Annahstasia – Tether
Near the end of Tether lies a track titled “Silk and Velvet,” showcasing the distinctive sound of Annahstasia’s debut album. At its core is a gently fingerpicked acoustic guitar accompanied by her remarkable vocals, which are husky, expressive, and elegant. The arrangement possesses subtlety without veering into blandness; it features a swelling noise that may be feedback or distorted pedal steel guitar, intensifying before fading away. The lyrics explore themes of commercialism, where she reflects, “Maybe I’m an analyst, an antisocial bitch, who sells her dreams for money.”
This topic resonates with Annahstasia’s tumultuous history in the music industry; she was signed at 17 by a label that sought to mold her into a mainstream pop icon. Ultimately, she departed to forge her own distinct path. Tether serves as a declaration of her unique voice, shifting from the sultry soul of “Slow” to the explosive alt-rock of “Believer,” yet each track bears her distinctive mark. These well-crafted, emotionally charged songs feature a singer who masterfully wields her vocals—knowing when to hold back, when to express uncertainty, and when to unleash passionate vibrato. Consequently, the album feels personal and revealing, creating an experience akin to entering a relationship. Alexis Petridis
Valentina Magaletti and YPY – Kansai Bruises
While musicians are often labeled as “hard-working,” following Valentina Magaletti through the underground scene reveals her effortless versatility. This year, she released a remix album with Afro-Portuguese producer Nídia, a powerful new EP with her trio Moin, and collaborated with writer Fanny Chiarello. Additionally, her exhilarating record with YPY, aka Koshiro Hino of Goat (jp), showcases the infectious musicality of her percussion intertwined with synths.
You might initially think, “Thirty-seven minutes of pure percussion? No, thanks.” However, even if you can’t differentiate Chris Corsano from Kahil El’Zabar, “Kansai Bruises” captivates with its virtuosity, thrilling textures, and intricate detail. “One Hour Visa” feels like a burst of synaptic energy, as Magaletti and Hino’s synergy swerves like a careening sled. You hear Magaletti exclaim “yeah!” in the title track, prompting reflection on her exhilarating journey through tuneful rhythms to dense drone lines and deft percussion patterns. “Lantern Lit Run” exudes a dazed charm reminiscent of blinking at a vibrant city night, while “Her Own Reflection” beautifully highlights Hino’s synths amidst the fragments Magaletti produces. The overwhelming delight of “Kansai Bruises” is strangely calming, a testament to Magaletti’s extraordinary talent. Laura Snapes
Madison Cunningham – Ace
Exploring marriage as a metaphor of a grape being crushed, a plane crash-landed, and a town guarded by wolves, Californian folk musician Madison Cunningham offers haunting imagery in her impactful third album. “Ace” delves into themes of rebirth, shifting focus from her acclaimed guitar skills to harnessing the raw energy of expansive woodwind arrangements and sharp strings to evoke the exhilarating yet terrifying nature of new beginnings.
In “Take Two,” she sings with newfound self-awareness, “You say you know every mole and skin tag, like it makes you wiser to the person I am.” Whereas her prior works like the Grammy-winning “Revealer” sought clarity, “Ace,” named for the contrasting strength and vulnerability it represents, depicts truth as complex and multifaceted. The single “My Full Name” illustrates the cyclical nature of grief and desire, while the final track, “Best of Us,” confronts the delicate balance of maintaining a façade until it inevitably crumbles. This turbulent, career-defining album reveals profound insights. Katie Hawthorne
Sarz – Protect Sarz at All Costs
For those familiar with Afrobeats, Nigerian producer Sarz stands out as a key figure in crafting some of its finest sounds, with credits ranging from Wizkid’s “Come Closer” to Lojay’s “Monalisa.” While not initially considering DJing, his production work led him to explore crowd dynamics. His debut album, “Protect Sarz at All Costs,” positions him as one of Nigeria’s most skilled curators and masters of rhythm.
The album features collaborations with familiar artists like Asake and Lojay, alongside the Ndlovu Youth Choir from South Africa, French-Congolese singer Theodora, and American-Cameroonian artist Libianca. This diverse ensemble creates an expansive soundscape, blending orchestral elements, traditional African percussion, and innovative EDM. The genre-fluid nature of “Protect Sarz at All Costs” incorporates amapiano, hip-hop, afroswing, 90s R&B, and alté. Personal favorites include the fierce “African Barbie” and the luxury rap-inspired “Getting Paid,” highlighting the rewards of a music career. This debut does not announce his arrival but rather reaffirms his exceptional artistry. Jason Okundaye
Daniel Avery – Tremor
Daniel Avery’s “Tremor” evokes a sensation akin to a thin film of grease on the skin or the constricted feeling of tightly pulled nylons, suggesting an atmosphere of secrecy and darkness. During my initial listen, I walked home in the rain with my hood up; it created a sense of mischief even while I was returning from a book club.
Gathering a community of unique voices, Avery’s “Tremor” diverges significantly from the accessible techno of his earlier works. Although it occasionally hints at that direction, it features droning guitars and clipped drums beneath ethereal lyrics, making it difficult to categorize strictly as techno. If Nine Inch Nails were to hang out in Dalston, they might produce something like this album. It has a brooding, layered style reminiscent of an underwater Deftones performance, inviting listeners into a seething, serpentine experience that lingers provocatively. Kate Solomon
Anthony Naples – Scanners
Emerging in the mid-2010s alongside a wave of lo-fi house producers, Anthony Naples contributed to a scene resisting the gloss of EDM. His body of work has matured significantly since then; 2023’s “Orbs” presented mesmerizing ambient techno, yet his latest endeavor is even richer.
“Scanners” offers a more mainstream approach than “Orbs,” integrating vocal samples, quicker tempos, and playful elements such as discordant jazz piano in “Somebody” or the vibrant neo-acid in “Bounce.” “Hi Lo” brings to mind Basic Channel-style dub techno, suggesting a dawn over a city-world, while the title track possesses that same German solidity but with a warm, late-afternoon glow. “Mushy” recalls the nostalgic sounds of early 90s tracks that elicit fond memories in comment sections. The standout piece is “Night,” galloping along at 134bpm, as if shards of digital light are rushing past the listener’s field of vision.
In a dance scene that often celebrates established legends and rising stars while overlooking those in between, it’s refreshing to witness Naples’ continued growth, consistently evolving and enhancing his craft with every release. Ben Beaumont-Thomas
Radu Lupu was a pianist whose enchanting sound was paired with remarkable musical intelligence. Tragically, he passed away in 2022; to honor what would have been his 80th birthday, Decca released six discs comprising unreleased studio sessions and radio tapes dating from 1970 to 2002, featuring works he never recorded.
While some familiar repertoire is included (like Mozart and Schubert), much of this collection surprises listeners. Lupu’s limited recordings of Chopin are represented here with a vivid performance of the B minor Scherzo, while the fierce and majestic Copland Sonata is performed at the 1971 Aldeburgh festival. Notably, Mussorgsky’s “Pictures at an Exhibition” features his rare exploration into Russian repertoire, originating from a 1984 Dutch broadcast with his tone sounding robust and almost strident at times. Overall, the recording quality captures his exemplary musicianship, making every track a delight for the listener.
