what the future should have in store for them. It should sound as inviting and intense as the instrumentals at play, and if there’s no excitement to life, then it needs to change. That’s what Happiness is Going to Get You asks of its listeners, for them to honestly consider where they’re at and what they want. Moments of real beauty come through on Learn to Cry, with the latter half of the album completely dedicated to giving listeners a chance to connect with themselves deeper. Uncomfortable conclusions, acceptance of new steps, it’s all there on Happiness is Going to Get You.  

Read our review of Allie X’s Happiness is Going to Get You here.

70. WET LEG – MOISTURIZER

Where Moisturizer may have begun as an unconvincing, pop-adjacent piece, it ends as an alternative rock powerhouse. A sexually charged, confident piece of work which layers nostalgia with a craving for intimacy and independence. Those opposites are what Wet Leg wishes to pull at, and they do so in a way which separates them from the rest of the art-rock pack. Ballad-like piece 11:21 is a blast of slowed charm after such heavy, instrumentally charged works preceding it. These are songs of singular infatuation but the deeper meaning, the independence Wet Leg holds onto as they interact with sex, life, and love, is what separates them better than their debut did.  

Read our review of Wet Leg’s Moisturizer here.

69. STEREOLAB – INSTANT HOLOGRAMS ON METAL FILM

Instant Holograms on Metal Film has a subtle quality to it, which comes from the overlap in tone from song to song. Those barely audible shifts in tone, the medley which comes because of those subtle touches, make this Stereolab release feel like a gargantuan long play. What joy there is to be had with Stereolab is not what the future may hold, but what the past can still give. Sound loops, synthesisers, the subtle expressions which come from those well-used tools is what at the forefront of Instant Holograms on Metal Film. We would do well to learn from these tech-addled tones, because they speak with more of a human touch than most do these days. Stereolab returns not with a proclamation, but a scattering of intense, interesting instrumentals we can apply our own meanings and doubts to.  

Read our review of Stereolab’s Instant Holograms on Metal Film here.

68. LUVCAT – VICIOUS DELICIOUS

Balance is crucial and that’s what Luvcat offers here. Confident, quality pieces of work which cement Luvcat as a name not just to take note of, but to surely see in the headline slot of whatever festival is popular these days. Truck Festival? No. Whatever the case, Luvcat has all the spirit and lyrical charm needed to separate herself from what is already out there. There’s a spontaneous feeling to Vicious Delicious in the conversational tone Luvcat provides. Bad Books has a wild and searching appeal to it paired with instrumentals equally keen to bring about big ideas, bigger hopes. It’s that cautious hope embedded in each song, either for the other person to overcome their clear troubles or for the protagonist to get to grips with their own shortcomings. Either way they need to be conquered and what better way to do it than with Vicious Delicious? As charming as it is confident, and that’s a fine line few are capable of walking.  

Read our review of Luvcat’s Vicious Delicious here.

67. KING GIZZARD AND THE LIZARD WIZARD – PHANTOM ISLAND

Phantom Island continues the easy-going charm of the preceding album, builds on a story which was never quite clear, but the band are clearly having fun with their swine pilots. Fly away from the expectations of life, that much is easy to do by being defiant and ignorant of what people want. King Gizzard continues to push their sound in surprising directions, not because it keeps them relevant and exciting, but because they know, as much as their most dedicated listeners, that there is much fun to be had in the exploration of genre. We learn nothing from staying static. Even if the changes which come shift the very form of our person, at least it is changed with the impressions of new experience, not the slow, sluggish crawl to the finish line through a plain route many people are on. 

Read our review of King Gizzard and the Lizard Wizard’s Phantom Island here.

66. DEERHOOF – NOBLE AND GODLIKE IN RUIN

Spoken word clarity with a fearful contradictions brought on by the instrumental scope. Deerhoof has offered a bold comment on the obvious during a time of uncertainty, not just in the world, but for the future of the group. Their clarity in a time of uncertainty is miraculous. Not just in the political moments but in those wide-eyed, wonderous moments where the band questions whether they can survive another album cycle. Let’s hope they do. Noble and Godlike in Ruin has the group offer some of their best works to date, not least their Immigrant Songs album closer. A powerful album which dares to be bold, often, and relies on that out-there feeling. Noble and Godlike in Ruin lives as its title would suggest. There is a heightened sense to Deerhoof as they walk through the ruins of a world where their discography is still relevant and rebellious.  

Read our review of Deerhoof’s Noble and Godlike in Ruin here.

65. CATE LE BON – MICHELANGELO DYING

Startlingly open, but in that shifting way which makes a song stand strong against the tests of time. Michelangelo Dying is as open as you want it to be. It’s all about your read on the moment, on the life Le Bon shares with her listeners on this release. Much of it is as open as you would want for someone who is spending their life in the spotlight. But Le Bon knows as much as her returning listeners that the detail comes in the lack of it. That loss is a listener’s gain, their imagination free to run wild with a series of different reads on essential work. Michelangelo Dying is an excellent expression of what we do in the face of loss. What love we slip into, the hate that sometimes crops up. It’s all there and forms a vital listen.  

Read our review of Cate le Bon’s Michelangelo Dying here.

64. ELA MINUS – DIA

Those moments of bubbling over, the kettle boiling electric rise of And into Upwards is a stellar moment, one of many to be found on Día. Hold onto the energy it brings, the confidence and instrumental choices pair so well with one another that it is hard not to feel yourself taken away by the bouncing, constant noise. Día articulates a feeling of daring and often out-there essentialism, this need to connect with the world around us not through touching grass or staring at the sun, but by flailing ourselves around, by articulating the impossible through a new medium. Exciting, vibrant, all those usual words are thrown around when an album gets to grips with its theme, holds it in firm view, and roars through with an essential sound evolving throughout.  

Read our review of Ela Minus’ Día here.

63. THE ALTONS – HEARTACHE IN ROOM 14

Most of Heartache in Room 14 is played out with the confident tones of an infatuated individual who finds themselves in the right. Even when the situation has them firmly in the losing camp, they are adamant about their position. It makes all the difference, the soul tool used not as a longing embrace for a lost lover but as an act of defiance. Hearing this develop throughout Heartache in Room 14 is staggering. There is very little, if any, doubt over how strong a band The Altons is. Their grasp of the genre, their route to modernising it with some swell flourishes and dedications to tones of old, are the fine blur a genre needs. New life through a rarely trodden path brings us to cool grooves from the likes of Your Light and Show Your Love, end-of-album songs which cement The Altons as a fresh blast of soul. 

Read our review of The Altons’ Heartache in Room 14 here.

