The Guardian
Grief inspired so much of the year’s best music – and that’s something AI won’t ever feel 19 décembre 2025 à 11:00

Grief inspired so much of the year’s best music – and that’s something AI won’t ever feel

19 décembre 2025 à 11:00

As AI generated ever more pop slop, reflective songwriting by artists from Clipse to CMAT drew its power from its very humanity

The most acclaimed albums of 2025 make for impressively eclectic listening. Surveying them does not reveal much in the way of obvious musical trends. There’s very little similarity between Rosalía’s heady classical approach to pop on Lux and Lily Allen’s conversational disclosures on West End Girl. You could broadly group CMAT’s Euro-Country, Bon Iver’s Sable, Fable and the Tubs’ Cotton Crown together as alternative rock but they don’t sound anything like each other. And the year’s best-of lists are sprinkled with albums that brilliantly defy classification: Blood Orange’s Essex Honey leaps from old-fashioned indie to Prince-y funk; on Black British Music, Jim Legxacy sees no reason why UK rap can’t coexist with distorted guitars, pop R&B and acoustic bedroom pop.

But it’s hard not to notice how similar they are thematically: a large swathe of the Guardian’s albums of the year seem consumed by loss. There are straightforward explorations of failed relationships: for all its religious imagery, there’s a prosaic breakup at the heart of Rosalía’s Lux, while West End Girl’s lurid detailing of the collapse of Lily Allen’s marriage kept the tabloids in headlines for weeks. There are albums about more literal grief: a mother’s death informs Blood Orange’s Essex Honey and the Tubs’ Cotton Crown; Jim Legxacy references his late sister, while the brothers in august rap duo Clipse have seldom sounded as vulnerable as they do describing the deaths of their parents on their rightly heralded comeback Let God Sort ’Em Out. Euro-Country both memorialises a close friend on Lord, Let That Tesla Crash, while its title track examines the wave of suicides provoked by the Irish financial crisis of 2008.

The Guardian
The 50 best albums of 2025: No 2 – CMAT: Euro-Country 18 décembre 2025 à 15:00

The 50 best albums of 2025: No 2 – CMAT: Euro-Country

The Guardian

Par :Alexis Petridis

18 décembre 2025 à 15:00

Furiously angry and uproariously witty, the Irish singer’s third album was a high-water mark for pop, inspiring a TikTok dance craze and a triumphant set at Glastonbury

• The 50 best albums of 2025
• More on the best culture of 2025

The making of CMAT’s third album was a fraught business. Holed up in New York, writing and recording the follow-up to 2023’s Crazymad, for Me – which, despite critical acclaim and a Mercury nomination, was pronounced unsatisfactory by the singer herself – Ciara Mary-Alice Thompson suffered what sounds like a pretty terrifying breakdown. “I started actually hallucinating,” she said earlier this year. “I didn’t realise for the first two months that was what was happening, but I basically imagined the entire apartment I was staying in was crawling with insects … I went to the doctor and showed him my bites, and he said: ‘Those are stress hives; you’re mental.’”

One assumes that wasn’t exactly what he said, but you get the gist. And yet, despite its author comparing its recording to “a toxic relationship”, Euro-Country does not sound like it was challenging to make. On the contrary: it sounds like the supremely assured work of a songwriter whose powers have reached a new peak. It is, by turns, poignant, moving, furiously angry, uproariously funny and packed with incredible tunes. It strides confidently away from the country-infused style she minted on her 2022 debut If My Wife New I’d Be Dead, into territory that touches on jazz (Janis Joplining), raging alt-rock (The Jamie Oliver Petrol Station) and soul-kissed pop (Running/ Planning; Take a Sexy Picture of Me) without losing the essence of what made her successful in the first place.

The Guardian
‘It became a running joke how much my brothers and I hated it’: the sound of Christmas to me 16 décembre 2025 à 17:00

‘It became a running joke how much my brothers and I hated it’: the sound of Christmas to me

The Guardian

Par :Ben Beaumont-Thomas · Lloyd Bradley · Archie Forde · John Fordham · Alexis Petridis · Olive Pometsey and Laura Snapes

16 décembre 2025 à 17:00

Beyond Wham! and Elton, Guardian writers from across the generations select the songs that conjure the personal magic and memories of the season

I’m always fascinated by the ways in which my generation manage to participate in the circulation of music. Amateur TikTok edits resurrect forgotten gems and turn obscure starlets into sensations; home producers fabricate entire albums if their favourite rapper doesn’t release enough. Such is the case with Doom Xmas, the brainchild of Grammy-winning Spanish producer Cookin’ Soul, which refashions the work of late cult rapper MF Doom into Christmas music. There are filthy Grinch soundtrack flips, hectic Latin Christmas skits and a chopped-and-screwed Nat King Cole that’ll change the way you hear The Christmas Song.

Vue normale