Discover hidden gems and timeless hits on this week’s episode of Matt’s Music Crate, where I guide you through an eclectic mix of sounds. Originally broadcast on Babylon Radio, this hour-long show dives into iconic tracks, rare finds and new favourites from all over the world across genres.

Perfect for audiophiles and music fans alike, each episode is a journey through musical history and modern innovations, designed to expand musical horizons, from garage punk to Latin jazz to Zamrock and beyond.

Click on the image below to listen to this week’s show!

Here is the playlist from this week’s show, originally broadcast on Babylon Radio on December 18, 2025:

• BJORK, “Army of Me” from Post (1995, Elektra)

• THE WEEKND, “Open Hearts” from Hurry Up Tomorrow (2025, XO/Republic)

• THE PIXIES, “Bone Machine” from Surfer Rosa (1988, 4AD)

• PEARL JAM, “Jeremy” from Ten (1991, Epic)

• PINK FLOYD, “Hey You” from The Wall (1979, Harvest)

• TITO PUENTE, “Oye Como Va” from The Latin World of Tito Puente (1964, Tico)

• MAYUMI KOJIMA, “Hatsukoi” from Me And My Monkey On The Moon (2000, Pony Canyon)

• HOLLIE COOK, “Shy Girl” from Shy Girl (2025, Mr Bongo)

• THE SCORPIONS, “Winds of Change” from Crazy World (1990, Vertigo/Mercury)

• AYALEW MESFIN, “Ewedish Nebere (I Used to Love You)” from Hasabe - My Worries (2018, Now-Again)

• DOJA CAT, “Cards” from Vie (2025, RCA/Kemosabe)

• WAYKU, “Por la Marginal” from Selva Selva (2025, Buh)

• XTC, “Senses Working Overtime” from English Settlement (1982, Virgin)

• GERRY MULLIGAN QUARTET, “Bernie’s Tune” from Gerry Mulligan Quartet (1952, Pacific)

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By the time 𝘠𝘰𝘶𝘳 𝘘𝘶𝘦𝘦𝘯 𝘐𝘴 𝘢 𝘙𝘦𝘱𝘵𝘪𝘭𝘦 dropped, Sons of Kemet had already earned a reputation as one of the most distinctive forces on the new British jazz scene, owing to a sound anchored in Shabaka Hutchings’ fiery reeds and the rare combination of tuba (preferred over the more common bass) and dual drummers. This album, however, marked a significant turning point, as the band framed their tribalistic fusion of hypnotic interplay and danceable grooves around a more explicit concept, foregrounding a celebration of women who resisted systemic oppression.

While retaining their knack for Afro-Caribbean-infused rhythms and infectious energy, the group here embraces a heightened sense of focus, expanding the bounds of their sounds further, while alternating between the explosive free jazz abandon of cuts like “My Queen Is Angela Davis” with more contemplative, brooding moments like “My Queen Is Nanny of the Maroons.” Further reinforcing the record’s narrative arc are contributions from performance poet Josh Idehen, which bookend its program and include album highlight “My Queen Is Ada Eastman,” dedicated to Hutchings’ great-grandmother.

Despite the density of ideas, the album never loses sight of its core sound and message, resulting in a thrilling LP that is equally intellectually stimulating and sonically invigorating, managing to revitalise jazz’s political commentary traditions while striking a balance between spontaneous communal energy and cerebral experimentation.

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “My Queen Is Ada Eastman,” “My Queen Is Harriet Tubman,” “My Queen Is Angela Davis”

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Wayku is a project led by Peruvian guitarist Percy A. Flores Navarro, whose work centres on researching and revitalising Amazonian musical traditions.

𝘚𝘦𝘭𝘷𝘢 𝘚𝘦𝘭𝘷𝘢 is a beautifully transportive and celebratory record where he intertwines these roots with contemporary approaches, drawing on rock and jazz, as well as diverse sounds from across the Latin American diaspora. Significantly, his electric guitar anchors the LP’s nuanced and spacious arrangements, where traditional instruments, synth washes, and driving basslines meet, backed by a robust percussive backbone.