62. BILLIE MARTEN – DOG EARED

Marten finds much to be proud of on Dog Eared, an album which highlights the singer-songwriter turn she is taking, not away from folk, but in adapting the genre. There is a larger instrumental presence, the percussion on You and I Both, for instance, soft yet certain of its place. Plenty of moments on Dog Eared are like that, and it makes for a wonderful new album from Marten. Tremendous album closer Swing and its whale-based storytelling is one of many signs Marten has the storytelling thrill needed to carry moments of honest contemplation. It can be heard across Dog Eared. 

Read our review of Billie Marten’s Dog Eared here.

61. MAVIS STAPLES – SAD AND BEAUTIFUL WORLD

Sad and Beautiful World features, undoubtedly, some of the very best songs by Staples. Moving, intimate reflections on life which are a natural, unavoidable aspect of a seasoned performer heading into the studio in their twilight years. But that reflection and the roots of her early years never overwhelm the present-day-facing messages. Satisfied Mind is a perfect overlap of those tones. Happiness is in the shared experience, according to Everybody Needs Love. It’s the unifying message from songwriters this year, be it with Got to Have Love from Pulp or the overarching theme of Double Infinity from Big Thief. The best in class this year, like Staples, are providing evidence of what works in the face of times that tax the soul. Love, connectivity, and calmness prevail on Sad and Beautiful World. Staples injects beauty into a listener’s life with those assured, hopeful stories.  

Read our review of Mavis Staples’ Sad and Beautiful World here.

60. BENEFITS – CONSTANT NOISE

There is a frustration heard throughout Constant Noise which will hit well with those socially aware listeners, those who can identify a problem and accept it while knowing what needs to come next. But it is not a smug realisation. It is a frustration, growing and bubbling as it does on the social media putdown on Terror Forever. Those moments of percussion find their way through rising jazz and improvisational tones, and it makes all the difference for the vocal performance. All we can do is identify the bootlickers, the sticklers and the shameful, as Constant Noise does. Frustrations are seen as weakness but they are anything but. They are outlines of care and for all the rightful bashing of the country heard through Constant Noise, there is an overarching love, a genuine desire for change and a kick against the petrol station to funeral parlour gentrification, heard within. Treat the world with kindness, as Dancing on the Tables does, but remember they will be tinged by nostalgia sooner than you think.

Read our review of Benefits’ Constant Noise here.

59. JUNIOR BROTHER – THE END

Junior Brother knows taking on the alternative folk scene is a balancing act. He has worked this genre enough times to know. Old Bell takes Kealy beyond the folk genre. All that separates him from noise rock is the instrumental choice. Few are blurring the line between entertainment and engagement so clearly as this. The End being a wonderful listen should be no surprise. It has the same strengths as a select few other projects from this year, those moments from Ethel Cain or bdrmm, where the focus is worldbuilding around the instrumentals, rather than the music itself. It’s a brilliant continuation of Junior Brother’s sound, but it’s also a glimpse into the deep waters of his storytelling style.  

Read our review of Junior Brother’s The End here.

58. NEIL YOUNG – COASTAL

Such is the point of capturing his live works, as Daryl Hannah did in the Coastal documentary. Young knows there is a scarcity to some of his tracks, and bringing back those efforts only adds to the excitement. For those who enjoy Young, Coastal will serve as a delightful live offering. Another for the pile of ever-growing, quality material. When I Hold You is essential. Young uses silence as an instrument as he pushes the older generation out of the way, moves them on to focus on the problems of here and now. His piano playing is surprising, too, tremendously delicate and going against the perception of guitarists being unable to bring a softer touch. Young has that much-needed softer touch, that patience for developing a song and the comfortable, quiet atmosphere is Coastal’s finest offering.  

Read our review of Neil Young’s Coastal here.

57. LAMBRINI GIRLS – WHO LET THE DOGS OUT

Who Let the Dogs Out is not just a cultural rage but a slick and sharp instrumental powerhouse, filled with incredible guitar riffs and articulate, bold percussion. Those punk fundamentals which still guide the genre are found within but more than enough is done by Lambrini Girls to evolve these feelings of discontent into studies of the underwhelming country we find ourselves in. Nepotism, nastiness and all the new sounds of noisy rage come together to make a blisteringly great piece of work. Lambrini Girls were bound to do this well – but the longevity of Who Let the Dogs Out, in those fast-spoken stylings of Special, Different or the rightful fury of Company Culture, is its real, generational strength.  

Read our review of Lambrini Girls’ Who Let the Dogs Out here.

56. THE HORRORS – NIGHTLIFE

Enlightening momentum is what guides The Horrors through Nightlife. It is an album of strange and often chilling intensity. Either lapse into it and welcome the waves of darker sound, breaking soon after they settle for a lighter flourish on closer LA Runaway, or listen in fear and awe. Nightlife is a blast of brilliant instrumental work but take note of those lyrical flourishes. It is a perfect package in that way, a fine blur of what can be done with quality songwriting and instrumentals which not only challenge the core concept but push against the standards and norms of the times. Nightlife is a brilliant achievement, an album which underscores the necessity for a band with longevity on their side to create outside the expected outline.  

Read our review of The Horrors’ Night Life here.

55. BOB DYLAN – THROUGH THE OPEN WINDOW

Ease of access to historical document should be a rite of passage, and The Bootleg Series makes sure of it. Through the Open Window is one for the at-home historian. Those who want to know more about the formative years of Dylan as an artist would be hard-pressed to find a better documentation of this seven-year period than this. Don’t Think Twice, It’s All Right from The Gaslight Cafe and the selection of alternates, Masters of War and Girl from the North Country in particular from The Freewheelin’ Bob Dylan outtakes, are truly great experiences. A definitive look at the early years of Dylan is what this highlights package provides. No doubt the added context of the full release will offer a little more through sheer volume of material alone, but for those not willing to splash out on the set, this version is ample.  

Read our review of Bob Dylan’s Through the Open Window here.

54. CAROLINE – CAROLINE 2

Where it may not amount to the blistering debut thrills of their first album, caroline 2 offers a continuation, a considered and respectable effort to always search for what feels individual. This overwhelming feel of dissatisfaction grows and grows; exploration and reflection are our ways through the rough times. Album closer Beautiful Ending is as its title suggests, a magnificent way to close out what is a tremendous experience if you open your heart to change, to where music can take the listener and artist. We are as much apart of this ride as the band is, their heavier tones soothed by the string additions, the soft plucking of acoustic guitar. Balance is key, and caroline 2 gets it just right.  

