Dev Hynes’ deeply personal response to his mother’s death embodied the many unexpected shades of grief in pastoral hymnals and post-punk

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There’s a lot of grief across the best albums of this year. It’s unsurprising: 2025 has felt like a definitive and dismal break with government accountability, protections for marginalised people and holding back the encroachment of AI in creative and intellectual fields, to cherrypick just a few horrors. Anna von Hausswolff and Rosalía reached for transcendence from these earthly disappointments. Bad Bunny and KeiyaA countered colonial abuse and neglect with writhing resistance anthems. On a more personal scale, Lily Allen and Cate Le Bon grappled with disillusionment about mis-sold romantic ideals. For Jerskin Fendrix, the Tubs, Jennifer Walton, Jim Legxacy and Blood Orange, grief was, straightforwardly, grief for lost loved ones.

Each of those albums was as distinctive and profound as any personal experience of loss always is. Dev Hynes’ fifth album as Blood Orange felt uniquely keyed into the fragmented, distracted headspace that comes after someone passes, in his case, his mother. Essex Honey’s restive nature was summed up in its painful opening lines, which you could read as the dying’s acceptance of death starkly contrasting the living’s ability to meet them on those terms: “In your grace, I looked for some meaning,” Hynes sings on Look at You. “But I found none, and I still search for a truth.”

The Marty Supreme star said the Britain’s Got Talent runner-up is one of the greatest Britons of all time – surely he’s not taking her name in vain for attention

Timothée Chalamet understands the true nature of greatness. In Marty Supreme, he plays a character loosely based on a former two-time US men’s singles table tennis champion. In A Complete Unknown, he played Bob Dylan at the exact moment he decided to reshape all of pop culture in his own image. His upcoming third Dune film is based on a book that is literally called Messiah. So when Timothée Chalamet singles out a figure for greatness, understand that the greatness is warranted.

Which is a roundabout way of saying that Timothée Chalamet thinks Susan Boyle is great. Not only great, but one of the greatest Britons to have ever lived.

EarthQuaker Devices has served Smashing Pumpkins, PJ Harvey and Radiohead but says tariffs add costs up to 30%

Julie Robbins and her team at EarthQuaker Devices have made guitar pedals for some of the biggest names in the world of music. The Smashing Pumpkins, Radiohead, PJ Harvey and others have sought out the company’s bespoke, handmade pedals for their unique sounds and designs. Its most popular model, Plumes, has sold over 67,000 devices.

Their made-from-scratch effects petals use more than 1,000 components, many which are imported directly from countries such as China and Vietnam or are bought from companies that bring them in from overseas.

Former BBC head of music and arts hailed as ‘huge influence on generations of arts programme-makers’

Sir Humphrey Burton, one of the most influential figures in arts broadcasting, has died at the age of 94.

The award-winning film-maker and director, who revolutionised classical music programming, died at home with his family by his side.

AI promises to have far-reaching effects in music-making. While some welcome it as a compositional tool, many have deep concerns. Here are some of your responses

AI-generated music is flooding streaming platforms, and it seems to be here to stay. Last month, three AI songs reached the highest spots on Spotify and Billboard charts. Jorja Smith’s label has called for her to receive a share of royalties from a song thought to have trained its original AI-generated vocals on her catalogue, which were later re-recorded by a human singer.

With this in mind, we asked for your thoughts on music composed by AI, the use of AI as a tool in the creation of music, and what should be done to protect musicians. Here are some of your responses.

The woman Quentin Tarantino called ‘the goddess of go-go’ is one of the most connected and accomplished in Hollywood. At 82, she recalls working with Tina Turner, Bette Midler, Frank Sinatra, David Byrne, Margot Robbie, Leonardo DiCaprio - the list goes on - and the time Bing Crosby made a pass at her

If your knowledge of Toni Basil begins and ends with her cheerleader-chanting smash hit Mickey, that’s just the tip of a very deep iceberg. By the time Mickey topped the US charts 43 years ago this week, in 1982, Basil had already spent four decades in the entertainment industry. The deeper you go, the more places you realise she was. When Elvis Presley sings “See the girl with the red dress on” in his 1964 movie Viva Las Vegas, and points across the dancefloor, the gyrating girl in the red dress is Basil. When Peter Fonda and Dennis Hopper take LSD at the end of Easy Rider with two sex workers, one of them is Basil. When dance troupe the Lockers show​case their pre-hip-hop street dance moves on Soul Train in 1976, it’s six guys and … Basil. By the time of Mickey she had already worked with everyone from David Bowie to Tina Turner to Talking Heads, with more to come.