Much of the record thrives on its reimagination of the pandilla, a festive Amazonian dance music, through a modern and electrified lens, most vividly represented on the luminous “Por la Marginal.” However, more reflective tracks like the gorgeous “Lanta Tipina” expand its emotional range with their calm romanticism.

𝗥𝗮𝘁𝗶𝗻𝗴𝘀: ⭐⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Lanta Tipina,” “Por la Márginal,” “Yanapuma”

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Brigitte Fontaine is an iconoclastic French artist widely known for her fusion of sonic experimentation and poetic lyrics, and 𝘉𝘳𝘪𝘨𝘪𝘵𝘵𝘦 𝘍𝘰𝘯𝘵𝘢𝘪𝘯𝘦 𝘦𝘴𝘵... 𝘍𝘰𝘭𝘭𝘦! stands as one of the early gems of her discography, as well as one of its more approachable entries. Yet even within its more structured songwriting approach, it remains strikingly diverse, oscillating between playfulness and more dramatic pieces, while showcasing her singular melodic phrasing and enriched by flashes of abstraction foreshadowing her later, more radical work.

The program feels like an exploration of the French chanson from its traditional roots to its more contemporary forms, with each track possessing a distinct character. For example, the more straightforward charm of “Il Se Passe des Choses” contrasts the cabaret witticism of “L’Homme Objet,” while album highlight “Éternelle” widens the record’s scope further with its tribal pulse. Unifying these moods are Jean-Claude Vannier’s richly textured arrangements, from the dramatic string sweeps of opener “Il Pleut” to the more sultry “Blanche Neige,” which notably integrates wild animal sounds within its palette.

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Le Beau Cancer,” “L’Homme Objet,” “Éternelle,” “Blanche Neige”

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This list celebrates ten essential albums that have shaped modern soul, R&B, and neo-soul over the past few decades, from the intimate introspection of Meshell Ndegeocello to the genre-defining innovation of D’Angelo. (Scroll to the bottom of the page for a specially-curated playlist.)

10. Meshell Ndegeocello, Bitter (1999, Maverick)

An intimate and socially engaged work, featuring intricate live arrangements adorned with strings and avant-garde nuances, the subtlety and sophistication of which reveal layers of emotional depth and political undertones, rewarding repeated listens.

9. D’Angelo and the Vanguard, Black Messiah (2014, RCA)

D’Angelo’s return after a long hiatus is a triumphant tour-de-force of pulsating grooves applied to an even greater range of themes, from protest to sensuality.

8. Res, How I Do (2001, MCA)

An underrated gem of the movement, channelling rock and soul into one confident, genre-defying statement, the urban sophistication and lyrical poise of which give it a timeless and bold elegance.

7. Janet Jackson, The Velvet Rope (1997, Virgin)

Arguably Janet Jackson’s best album; an intimate, confessional work diving into themes of self-discovery and a fine showcase of her vocal prowess, at the forefront of a lush, groove-laden production.

6. Frank Ocean, Channel Orange (2012, Island Def Jam)

A near-psychedelic redefinition of modern R&B that, along with its intimate and expansive storytelling, solidified Frank Ocean’s reputation as a sonic visionary of the 2010s.

5. D’Angelo, Brown Sugar (1995, EMI)

D’Angelo’s stellar debut is the album that really defined the neo-soul movement, laying the foundation for its sensual, hypnotic work that would be expanded upon in later iterations.

4. Tyler, The Creator, Igor (2019, Columbia)

A landmark reinvention for the neo-soul movement, defined by Tyler’s use of unconventional song structures and seamless genre-blending, forming universally accessible work enhanced by flashes of avant-garde flirtations.

3. Erykah Badu, Mama’s Gun (2000, Motown)

Erykah Badu’s exploration of social and personal themes resonates with cosmic sophistication, equally impressive with its textured instrumentation, ranging from life horns to warm, analogue sounds that give it a timeless, organic feel.

2. Lauryn Hill, The Miseducation of Lauryn Hill (1998, Ruffhouse)

Lauryn Hill’s seminal solo debut has only grown in stature over the years, with the artist herself demonstrating unmatched versatility, aptly backed by a layered, genre-blending production underscoring the emotional weight of every track.