Read our review of caroline’s caroline 2 here.

53. SELF ESTEEM – A COMPLICATED WOMAN

Self Esteem finds a thrill in the literal meaning of their stage name with this release. This is the emotive blur of danceable qualities and lyrics to give you pause for thought, those ever-necessary sparks of reflection are here. Something will happen because it has got to, as is told by If Not Now, It’s Soon. Change is not the purpose of the song, but the guidance which comes before it, the active and conscious participation in making a difference for yourself, that is what becomes clear. Instrumentally interesting, constantly questioning lyrics, Self Esteem steadies herself in those early songs and finds a confident approach to the terrors of the modern-day. From sex to love to hope and hate, Self Esteem has championed and considered it all in this blur of electrified, thrilling pop stability. Great fun, a real heart, and her best album to date.  

Read our review of Self Esteem’s A Complicated Woman here.

52. THE WEEKND – HURRY UP TOMORROW

Hurry Up Tomorrow has enough to let fans come to terms with this end, too. There are plenty of reasons to call time and there is no better way to come to the end of the line than with a musical masterclass. Songs like Big Sleep slot right into the finest moments of his discography. His chance for mercy, a decision to end a career path on his terms, is as bold as it is deserved. Latter moments like Give Me Mercy and Red Terror do well to hide the pain and problems of continuing as fans want him to, but a potential finale like this is hard to come by, and harder still to maintain. The Weeknd has a bold piece of work on his hands, as complete a piece of production as could have been hoped for. There is a disassociation a moniker provides which, as heard on Without a Warning, Tesfaye wants to remove from the equation.

Read our review of The Weeknd’s Hurry Up Tomorrow here.

51. CAR SEAT HEADREST – THE SCHOLARS

Car Seat Headrest’s work on The Scholars is powerful, presents a rock and roll authority never expected of the band, and brings out the best in their years of creative overlap. Experimental and stylish all at once, a rare balance for bands to hit on, especially when their album becomes a seventy-minute project. Steady work from Car Seat Headrest across a truly ambitious album, The Scholars is a wild and welcome treat from the band, who reinvent their sound after a few years of being defined by Twin Fantasy. This is a brilliant next step.  

Read our review of Car Seat Headrest’s The Scholars here.

50. MATILDA MANN – ROXWELL

Mann’s debut features more than a few exhilarating moments, well-made and defiant instrumental moments are commonplace. A few commonplace tones from the genre break through, more to tie the occasions of love and loss to a knowable, recognisable spot. That much is fair. Mann evolves her sound on from those moments, but keeps them intact in a few songs to make sure the audience are not lost on the path she has already walked. Roxwell is a charmed piece of work, a tremendous and often subtly terrifying piece where the strengths of what we believe in, how our conviction carries us, are the most important parts. Mann maintains those moments well. 

Read our review of Matilda Mann’s Roxwell here.

49. TYLER, THE CREATOR – DON’T TAP THE GLASS

Don’t Tap the Glass serves a real purpose. In the short time Tyler, the Creator has on this release, he reinvents the tone of his music while also keeping the fundamentals there. Don’t You Worry Baby is a magnificent example of this. A lighter sound, a collage of samples and synth, but with that same bold throughline. His focus is still very much on human nature and how relationships are affected by everything from fame to maturity, and back again to the primal, fundamental instincts. All of that comes to a head with a hip house sound which overhauls Tyler, the Creator and his studio efforts. Don’t Tap the Glass is catchy and quick, an excellent addition to that human vitality, that need to lose yourself in dance, and an exceptional piece of work. It does not try to be better than Chromakopia, it tries, and succeeds, in being unlike anything Tyler, the Creator has made before. 

Read our review of Tyler, the Creator’s Don’t Tap the Class here.

48. NEIL YOUNG – OCEANSIDE COUNTRYSIDE

Oceanside Countryside is rewarding for all, though those efforts from Young will no doubt delight seasoned listeners. If anything, it is a gentle excuse to return to some of the lesser-loved Young songs. A song like It Might Have Been speaks with a stunning clarity on what never occurred. There is skill in this, to write so strongly of the moments longed for but never experienced. Oceanside Countryside does well to build to that moment, the fiddle-playing charms erupting, the acoustic flourishes heard in isolation earlier on the album joined by some delightful company. Album closer Pocahontas finds charm still in the Marlon Brando-mentioning song, and it is over before you know it. A brief end to an album filled with the laid-back country tones Young would return to, time and again, in a career littered with rock classics. Oceanside Countryside is a nice excuse to return to his backlog, and is a welcome entry in its own way. 

Read our review of Neil Young’s Oceanside Countryside here.

47. DITZ – NEVER EXHALE

Minimalism taken to a violent extent, to a place of gothic horrors and heavy rock dominance. A staggering isolation is at play through Never Exhale, this intake and intake soon lead to dramatic reworkings of what we once found light in. Album closer Britney has Francis trace the smudged lines of where a lover once was. Powerful writing, and brutal instrumental sections which leave plenty of space for that sweet spot of personal growth and shame, it is all to play for with this strong DITZ release.  

Read our review of Ditz’s Never Exhale here.

46. BDRMM – MICROTONIC

Admirable work from a band with plenty in the tank. Microtonic is an atmospheric powerhouse and when that suggestion of a darker world underneath the already rotting surface is drifted from, album closer The Noose ties it all back together. Are we too late to save ourselves from the blast of artificiality, from the hang-ups of a generation struggling against the actions of those above? Bdrmm does not find out on this release, nor should we expect them to, but the sense of community in the booming electronic scene is a welcome embrace on those final, cold Winter mornings. 

Read our review of bdrmm’s Microtonic here.

45. RIALTO – NEON AND GHOST SIGNS

Neon and Ghost Signs is a charming album because of how human it is, how hellbent it is on righting the past. Not the wrongs of it, we learn from our mistakes, but the chances not taken, the fragility of idleness is explored with such a coaxing and consistent beauty. A heartbreaker, but Rialto are on their knees, helping us collect the pieces. Frontman Louis Eliot implores us to lose ourselves to youthful energy, no matter the time. It could be your last. This could the end for Rialto. If it is, then Neon and Ghost Signs is an admirable end.

Read our review of Rialto’s Neon & Ghost Signs here.

