Inspired by many styles, accordionist Vincent Peirani brings them together with his quintet in Living Being IV (Time Reflections), a jazz album that is both accessible and invigorating.
Accustomed to regularly changing styles, Toro Y Mio delivers Unerthed: Hole Erth Unplugged, a tender folk version of the previous album, which was much more electronic-oriented.
Holding an enviable place in independent pop, New Zealand’s The Beths are back with Straight Line Was A Lie, which, despite its sometimes-profound lyrics, also manages to remain light and tangy.
An important Brit-Pop band of the 90s, Suede is back with Antidepressants, an album that still has the energy and melodies of their early days, still relevant at the end of 2025.
The third album of Phil Collins’ solo career, released in 1985, No Jacket Required is marked by the productions of its time. Its pop style, which today seems a little too calibrated, remains very appealing.
Close to both the indie rock and modern jazz scenes, Maruja offers a personal take on musical crossover in Pain To Power, drawing on punk energy and ethereal atmospheres.
A trio of virtuosos, L’Antidote plays with the delicacy of classical and jazz as well as that of the traditional repertoire of its musicians’ countries of origin.
John Maus shines as much for his academic career as for his love of pop. After a seven-year hiatus from recording, he returns with Later Than You Think, which blends New Wave and liturgy.
With her second album, You Heartbreaker, You, Jehnny Beth proves that you can come from France and compete with the best hard rock and metal bands on the international scene.