1. D’Angelo, Voodoo (2000, Virgin)

The cornerstone of the neo-soul movement and the definitive statement of D’Angelo’s relatively concise but profoundly influential recorded legacy. His vocal delivery is simultaneously intimate and powerful, weaving through complex polyrhythms, live instrumentation, and hypnotic grooves.

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Discover hidden gems and timeless hits on this week’s episode of Matt’s Music Crate, where I guide you through an eclectic mix of sounds. Originally broadcast on Babylon Radio, this hour-long show dives into iconic tracks, rare finds and new favourites from all over the world across genres.

Perfect for audiophiles and music fans alike, each episode is a journey through musical history and modern innovations, designed to expand musical horizons, from garage punk to Latin jazz to Zamrock and beyond.

Click on the image below to listen to this week’s show!

Here is the playlist from this week’s show, originally broadcast on Babylon Radio on December 11, 2025:

• D’ANGELO, “Brown Sugar” from Brown Sugar (1995, EMI)

• FRUUPP, “Annie Austere” from The Prince of Heaven’s Eyes (1974, Dawn)

• ADIÓS COMETA, “Norte” from La Isla Que Somos (2021, Velvet Blue)

• MADONNA, “Material Girl” from Like a Virgin (1984, Sire)

• HASIRIKOMIS, “Everything’s Gonna Be Alright” from I Love You! Next to Music (2025, self-released)

• SONS OF KEMET, “My Queen Is Ada Eastman” from Your Queen Is a Reptile (2018, Impulse!)

• MY CHEMICAL ROMANCE, “Welcome to the Black Parade” from The Black Parade (2006, Reprise)

• THE DIASONICS, “Peregrine” from Ornithology (2025, Record Kicks)

• ARETHA FRANKLIN, “I Say a Little Prayer” from Aretha Now (1968, Atlantic)

• TAME IMPALA, “Dracula” from Deadbeat (2025, Colombia)

• BAHNHOF MOTTE, “Zeit Fressen” from Zeit Fressen (2025, Tonzonen)

• BRIGITTE FONTAINE, “Le Beau Cancer” from Brigitte Fontaine Est... Folle (1968, Saravah)

• BRÒGEAL, “Girl from NYC” from Brògeal (2024, Is Right)

• THE STOOGES, “No Fun” from The Stooges (1969, Elektra)

• WAYKU, “Lanta Tipina” from Selva Selva (2025, Buh)

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Vinyl heads! As you know, nothing beats the experience of collecting and spinning records. Here are five standout vinyl releases dropping this week, spanning a mix of genres, styles, and sounds from around the world.

Blur, The Great Escape (Warner/Parlophone)

Blur celebrate the 30th anniversary of The Great Escape with a new 2xLP and digital edition featuring an alternate cover and a bonus disc of rare B-sides making their vinyl debut. Originally released in 1995 (at the height of Britpop), the record delivered hits like “Country House” and “Charmless Man,” which became staples of the 1990s British rock style that became a global phenomenon.

Melody Gardot, Currency of Man (Universal)

The 10th anniversary, zoetrope edition of singer-songwriter Melody Gardot’s Currency of Man, her fourth studio album, which found her rekindling her winning partnership with famed producer Larry Klein. Featuring a set of modern classics, its program delivers an intensely creative work blending jazz, blues, and R&B into a powerful social and musical statement.

Money Chicha, Onda Esotérica (Vampisoul)

Austin’s Money Chicha, featuring members of Grupo Fantasma and Brownowt, return with Onda Esoterica, a vivid expansion of their psychedelic cumbia amazónica sound. Recorded at New Orleans’ Marigny Studios, the LP features plenty of organ swells and bold reinterpretations, and is described as “a kaleidoscopic journey equal parts ritual and revelation.”

The Pogues, Rum Sodomy & the Lash (Rhino)

Arguably, The Pogues’ best album, produced by Elvis Costello, and capturing the band’s raw energy and poetic bite through such classics as “Sally MacLennane” and “Dirty Old Town.” Originally released in 1985, the album is reissued on red marble vinyl in honour of its 40th anniversary.