44. JAPANESE BREAKFAST – FOR MELANCHOLY BRUNETTES (& SAD WOMEN)

When you spend so long traipsing through releases, hoovering up what is on offer and trying, always, to find something new, the smaller details become crucial. For Melancholy Brunettes (& sad women) may be typecast as singer-songwriters servicing those sad nights in bed, but Japanese Breakfast offers some of the very best, should it be associated with such a broad range. Leonard Cohen offered much the same by that standard, and Japanese Breakfast has an acoustic reliance embedded in it, a handful of string sections, which remind of the legendary songwriter. Leda is a standout moment, one of those songs that cements Japanese Breakfast not just as some relatable star but as a musician with depth, with no fear of their own fear. Just take a listen to Men at Bars for that furthered sense, the soft twangs of folk and the learned experiences of humiliating encounters. For Melancholy Brunettes (& sad women) is tinged by tragedy but runs as a list of life lessons we would do well to listen to. 

Read our review of Japanese Breakfast’s For Melancholy Brunettes (& Sad Women) here.

43. DEFTONES – PRIVATE MUSIC

Strong and atmospheric consistencies are not a given but are expected from Deftones. Private Music is an exemplary moment from the band, a happenstance overlap of strong writing with active, thrilling instrumentals. Steadiness is a rarity, but Deftones has it. Album closer Departing the Body is an excellent blur of those heavier materials and the lighter touch heard in parts of Private Music. Producer Nick Raskulinecz is the key here. He links back to that sound Deftones had a decade ago, and though the band has not gone anywhere, it felt like they had hit a lull over their last few albums. Private Music puts them right back where they belong, at the very top of alternative metal. They do not push for major overhauls of the genre or changes to their fundamental sound, but the subtler moments are presented with such confidence, the minor changes made to sound massive. It works brilliantly.  

Read our review of Deftones’ Private Music here.

42. THE MURDER CAPITAL – BLINDNESS

Blindness is an album of considerable quality. On its surface is an exceptional run of grinding guitars and rising percussion, a roaring vocal performance from frontman James McGovern certainly helps. Dig that little bit deeper and the fear of failure, the constant pushes the band makes to not only stay ahead of the pack but on top of their game, is heard. Those defenceless moments are their best. Crash through the wall of sound and find a band who are still very much in touch with the fundamental messages heard in previous releases. Not everything is a noise-bursting powerhouse. The Murder Capital remembers to include that gentleness, the softer touch of Swallow provides that, as the band heads on into the well-rounded and stylish Blindness.  

Read our review of The Murder Capital’s Blindness here.

41. ROGER WATERS – THIS IS NOT A DRILL

A live show release just as David Gilmour announces one of his own. What a coincidence. Roger Waters’ This is Not a Drill has the benefit of being first, and immediately leans into the soft controversies of his political stance. He tells listeners to “fuck off to the bar” should they disagree with his politics. Lucky for those with built-in booze crates at home, for the rest, too bad. This is Not a Drill has an urgency to it which was lacking in other releases from Waters’ solo career. Any Colour You Like and Brain Damage are phenomenally performed, and the round out for the show with The Bart Part 2 and Outside the Wall highlights Waters has still got it. This is Not a Drill does well to profile Waters as a performer with a lot more to give.

Read our review of Roger Waters’ This is Not a Drill here.

40. DAVID GILMOUR – LUCK AND STRANGE CONCERTS

Genuine coincidence to have David Gilmour just one slot above Roger Waters. Coincidental, no comment on which live album is better, beyond one being ranked above the other. The Luck and Strange Concerts does what many artists are trying, and failing, to do. Gilmour succeeds because the reinvention of his solo works is as instrumentally strong and sonically interesting as his biggest hits. It becomes apparent throughout this staggering live album. A run of rarities towards the end of the album, capped off with a sensational Comfortably Numb performance, is tremendous. It’s vintage work from Gilmour, his live selections on the Luck and Strange tour are a real gift to long-time listeners. 

Read our review of David Gilmour’s The Luck and Strange Concerts here.

39. FLORENCE AND THE MACHINE – EVERYBODY SCREAM

Part of it is honesty, part of it is confidence. Everybody Scream goes a long way in identifying the reasons for the noises we make, the reactions we have. Drink Deep is a monumental piece of work. Beyond the sharp lyrical work, the approach to the instrumentals is tremendous. Assured but open to those thrilling experiences, those pushes for a new sound through reflecting on the old tones, it’s wonderful work. Music by Men gets to the same core concept as One of the Greats but the wistful tone is amplified by those softer, acoustic guitar moments. Much of the focus through Everybody Scream is on the strength of Welch’s voice, and rightly so. A monumental musical force and put to topics and tones worthy of such strength. Everybody Scream is a delight because the points Florence and the Machine muse on are tackled with a sincerity sorely lacking in chart-topping music.  

Read our review of Florence + The Machine’s Everybody Screams here.

38. PAZ LENCHANTIN – TRISTE

Thematically rich experiences from song to song are not a given but they are welcome, frequently brilliant cores for these songs. Adam is a phenomenal piece from Lenchantin. Songs which explore the necessity of risk and death but pair the message with a suitably out-there, contrasting instrumental. Rich instrumental examples in the latter half, like Lucia, are reliant on those strong saxophone additions. It’s a beautiful skill Lenchantin has and this so-called debut is a fantastic listening experience. Depths beyond that of her peers and a refreshing take on those inevitable worries of life and death. Finding solace in stories from generations and pairing that with new instrumental thrills hasn’t sounded this good in a while.  

Read our review of Paz Lenchantin’s Triste here.

37. OKLOU – CHOKE ENOUGH

Choke Enough often calls on a listener to push themselves that little bit further. Album closer Blade Bird does just that, acoustic guitar sentimentalities and all. We may push ourselves too far and return one day to the comforts of the past, but that’s alright. It’s the risk and adventure which comes from challenging yourself, as Oklou does on Choke Enough, that makes life a thrill. A welcome change of pace to what is already out there. Choke Enough slows it all down, focuses on the instrumental layering and the strong messages to come through as a result. It’s a tremendous piece of work, an exceptional debut, should we discredit the preceding Zones Without People game soundtrack. 

Read our review of Oklou’s Choke Enough here.

36. COURTING – LUST FOR LIFE

At the edge is where the story ends. How we get there is up to us. Push yourself to however much you can handle. Courting is sly and slick on Lust for Life, appropriating usual messages of staying out, drinking and dancing like the short-changed indie rock scene wants us to continue doing, into faux paths of finding the point of no return, the place where we can feel the thrill of life. We are just wasting time in-between those moments. Twenty-five minutes is all it takes for Courting to provide a powerful new album, with life and all its trimmings put to the test by the band with seven exceptional songs. Comments on life, the want and desire which guides us through it, feel tremendously well explored by the band, particularly on the wild closer, Likely Place for Them to Be. Every song gets close to the edge, that place where we find a glimpse of true thrills. Hold them close.

