Born from a desire to centralise the record’s key themes, Role Model’s third studio album and alter ego is a fantastic case study in world-building… but how does all the fanfare live up to the music itself? Releasing tomorrow via Interscope, read TOPNOTE’s review of ‘Chuck Timely & The Hourglass’.

Fuelled by repetitions of isolation, alienation, and performative happiness, ‘Daughter From Hell’ is not Gracie Abrams at her best, but a record demonstrating her evolving catalogue holds promise stretching undoubtedly beyond privilege. Read TOPNOTE’s review of the American’s third studio album.

For the most part lacking in emotional conviction, it’s difficult to render Myles Smith’s debut as more than a solid first attempt; rather than meeting the admittedly insurmountably high expectations he’s being held to. Read TOPNOTE’s review of ‘My Mess, My Heart, My Life’.

Since Olivia Rodrigo went off to live some life and returned with it condensed into a 13-track album, TOPNOTE are making our way through it in order. Read our song-by-song analysis of ‘You Seem Pretty Sad For A Girl So In Love’ here.

The second solo project from Ed O’Brien, and the first release under his own name, ‘Blue Morpho’ is a sonic wander through the mind of one of the UK’s most recognised and rewarded guitarists, written over four years between commitments with ‘the day job’, or to us mortals… Radiohead.

‘OUTTANATIONAL’ was written at a time of liminality, as a way to escape the internalised conflict surrounding what it means to be ‘home’. Released last Friday, Pigeon’s first album is a dance through nations, identity and culture, between borders, and frequently beyond them. Read on for TOPNOTE’s album review.

Out on Friday via Fontana, the multi-instrumentalist, vocalist and producer Jordan Rakei welcomes a different collaborator for each of the 5 tracks on brand new EP ‘Between Us’. Borrowing from the talents of Femi Koleoso, Nubya Garcia and more, read TOPNOTE’s review of the project.

Back with her second record, ‘Cruel World’ sees Holly Humberstone sharpen the pen, this time on the topics of growing up and long-distance relationships. Dipped in the influence of dark fantasy, read TOPNOTE’s album review.

With help from producer Kid Harpoon, Harry Styles asks you to leave your logical brain at the door, and submit to an album that spans genres, broaches the silly and serious, and at times makes little sense at all. Read our full review of ‘Kiss All The Time. Disco, Occasionally’.

Following off the back of last year’s March record ‘RUSHMERE’, Mumford & Sons are back with another. ‘Prizefighter’ doesn’t exactly sound like a band ‘going for it’... more a victory lap of a winning formula. Read TOPNOTE’s review of the new album.

Released today, Yungblud’s second installment of the Number 1 album ‘Idols’ is an expression of self-discovery that expands on the themes of its predecessor with a fresher outlook. Read our review of the new tracklist for ‘Idols II’ below.

Only The Poets have featured on BBC Introducing, supported Louis Tomlinson and Lewis Capaldi, and played festival slots at Reading and Lollapalooza. The only thing missing was an album. Read our review of ‘And I’d Do It Again’, plus a look at the release journey that’s just as novel.

Hot off an enormous 2025, Westside Cowboy are gearing up for an even bigger 2026, starting with the release of sophomore EP, ‘So Much Country ‘Till We Get There’. Read The Groove’s thoughts on the latest release from one of the UK’s most hyped new indie bands.

In this extended offering, Sam Fender isn’t ‘people watching’, he’s addressing the effects of people watching him; and the personal weight of being under the heavy spotlight. Read the full review of the deluxe album release here.

Out today, ‘One More Time’ does not shy away from what it is: a rock and roll revival for Aerosmith, and a bonus crest seeing out the same wave of success generated from Yungblud’s ‘Idols’ album released earlier this year. The Groove reviews the 5-track collab.