23 March 2026
Here's how it works: The Recent Releases chart brings together critical reaction to new albums from more than 50 sources worldwide. It's updated daily. Albums qualify with 5 reviews, and drop out after 6 weeks into the longer timespan charts.
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First solo album of indie pop from former Razorlight drummer Andy Burrows
6.7
Finds Burrows ploughing a fuzzy acoustic furrow to delight fans of summery '70s pop. Print edition only
A record of gentle charms and easygoing sadness Read Review
It’s a fuzz-folk delight to slot alongside Gerry Rafferty, Elliott Smith, Brendan Benson, Broken Bells and Laurence Arabia’s Chant Darling Read Review
A record that finds Burrows in energised, revitalised form. ‘Sun Comes Up Again’ reveals him as a true songwriting talent Read Review
If Burrows gifted Razorlight two of their biggest hits (in ‘America’ and ‘Before I Fall To Pieces’), what his former band gave him in return was the platform to bring something far more interesting into the light of day Read Review
An impressive effort from someone who sounds like he's finally allowed to make music the way he likes it and it's a joy to behold Read Review
Sharing the pop soul sensibilities of Squeeze with just a dash of Brendan Benson, there’s even a soupçon of harpsichord in there. What’s not to like about these small songs with a big heart? Read Review
Perhaps 14 tracks is a little overbearing, as the initial momentum eventually trails off. But there are several irresistible numbers along the way Read Review
At 14 tracks, Sun Comes Up Again can feel like a trudge through the outback of mediocrity rather than an exciting exploration into new territory Read Review
The multi-instrumentalist's work is deft and pleasing, despite its spoonfuls of utilitarian soft rock Read Review
There are hints of Razorlight's more considered moments..but for the most part Burrows's soul is more gentle, his melodies more insidious and his voice more wispy. Read Review
An extremely promising debut, and a warm, breezy and openly-referential antidote to the hordes of cacophonic pretenders taking themselves far too seriously Read Review
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I Am Arrows: Sun Comes Up Again
Ladytron Paradises
In an age when production is deliberately designed not to disturb listeners, Paradises may prove popular The Arts Desk
The cover artwork to Ladytron’s latest record Paradises adopts mind trickery by showing two hands touching through a triangle shape that looks both like a reflective mirror and a translucent window. Befitting artwork to hint at the content inside the triad’s album, which often takes the listener to places that are up to one’s own imagination and interpretation God Is In The TV
Ladytron head for the disco and relive the fun of 90s clubland The Skinny
Maybe Paradises could have been trimmed down a little, but their contagious creative zeal is apparent throughout its entirety. Ladytron have secured their iconic status once again, ensuring they become a cult band for an entirely new generation, or maybe more Under The Radar
The track I See Red radiates synth euphoria but the Pet Shop Boys-ish Death In London and single Kingdom Undersea are more about introspection than rapture. Print edition only Mojo
Momentum sags somewhat over its lengthy duration - but it also unquestionably features some of their finest, and funkiest, work to date. Print edition only Uncut
BTS ARIRANG
The group's journey to global domination has been nothing short of extraordinary, so it’s fitting that they have delivered an album that is of similarly epic proportions Rolling Stone UK
The barrier-breaking K-Pop icons return with a blockbuster album Clash
Ending a hiatus that began in 2022, the septet recapture a distinctiveness that had been threatening to ebb away The Guardian
Seven members attack the music with a ferocity that feels earned and personal. The album feels more often like seven individuals with real chemistry than one polished unit. The solo years gave each member a sharper creative identity, and RM’s instincts hold the whole thing together Consequence Of Sound
On its blockbuster return, the world's biggest band stresses group identity and South Korean roots, while pushing the songs into adventurous new territory Rolling Stone
Brigitte Calls Me Baby Irreversible
Irreversible sounds like a dead end: a lethargic monument to hollow style over substance, entirely on brand for a band that saddled their debut with one of the more ridiculous, faux-philosophical titles of recent years. It is a meaningless shell of a record with few, if any, redeeming features No Ripcord
Ora Cogan Hard Hearted Woman
In a time that can appear bent on applauding cynicism Cogan chooses curiosity. Her songs look straight into the abyss and still reach out for colour The Line Of Best Fit
Shabaka Of The Earth
On his first true solo album, Shabaka unites beats, flutes and saxophone (and some rap) Spectrum Culture
The Orielles Only You Left
As with the rest of their discography, The Orielles once again prove that you don’t always have to follow along with the masses to make good music Beats Per Minute
Since we've been around, that is. So, the highest-rated albums from the past twelve years or so. Rankings are calculated to two decimal places.
Kendrick Lamar To Pimp A Butterfly
Fiona Apple Fetch The Bolt Cutters
Rosalía Lux
Kendrick Lamar Damn.
D'Angelo And The Vanguard Black Messiah
Nick Cave And The Bad Seeds Ghosteen
Spiritbox Tsunami Sea
Self Esteem Prioritise Pleasure
Hayley Williams Ego Death At A Bachelorette Party
Bob Dylan Rough and Rowdy Ways