Read our review of Courting’s Lust for Life here.

35. ROBERT PLANT – SAVING GRACE

Saving Grace undersold itself with the lead single. It’s a lovely working, but it doesn’t have the same power as Higher Rock or the sincere drive for change heard on its follow-up, Too Far From You. Closing out with Gospel Plow is as clear a showcase of the spirit found on Saving Grace as it is a demonstration of the love Plant has for classics, old and new. A roaring success where the strengths of his vocal work are not always the sole point. Suzi Dain’s vocals are staggering. Tony Kelsey brings such a vibrancy with the acoustic guitar he provides intermittently throughout. Plant has, very smartly, surrounded himself with some of the unsung heroes of studio work. It makes all the difference on Saving Grace, a strong collection of covers which gives listeners a valuable insight into what moves Plant. His influences and interests are expanded on well over these ten songs, a fitting and often thrilling collection of folk-rooted revisions.

Read our review of Robert Plant’s Saving Grace here.

34. RIANNE DOWNEY – THE CONSEQUENCE OF LOVE

 Assured material which lives and dies on the honesty at its core. The Consequence of Love never takes a darker turn, but it has those emotionally charged moments, comments on what to do in those bleak moments. Downey has an astonishing voice and an openness in her lyrics which helps the album along brilliantly. There’s a desire from Downey in her closing song, Heart of Mine, to move on. It’s not the action that touches the heart here but the desire, the emotional clarity which eventually comes. Fitting it may be for the end of the album, The Consequence of Love is built on those dependable, truthful moments. They platform Downey not just as an exceptional storyteller, but a bold one whose work listeners can learn from.  

Read our review of Rianne Downey’s The Consequence of Love here.

33. THE SAXOPHONES – NO TIME FOR POETRY

The onus of change is on the shoulders of a listener who hears the call to arms, the self-love, throughout No Time for Poetry. An exciting and consistent piece of chamber pop work, a continually charming album, even with its worries for the world around us. Pair that wider acceptance of things going awry with a contentedness we are all guilty of, and you have an album which challenges not the comfort of your own life, but the inactivity of making it, and the world around you, better. A strong message like that is dependent on the last two tracks, Wayward Men and No Time for Poetry, two staggering moments from The Saxophones, which get to the very heart of what purpose we must serve the modern world.  

Read our review of The Saxophones’ No Time for Poetry here.

32. SPORTS TEAM – BOYS THESE DAYS

Passionate and thrilled by the ongoing fight against cultural decline. Subcultures of life, from the fitness grifter to the boomer view of the world, are brilliant ammunition for Sports Team. They’re a mesmerising band, with slick instrumental style and exceptional lyrics. The latter is what Boys These Days focuses on. Their discomfort with modern-day workings is the beating heart of this album, though the instrumental skill and structure are what turn it into more than trying to dismantle the cogs of life. Planned Obsolescence warns of an indifferent future, while Bang Bang Bang takes real glee in its western-tinged desire to plan your way out of that time ahead. But time is not on your side, and Boys These Days has both a call to arms and a warning against the false prophets capitalising on those wanting a newfound focus. It’s brilliant work the whole way through from a band whose grip on the world around them is only getting stronger.

Read our review of Sports Team’s Boys These Days here.

31. BENJAMIN BOOKER – LOWER

Those background noises, the whimsy and cheer found so briefly before the gut punch of a heavier sound on Same Kind of Lonely are transcendent, and brutal too. Marrying those two feelings, the contrast between them serving as the well Booker continually returns to is a masterclass. Once again, we dive into the depths of Booker’s work, and once more he provides tender and wizened insights into the world around him. Songs for the weary minds and the broken hearts. These are not love songs. These are not songs of hate, either. Lower is an articulation of sound as more than a backing track to your day, but as an example of its power to change the atmosphere around you, and the mood you feel yourself dealing with. Booker has a definitive power, and he uses it well through his third album.  

Read our review of Benjamin Booker’s Low here.

30. WEDNESDAY – BLEEDS

Hartzman and the band have succeeded in making an album which stands as a perfect example of what they, as musicians, wish to define. A brilliant, balanced burst of those preceding strengths, but with an effort here that elevates the band. They are on that next level so many are incapable of hitting. Bleeds is as much a statement as it is a satisfying release, and rare is it that the two points of interest overlap. A complete powerhouse of a release, boasting instrumental strengths that surpass genre standards. Bleeds is a menacing release but when its softer touch is displayed, it’s hard not to feel completely moved by its completeness. That’s what matters most with Bleeds. The band are happy with their efforts, and those songs are, for the most part, very fulfilling. Storming through genre expectations and overhauling them with a unique flourish. Not everyone can do that as well as Wednesday. 

Read our review of Wednesday’s Bleeds here.

29. PERFUME GENIUS – GLORY

Intensity is kept alive and booming through Glory by the occasional pang of instrumental explosiveness. Percussion on Hanging Out goes beyond the boom of a drumkit being hit with force, it feels like a gunshot blasted through an indifferent character. Glory accepts it will take some time getting used to this back-and-forth, the internal and external voices screaming for completely different needs. Disappointing both is not the only option. Glory notes there is a finer line to walk, and when it gets there, the difficulty of keeping both extremes at bay is the challenge, not appeasing them. Much of that comes to light in the latter portion of the album, a blistering and well-balanced gut-punch of a listen.

Read our review of Perfume Genius’ Glory here.

28. POOR CREATURE – ALL SMILES TONIGHT

There is a deeper connection with the small pockets of history lost to time. Those parts of the world which are not in the spotlight because they are not flash, new, or the grounds of some chart-topping notion. Seek out the likes of Foxes in the Snow from Jason Isbell or Lammas Fair from Henry Parker. What an artist lays on the line in reconnecting with genres of old is their musical clarity. It’s one thing to rock around the globe with chart-topping hits to back your trip, another entirely to find peace and persuasive tones in older forms. Album closer Willie-o from All Smiles Tonight is a staggering example of how folk remains a relevant genre, how the artists associated with it are moved by the strengths of home. Half the battle is creating an instrumental force which brings about a storytelling tone. Poor Creature succeeds with that.  

Read our review of Poor Creature’s All Smiles Tonight here.

