22 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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More instrumental post-rock, techno / electronica samples and beats from the Sheffield quartet on their 4th album
8.0
The incredibly detailed, layered and proficient way in which they combine so many different elements to allow a track to develop is intriguing, and gives an enjoyable sense that the unexpected is just around the corner Read Review
65daysofstatic have grasped hitherto unimagined opportunities, capitalised on experiences and brought an eclectic yet huge arsenal with which to entice newcomers and open-minded veteran travellers with Read Review
It’s an album that flows superbly and, although there is nothing to match the emotional monster ‘Primer’, from their last album, there isn’t one track that you’d replace here for any other Read Review
Contains more good ideas than many bands fit into a whole caree Read Review
Despite the many different types of departure 65daysofstatic takes, they do it all with flair and consistency. Hopefully, the band will grow from here, and make their new sound's equivalent of The Fall of Math Read Review
The band delight in the same complicated, frantic musicianship as Battles Read Review
Noisy or electronic, We Were Exploding Anyway has rekindled the old flame with its unabashed power and inexorable sonic passion Read Review
65 haven’t so much created a new sound as successfully renovated their old one; added some extensions and given the whole thing a fetching new paintjob Read Review
65daysofstatic have had their years in the wilderness; now they're sick of it and have decided to fully let loose, bludgeoning us into submission along the way Read Review
They may have lost a few die-hard post-rock fans but that is a small price to pay as We Were Exploding Anyway will surely bring them an army of new listeners who don’t care about labels but just want to hear great music Read Review
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65daysofstatic: We Were Exploding Anyway
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