Basil has been-there-done-that in so many places, for so long, and over the course of our two-hour conversation she’ll casually drop asides such as “… so I went to see Devo with Iggy Pop and Dean Stockwell” or “… me and Bowie had just come from dinner with Bob Geldof, Paula Yates and Freddie Mercury” or “I was just at Bette Midler’s 80th birthday party, what a bash!” She’s now 82 years old but on Zoom, from her dance studio in Los Angeles, she doesn’t look much older than she did in the video for Mickey – and she looked like a teenager in that, even though she was 38 at the time. Her memory is perfectly sharp, too, and her energy levels are as high as ever, as she shares her packed life story with animated diction. If she has a secret to eternal youth, it’s that she has danced her whole life, and she still does, she says. “Dance is my drug of choice. You get high from it, and it gives you community.”

Apple et OpenAI pourraient bientôt annoncer l'intégration d'Apple Music à ChatGPT. Le deal semble avoir été officialisé accidentellement par un responsable d'OpenAI.

Big K-pop stars and a teen-skewed subtext aims this squarely at a particular audience but this fantasy never really levels up

Starring the actor (Ahn Hyo-seop) who voiced the lead boy-band bad guy in KPop Demon Hunters, and one of the singers (Kim Ji-soo, also known mononymically as Jisoo) from real-world girl-band Blackpink, this Korean sci-fi-fantasy feature feels very skewed towards the young on all counts. Superficially, it appears to be about a guy named Kim Dok-ja (Ahn) who finds that the web novel he’s been following for years is turning into reality. That means the whole world becomes gamified, as if everyone has been turned into players compelled to kill to survive, while plagued by CGI monsters and puckish digital dokkaebi (demons) which explain things when the rules change.

But under the surface, this film is really about being popular, coping with traumatic childhood experiences such as being forced to beat up your best friend, getting a pimple, and building up enough gumption to tell authority figures – older people, your boss, the author of the book you’ve been a fan of for ages – that they suck.

From the big-city yearning of Chappell Roan’s breakup ballad to Sam Fender and Olivia Dean’s wonderful collaboration ‘Rein Me In’, The Independent’s culture team pick their favourite songs of the past 12 months

The evening will also feature a broadcast of London’s firework display

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.

The former TikTok star defied expectations by delivering dreamy, experimental synth-pop whose fizzy hedonism was a tonic for trying times
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The second coming of Addison Rae was first sown last summer, when Charli xcx featured the former TikTok dancer on the remix of her Brat single Von Dutch. Rae’s vocals are fluttery and sugar-sweet, making her an odd fit for such an abrasive song. But there was symbolic significance to Rae’s presence in a track about sticking it to the haters.

“Got a lot to say about my debut,” Rae trills, “while you’re sitting in your dad’s basement!” The 25-year-old star was referring to the backlash that followed her first single, 2021’s generic Obsessed. Back then, she was widely known as one of TikTok’s original young stars, famous for her viral choreography. Her attempts to translate that fame off-platform – that much-maligned single, a role in a dud Netflix film – had only led to widespread derision. But this time, things seemed different. Her proximity to xcx and her alt-pop cool swiftly washed away the sticky juvenilia of Rae’s TikTok fame.

Companies such as Udio, Suno and Klay will let you use AI to make new music based on existing artists’ work. It could mean more royalties – but many are worried

This was the year that AI-generated music went from jokey curiosity to mainstream force. Velvet Sundown, a wholly AI act, generated millions of streams; AI-created tracks topped Spotify’s viral chart and one of the US Billboard country charts; AI “artist” Xania Monet “signed” a record deal. BBC Introducing is usually a platform for flesh-and-blood artists trying to make it big, but an AI-generated song by Papi Lamour was recently played on the West Midlands show. And jumping up the UK Top 20 this month is I Run, a track by dance act Haven, who have been accused of using AI to imitate British vocalist Jorja Smith (Haven claim they simply asked the AI for “soulful vocal samples”, and did not respond to an earlier request to comment).

The worry is that AI will eventually absorb all creative works in history and spew out endless slop that will replace human-made art and drive artists into penury. Those worries are being deepened by how the major labels, once fearful of the technology, are now embracing it – and heralding a future in which ordinary listeners have a hand in co-creating music with their favourite musicians.

"We are bringing the Apple Music app to GM vehicles in a way that takes full advantage of our industry-leading audio capabilities," said Tim Twerdahl, GM's vice president of global product management. "It's the latest example of how we're expanding entertainment choices built directly into our vehicles."

Returning in high style to the operatic electroclash that first made her name, the zest and zip of these songs still sounds truly innovative
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On her sixth album, pop’s queen of the dramatic reinvention did something more shocking than meat dresses and humanoid motorbikes: Lady Gaga looked back.

Unlike the smooth tech-house flavour of its predecessor Chromatica, and diametrically opposed to the dinner jazz of her work with Tony Bennett, on Mayhem she returned to the operatic electroclash that powered her first two albums. There are synths that sound like a Dyson on its last legs. There are the kind of trashy guitars that contractually can only be played by someone sporting a lime mohawk, low-riding leather trousers and nothing else. There is the baby talk of her biggest hit Bad Romance, only where that was “Ro-ma, ro-ma-ma / Gaga, ooh la la” it’s now “Ama ooh na-na / Abracadabra, mutta ooh Gaga”. You can see the difference, right?