27. BRUCE SPRINGSTEEN – INYO

Inyo is further proof of Tracks II: The Lost Albums being not just for diehard listeners, but the passing fan. When I Build My Beautiful House (no relation to the one David Byrne was lost in during Once in a Lifetime) could easily slot into the current live sets. Here is Springsteen exploring the love of his country through the history of another. Inyo is further proof of the critical nature of The Boss as an artist who may be infatuated with his place of origin, but is also aware of its struggles, of what it can do better. Someone who truly loves their country can point out what must improve, and that is exactly what he has done over the last few years. Inyo is further stock to that, a charming and often moving addition to his discography.  

Read our review of Bruce Springsteen’s Inyo here.

26. STEVEN WILSON – THE OVERVIEW

The Overview has Wilson pull in those effective influences, from the entry-level perfection of Pink Floyd to the darker notations, the horror-tinged instrumental intensity of Comus. Truly one of the best modern-day progressive-rock releases. He has not departed from the electronic interests of his previous releases but incorporates them well with soundscape-like momentum on the title track. Wilson pulls on some longstanding influences and brings them into play with a sci-fi adjacent, slightly horror-tinged work which will no doubt satisfy progressive-rock heads. The Overview holds firm with its hopes of transcendent experiences. Wilson gets there by asking us to question the value system we hold ourselves to, to express at least some desire to change with the world around us, with the music that inspires us.  

Read our review of Steven Wilson’s The Overview here.

25. ETHEL CAIN – PERVERTS

Where Cain’s interest lay now is no secret. After some respite of softer tones on Vacillator it is right back to the thump and echo of drone-like brilliance with Onanist. An atmospheric powerhouse is what Cain has on her hands here. Pulldrone brings out the best in this form, this articulation of finding peace amid a world degrading at rapid pace. In those experiences of the world around us the horror comes through, and for Cain, there is no short supply of material. Her experiences in a crumbling nation feed the horror, which grows and grows as Perverts pushes on. Its length is its biggest pitch, an hour-and-a-half of droning disgust, and it works every second of the way.  

Read our review of Ethel Cain’s Perverts here.

24. THE THING – SELF-TITLED

Any band that knows of Prime Mutton is worth a listen. The Thing’s third album is an absolute creamer. Experiencing the cooler grooves, the subtle touches heard on The Thing is a pleasure. They are kicking against the humdrum minds, the listener whose attention is elsewhere. Tremendous pieces like Waltz and album closer Fresh Cream are some all-time great modern indie rock moments. Hate and love in tandem is an inevitability of any genre. What you do with it, how a band moulds those tones, is crucial. The Thing has such a clear grasp of their message, and they bring it to life with some fantastic instrumental thrills. Sound Carriers has some positively brilliant playing, a moment to highlight the skills of the band beyond their lyrics and message. The Thing is your new favourite band, you just don’t know it yet.  

Read our review of The Thing’s self-titled album here.

23. BRUCE SPRINGSTEEN – SOMEWHERE NORTH OF NASHVILLE

Somewhere North of Nashville uses its titular location as a chance for Springsteen to explore the roots of the genre. He succeeds in his adaptation of country music’s most observant and heartfelt moments, that much is clear through the final tracks of this Tracks II: The Lost Albums release. It works better when the focus is on tender tones, the softer charms of what country can provide, but there is plenty of fun to be had with the rocking, rebellious sounding Stand on It. Highways, bars, and the starry skies feel like constants in Springsteen’s storytelling style, and there is plenty to love about that through Somewhere North of Nashville.  

Read our review of Bruce Springsteen’s Somewhere North of Nashville here.

22. BLONDSHELL – IF YOU ASKED FOR A PICTURE

If You Asked for a Picture hears an artist dig deep into their soul, crack through the very bedrock of their being, and spill the details. Pieces of lighter reflection, other parts are overwhelming in their fear, and brilliant for it. Blondshell paints a necessary, messy picture of life, it is exactly what it can be and there is no shying away from that. To do so, as many artists are at present, is irresponsible. Blondshell’s dedication to the ever-shifting tones of life is mesmerising. Life happens when you aren’t looking. These moments are not the making of a person, but experiences to learn from. That much is clear on If You Asked for a Picture.  

Read our review of Blondshell’s If You Asked for a Picture here.

21. BLACK COUNTRY, NEW ROAD – FOREVER HOWLONG

Black Country, New Road has offered a sincere invitation to repurposing all facets. Run through the streets as Nancy does and figure yourself out. What do we want is too big a question to answer but Black Country, New Road poses it with a gentle flourish to their extremes. Death and disorienting feedback from the joys of the passive day are struck. Rekindle your passions as Forever Howlong does for the band by listening closely, take note of this defiance. It is a magnificent step from Black Country, New Road, which survives a major overhaul of their sound.  

Read our review of Black Country, New Road’s Forever Howlong here.

20. KATIE SPENCER – WHAT LOVE IS

Confidence is right at the heart of this album release, one which has Spencer detailing the crushing blows of romance and loss all with the familiar folk tone. Her innovations are clear as she brings in more than just an acoustic guitar to these songs, with shifting instrumentals backing a hope of warmth yet to return. A few soft blasts of harmonica on Carry It All, the subtlety of new instruments in small pockets, seals it. Another phenomenal achievement in a truly underrated discography. What Love Is has a few moments which drift into the blues, and it’s there that Spencer uncovers the real heart of modern folk. It’s a fascinating experience, and one of the best modern folk albums out there.  

Read our review of Katie Spencer’s What Love Is here.

19. TENNIS – FACE DOWN IN THE GARDEN

Tennis knew this would be their final bow long before the release was announced; that much is clear from the final song, In Love (Release the Doves). A hearty and exciting experience which calls for the end. No tears for the end. Tennis does well to mould a short and sincere project with Face Down in the Garden. Their homegrown examples of love and faith, of how to respond to moments of struggle, is effective. Crucially, too, it is honest. Delightful instrumental skill from the duo creates the ever-needed, often present, floaty feel. Muffled percussion and interjecting voices on album closer In Love (Release the Doves) is just one of the multitude of moments of quality to be found on Face Down in the Garden. Most musicians would kill for an end to their careers as well-rounded as this. Tennis bows out in style. 

Read our review of Tennis’ Face Down in the Garden here.

18. SAM FENDER – PEOPLE WATCHING

Reinvention does not come from sticking to the plan which catapulted you to fame. It comes from an inward experience, an acceptance of changing tides and how best to sail through them. People Watching is an instrumentally ambitious offering from Fender which, in spots, may alienate those wanting that fine blur of dark songwriting yet upbeat tempo. This is not the place for it, nor is the political or cultural scene lending itself to sparks of optimism. People Watching is a strong third album from Fender because he, as he always does, puts himself on the line with a rare yet necessary openness.  

Read our review of Sam Fender’s People Watching here.

