29 January 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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The second album of synth pop from the Brooklynite duo
5.7
Red Night is music for city dwellers, the disbelievers, those who aren’t quite sure of their place within the concrete wasteland Read Review
A string of solid tunes Read Review
While some of Red Night's songs might still be a little too insular for their own good, the album still finds the Hundred in the Hands coming into their own and expanding their identity at the same time Read Review
Increasing numbers of young synth bands are taking on the shoegaze sound of the early ‘90s as a reference point, and if the end product is as good as this, then I say keep it coming Read Review
Without the presence and sex appeal of contemporaries of Zola Jesus and Austra, this feels a little damp Read Review
They've paid less heed to the well-thumbed manuals and spruced things up Read Review
Derivative? Certainly. Mesmerising? Definitely. Print edition only
Claustrophobic dream-pop darkness doesn't compensate for the lack of actual pop this time around Read Review
The kind of folktronic coffeeshop fare that got called futuristic so often before the turn of the century, but that just ended up being the sound of then instead of now Read Review
If The Hundred in the Hands’ self-titled debut reflects an idealized vision of how fantastically fun it is to be in New York City at night, then Red Night is the subway ride back home at 4 a.m. Read Review
Singer Eleanor Everdell has always sounded inflated, now she just sounds showy Read Review
A passable if disappointing montage of mid-tempo electro-pop that flirts dangerously close to dull trip-hop Read Review
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The Hundred In The Hands: Red Night
Ari Lennox Vacancy
Neo-soul elegance and late-night vibes define the R&B star’s most inviting record to date NME
Lennox’s music often nods to the past, but her new album feels more in tune with the zeitgeist Slant Magazine
The singer’s first album for Interscope is honey-sweet, grown-up R&B that’s looking for a little something missing Pitchfork
Lennox balances jazz-soaked tradition with flashes of unruly humour and a surefire viral hit The Guardian
Jenny on Holiday Quicksand Heart
Feels more like a steady progression than a revolutionary rebrand No Ripcord
Megadeth Megadeth
Megadeth's self-titled swan song is weighted down by its own sense of importance No Ripcord
The Cribs Selling A Vibe
They're truly at their best when their tuneful choruses come paired with a raw, stripped-down treatment No Ripcord
Westside Cowboy So Much Country ‘Till We Get There
Island imprint Adventure Recordings appears to be giving Westside Cowboy a hefty push, and the early signs are that they have the chops to make the most of it No Ripcord
Cast Yeah Yeah Yeah
This is Cast sounding comfortable, confident, and settled. The songs are strong, the production is polished without being overworked, and the band sound like they know exactly who they are at this stage XS Noize
With as many albums in this century as in the last, ‘Yeah Yeah Yeah’ finds Cast building on the momentum of the previous two years with both confidence and quality. Refusing to trade solely on nostalgia, it’s a beefed-up version of their best selves. Long may their positivity last Clash
The Liverpudlians’ eighth album is the sound of a band determined to prove they’re more than a Britpop legacy act musicOMH
Power's voice is improving with age, especially confident and commanding on the closing, psych-baroque "Birds Heading South". Print edition only NME
The excellent PP Arnold featuring lead single Poison Vine is a good indicator of the move towards a very Stones-y type of uplifting soulful rock and blues; the swelling gospel rock of Don't Look Away is the most stirring thing they've done yet. Print edition only Record Collector
Instead of going out with a nuclear bang, Megadeth serves lean sides that won’t clog the final tour’s setlists Beats Per Minute
Louis Tomlinson How Did I Get Here?
The songs on the former One Direction member’s over-referential, sometimes uneven third album don’t shrink down for anyone, and he sells his disappointment and anxiety with nuance, refusing to bemoan his own celebrity Paste Magazine
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