A bold reimagining of what intimate, experimental R&B can sound like. Baby expands the sound Dijon hinted at on Absolutely (2021), embracing a chaotic, collage-like sound where rhythms stumble and vocals melt into textural haze, succesfully blending influences from Prince and Frank Ocean with daring sound design. Baby is a a spectacular contemporary vision of soul and pop.

As best described by Boomkat:
"WINO-E was a standout record in a standout year - an imperial 41 mins of asymmetric chicanery, with one track sounding like Phylyps Trak wafting over from another room at -8, another evoking imagery of Villalobos gurning in a tropical bird sanctuary."

as the label put it: "knucklebrain techno touched by the sidhe & fermented on a HD for 30 years."

One of 2025’s most compelling collaborations, fusing two seemingly opposite musical worlds into something eerily cohesive and emotionally potent. In the Earth Again pairs Oklahoma noise-rock/sludge outfit Chat Pile with Hayden Pedigo, the Texas-born avant-garde fingerstyle guitar player celebrated for his acoustic work.

The London-based UK producer and artist Aya released hexed! on Hyperdub as her daring second album, following her acclaimed 2021 debut im hole. Aya has been explicit that hexed! was "not just a stylistic experiment but a personal reckoning", a record born from touring fatigue and substance withdrawal.

With Lonely People With Power, Deafheaven revisited the heavier side of their sound.

The record is carefully paced, with three short “Incidental” interludes, featuring guest appearances from Jae Matthews of Boy Harsher and Paul Banks of Interpol, helping guide the listener through its shifts in mood and intensity.

On release, Lonely People With Power was widely praised for how confidently it brings together the different phases of Deafheaven’s career. It stands as one of their most approachable yet fully realized albums to date, offering a clear entry point for new listeners while still carrying the weight and ambition longtime fans expect.

Anna von Hausswolff’s Iconoclasts stands out as one of 2025’s most ambitious and richly layered albums, expanding her sound beyond gothic drone into something broader, more cinematic, and emotionally direct. While the record retains the intensity and atmosphere that have long defined her work, it introduces a new sense of openness, blending organ, voice, and shifting instrumentation into sweeping, immersive compositions. As her sixth studio album, Iconoclasts continues von Hausswolff’s steady evolution while also serving as a clear and inviting entry point for new listeners.

More than fifteen years after Til the Casket Drops, Pusha T and Malice are back with an album that reflects where they are now. Much of Let God Sort ’Em Out was recorded at Pharrell Williams’ Louis Vuitton studio in Paris.

The production is stripped back and functional. No Neptunes flash, no modern polish. Beats leave space for the verses and rarely push for hooks or big moments. The focus stays on delivery and detail.

Oklou’s choke enough arrives after the initial shock of hyperpop has faded. The blown-out distortion and exaggerated tone that once defined the sound have either been absorbed into pop or stripped back into something quieter and more inward.

After years of being loosely tied to the PC Music orbit, choke enough feels like Oklou settling into her own space. The production is detailed but restrained: soft synths, gently processed vocals, and beats that float rather than drive. Many of the songs feel suspended, avoiding both club energy and traditional pop structure.