17. SENTRIES – GEM OF THE WEST

Gem of the West is an album of multitudes. It’ll rip your heart out and stomp over it if you let it. But it can also be a piece of tremendous comfort. Nails, the closing song, does not offer as harsh a feeling as its title would suggest. Post-punk affected tones are a constant, but Sentries brings out a brighter side, a sincerity which is often lacking in the alternative. Heavier, striking instrumentals are often a chance to unsettle us, to make us feel like the foundations are not as sturdy as they once were. Gem of the West is at once a strike to the mouth and a comforting arm around the shoulder. It’s an instrumental beast of an album, some of the moodiest, moving material you will hear this year. Gems of the West marks a triumphant third piece from Sentries, and it may be the peak of their powers.  

Read our review of Sentries’ Gem of the West here.

16. BRUCE SPRINGSTEEN – LA GARAGE SESSIONS ’83

Springsteen did not seem to be aware of the tone his LA Garage Sessions ‘83 was taking. Trail songs, adventure through the streets of a forgotten part of the States, where friends are made on the road, as is the case for Richfield Whistle. The cracks in that Nebraska isolation begin to show on Unsatisfied Heart, and by the end of LA Garage Sessions ‘83, listeners have a new understanding of Springsteen in the 1980s. This is not just a historical note, an archival release for the benefit of those interested in accessing history, but a powerful album which holds its own alongside the very best of Springsteen’s discography. LA Garage Sessions ‘83 is the brilliant link between two all-time great albums many have been waiting decades for.  

Read our review of Bruce Springsteen’s L.A. Garage Sessions ’83 here.

15. BAXTER DURY – ALLBARONE

Those spoken-word thrills, the familiarity of spilt drinks and microscopic detail becoming intense spectacles, that is what Dury works over so well on Allbarone. Swear-infused jabs at those “soul fuckers” who rate themselves highly, who see themselves as the big picture, rather than the landscape before them. The latter stages of Allbarone are filled with such a burning contempt, a complete discard for lyrical smarts on Retrun of the Sharp Heads where the nihilistic toffs are lashed out at. Rightly so. Sometimes it is the simple anger, the desire to put those on a level above down in the ground. Contrast is everything on Allbarone, the instrumental thrills, staggering as they are, never let the focus on Dury’s worldview slip away. A responsible and often incredible blur which lasts as a comment not just on the shortcomings of the world, but the hopelessness of trying to reason with the commercially inclined, the man in the street who sees nothing but a chance to conform. Dury challenges that, and listeners will be all the better for it after listening to Allbarone, a blueprint for how to survive the revolution. 

Read our review of Baxter Dury’s Allbarone here.

14. DANIEL KNOX – MERCADO 48

Subtle instrumental additions, an electric guitar barely audible on Guess Not is sublime. A beautiful voice, a sincerity to the lyrics, and a real flourish on piano that has become a staple of Knox’s brilliant baroque understanding, you’d be hard-pressed to find a better genre album than Mercado 48 this year. Nothing short of beautiful. Knox often has the qualities within his music that make for life-affirming listens. Music that can heal your soul or reassure you, he has always had that passion and spirit within his songs, and this is no exception. Mercado 48 is a sincere gift. A genuine triumph from Knox which to returning listeners will be no surprise, but to those who are marking their first listen of the veteran baroque artist with a voice of liquid gold, this is a perfect place to start.  

Read our review of Daniel Knox’s Mercado 48 here.

13. MAC DEMARCO – GUITAR

DeMarco offers an honest and brutal read on love’s many hang-ups not for sympathy, but to show how volatile it can be. Nothing at All has some catchy, drifting guitar and drum work while he sings of losing his way after such emotional turmoil. Honesty is all we can ask from artists who are putting their heart on the line. What remains enlightening is through the rough times, DeMarco sees that light at the end of the tunnel, that respite from rough years. You can hear it on Holy, and he rounds off Guitar with a hopefulness most would be without, thanks to Rooster. Those subtle notes of hope, the easy-going performance, it continues on from the theme found on One Wayne G. Not what the music brings, but what the intention of the release was, a clear-out. DeMarco wishes for a fresh start and gets it, or at least close, with Guitar.  

Read our review of Mac DeMarco’s Guitar here.

12. SUEDE – ANTIDEPRESSANTS

Anderson is not asking for listeners to literally save the world. He does note, however, that the world needs saving. Suede has another captivating collection of songs on their hands. Lived-in musings on death, life, and the bits in-between. If Autofiction was a reflection on life, Antidepressants is hearing out how the rest of it will be lived. Those latter stages of the album, particularly June Rain and Life is Endless, Life is a Moment, are the expectedly softer contemplations. But they, like Beyond the Sea and The Chemistry Between Us offered, are gentle and affirming recollections. Suede proves once more that their return to the stage and studio is stronger than their initial run, because what they learned when apart has strengthened their works together.  

Read our review of Suede’s Antidepressants here.

11. SPELLLING – PORTRAIT OF MY HEART

An assured powerhouse of an album, not least because of its conviction to exploring new sounds, new flavours of experience. Spellling shifts gear from song to song but keeps steady with these introspective messages of self-hate and the battle of keeping yourself interested in your own success. Portrait of My Heart depends on the honesty not just of Spellling vocalist Chrystia Cabral but on the instrumental tensions put together by a tightly knit band. They do well to understand anxieties which play their part in the creative process. This is not an exorcism of doubt, there is no such tone or example. What Portrait of My Heart is, is honesty in the face of self-doubt, of throwing yourself at passion irrespective of the result. Listeners are lucky this complete dedication to a new, rock-oriented sound is also one of the best releases of the year, there is no doubt about it.  

Read our review of Spellling’s Portrait of My Heart here.

10. CMAT – EURO-COUNTRY

Confident performance is no longer enough for acts. CMAT knows that and is leagues ahead of her peers with Euro-Country. Those country music tones are not as overt as they were on previous releases, but they still form the foundation of what is an incredibly strong album. Songs like Iceberg and Coronation St. grip the fundamentals of a life many are trying to shake themselves from. Running/Planning is a wonderful moment to contemplate your choices, be it a constant movement of betterment or the desire to live in lackadaisical glee. Just a beautiful album. Euro-Country is filled with the honesty listeners expect yet take for granted. CMAT revives that active participation from an audience with catchy pop hooks hiding gutting and extraordinarily open commentaries from one of contemporary music’s very best.  

Read our review of CMAT’s Euro-Country here.

9. WOLF ALICE – THE CLEARING

Magnificently consistent is what The Clearing is. A mesmerising set of songs musing on the importance of following your own path. White Horses and The Sofa get to grips with that, the Nomad life seen as a chance to break free from the pains of the world and personal problems. It’s hard not to get up and wander off into that great unknown with The Clearing backing you. Unanswered questions, blasphemy’s reckoning, and a desire to connect with what remains important are what the band offers here. It’s truly a masterstroke from the group, whose instrumental improvements are clear. A considerable triumph for Wolf Alice here, whose work is that fine balance between sincerely uplifting and grounded in realism.  

Read our review of Wolf Alice’s The Clearing here.

8. BROWN HORSE – ALL THE RIGHT WEAKNESSES

Two albums of equally impressive quality, and a selection of songs which underscore the heart and charm of alt-country passions. These are passions which can be adapted and moulded by the modern-day chills. Closer Far Off Places is an outstanding achievement, a very best moment for Brown Horse. Moonshine here, fiddle there, but it flourishes with a current-day gaze. The best of both worlds collide here, and Brown Horse shows nothing but their strengths on All the Right Weaknesses.

Read our review of Brown Horse’s All the Right Weaknesses here.

7. JASON ISBELL – FOXES IN THE SNOW

Past relationships, future problems, they come together on Foxes in the Snow with an openness that is both a credit to Isbell as a songwriter and an artist unafraid of his history. He amplifies it to create a lived-in album, a source of influence and guidance for those who need it. Foxes in the Snow does not amplify its heartbreak or undersell its lessons. It’s as genuine as it gets without any showy moments. Songs for the sleepless nights, the gentle folk touch is a Trojan horse of sorts for the outstanding, unflinching emotional context for Foxes in the Snow. You will not get a better singer-songwriter album this year. We rely on vices which do us no good in times of stress, as much can be heard on Good While It Lasted. But what remains throughout this latest Isbell album is a desire to do better, to provide more, either for the self or important people in an unclear future.  

Read our review of Jason Isbell’s Foxes in the Snow here.

6. SQUID – COWARDS

And so we retreat into the welcome noise. Even Squid hides behind the blinds, they admit to as much on Showtime!, a softly violent and liberating piece of music which again incorporates those string sections into a band growing in style. Their scope comes to light on Cowards, an album as sincere as it is sickly. Bold closer, the brass noise of Well Met (Fingers Through the Fence) ties together a brilliant album from Squid. Plenty of moments are open for interpretation yet rigid in their creative vibrancy, in the spectacular suggestions and the desire for more after experiencing such a high. We all want more. More. Cowards is more. More of what is yet to be understood.

Read our review of Squid’s Cowards here.

5. GEESE – GETTING KILLED

It’s an all-time great album closer. Will the music die again? Geese has some sensational momentum behind them on this latest release, much of it will be a real kick for those with a vested interest in music history. Not in the evolution of notes, but in the death of Buddy Holly, the feelings of animosity and courage which come through a blistering ten days of dedication to one project. These are the wilder years of Geese and their instrumental and lyrical growth is clear. Getting Killed is a phenomenal occasion where media literacy is as important as the howls and crashes of an instrumentally enlightened group.

Read our review of Geese’s Getting Killed here.

4. BIG THIEF – DOUBLE INFINITY

Big Thief sounds confident with these new instrumental tones, with these hearty sacrifices. Pair the unconditional sincerity of Happy With You with the reflective doubts of How Could I Have Known, and you have both sides of the life Big Thief are living now. Reminders of lost loves and regained confidence are around every corner. Contending with that is merely a part of life. Big Thief does well to not hit us with blunt instruments on these topics, though are equally as ready to avoid the heartfelt connotations reflection can often bring. A truly gutting album at times. Double Infinity manages to avoid the typical pitfalls of emotionally charged music, partly because Lenker is one of music’s great writers, and partly because the Laraaji-featuring contributions bring about a feeling of community in the face of catastrophe. That reliance is what Big Thief seeks out, and by extension, what they suggest those suffering listeners do too. A brilliant experience, but then, who was expecting any less? 

Read our review of Big Thief’s Double Infinity here.

3. KNATS – SELF-TITLED

You can put Knats on the same pedestal as Sam Fender and Mark Knopfler. What they’re creating here reflects the times that’ll last once brighter days appear. Emotional sway in jazz is not a guarantee, though it is when Knats are working away in the studio. Brilliant, innovative material with heart and soul embedded in each song. In the Pitt and Adaeze have that quality instrumental overlap, dedicated listeners will be trying their hardest to seek out. Look no further than Knats’ debut album, a classic with such brilliant instrumentals to it. Depths like this are hard to come by, but just so easy to fall in love with. Outstanding efforts the whole way through this debut album will keep it burning long after the band has succeeded elsewhere, further on from this. Every album needs to fight its way to the top of the listening pile, it’s just a fact of easy access. Knats will linger longer than most records do, and it’s thanks to the embedding of emotional sincerity in songs of instrumental spirit that it becomes a magnificent modern classic.

Read our review of Knats’ self-titled album here.

2. THE LAST DINNER PARTY – FROM THE PYRE

Masterful work from the band, some of their confident best can be found on From The Pyre, as can experimental flourishes. Emily Roberts’ guitar work stands tall throughout, an identifiable flourish, one of the many, relied on by the band here. Sentimentality features on Sail Away in heavy doses, though those limousine-riding days feel like wants of the past, rather than the reality of now. Pair with The Scythe and closing song Inferno, and The Last Dinner Party maintains a truly special momentum brought on by their debut album. Capturing the spirit of the first album is not enough. Expanding on it, that is what the band successfully does here. No small feat, but the energy, the excitement of hearing soft glam rock tones paired with the art rock style of the modern day, is a thrill.

Read our review of The Last Dinner Party’s From the Pyre here.

1. PULP – MORE

Instrumentally fantastic, a classic Pulp sound mixed in with the modern-day expectations of the Jarvis Cocker-fronted group. Some genuine classics here, both when it comes to crowd-pleasing powerhouses like Spike Island and Got to Have Love, but some contemplative, very best work in Background Noise and Hymn of the North. Take a leaf from Farmer’s Market, then, and think about how it’s time to start living. Anecdotally speaking, it’s an album that has been a cornerstone of Cult Following for the last six months because following Pulp around on tour, listening to those little differences you get in a live show, experiencing the grooves of this piece of work alone on the train and with loved ones, that’s added so much more to More. Those experiences are a massive reason for placing it at number one, but it’s not much of a risk to give it the top spot, either. It’s time we started living. Take that message from Pulp’s latest album to heart.

Read our review of Pulp’s More here.