Wes Montgomery, Bumpin’ (Verve)

Jazz guitar legend Wes Montgomery’s first Billboard-charting album, originally released in 1965. Bumpin’ pairs his fluid guitar work with Don Sebesky’s orchestral arrangements and a dynamic rhythm section. Newly remastered for Verve’s Acoustic Sounds series, the LP remains a majestic and immersive listen.

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I Love You! Next to Music marks the second full-length by Japanese three-piece Hasirikomis, who specialise in fusing jangly guitar rock with warm, jazz-inflected pop melodies evoking the golden age of City Pop. Its DIY charm deliberately blurs the line between demo and finished work and, along with its live-style recording and conversational female backing vocals, gives it a spontaneous, bedroom-like charm.

This approach makes more sophisticated moments on the LP, like the opening “Tokyo City,” seem almost effortless, really encapsulating the band’s contrast of pulsating energy and raw vulnerability. At the same time, this track also sets standards that are rarely matched throughout the rest of the program, where the formula soon wears thin. Furthermore, the DIY approach is leaned on heavily, to the point of feeling less authentic and strained, stunting the impact of otherwise promising tracks like “Waruiyounakotobakari.”

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Tokyo City,” “Everything’s Gonna Be Alright!”

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Doja Cat pivots once again on Vie, though the shift feels less like a confident reinvention and more like a slightly desperate search for a solid artistic footing. Where 2023’s Scarlet thrived on hip-hop aggression and attitude, Vie leans heavily into mainstream pop sensibilities, oscillating between 1980s synth-pop gloss and smooth, downtempo R&B textures.

Yet, its commercial ambitions oddly clash with a surprising lack of memorable hooks, even as Doja’s rapping remains sharp and charismatic. Heard front to back, Vie feels sonically incoherent and overly sprawling, perhaps owing to its crowded roster of producers. It often feels like it’s a record trying everything to see what sticks, more desperate than fully channelling Doja’s trademark internet-savvy mischievousness.

Only on tracks like “Aaahh Men!,” which playfully samples the Knight Rider theme to frame her irreverent confidence, does Vie finally click into focus. But the lingering question, upon hearing the LP back-to-front, remains the same as those of her previous outings: who is Doja Cat? Well, that question continues to remain unanswered…

Rating: ⭐⭐

Top Tracks: “Jealous Type,” “Aaaah Men!”

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Moscow-based band The Diasonics champion a style they term “hussar funk,” blending deep funk instrumental with Eastern European melodic sensibilities and touches of hip-hop and funk. Integral to this sound is a touch of psychedelia and cinematic atmospheres, particularly evoking the suspenseful moods of 1970s spy thrillers.

Their second album, Ornithology, expands on this fundamental aesthetic through its conceptual meditation on flight and freedom, even drawing much inspiration from the sound of birds. The polished and groove-driven production is undeniable, from the robust “Peregrine” to the more minimalist, understated charm of “Oriole.” Yet, despite its textured sophistication, Ornithology rarely produces stand-out moments, adhering closely to its self-imposed structures in ways that ironically constrain the very freedom it seeks to evoke.

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Larks,” “Peregrine,” “Oriole”

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Discover hidden gems and timeless hits on this week’s episode of Matt’s Music Crate, where I guide you through an eclectic mix of sounds. Originally broadcast on Babylon Radio, this hour-long show dives into iconic tracks, rare finds and new favourites from all over the world across genres.

Perfect for audiophiles and music fans alike, each episode is a journey through musical history and modern innovations, designed to expand musical horizons, from garage punk to Latin jazz to Zamrock and beyond.

Click on the image below to listen to this week’s show!

Here is the playlist from this week’s show, originally broadcast on Babylon Radio on December 4, 2025:

• GRATEFUL DEAD, “Help on the Way/Slipknot!” from Blues for Allah (1975, United Artists/Grateful Dead)

• THE JAM, “Down in the Tube Station at Midnight” from All Mod Cons (1978, Polydor)

• LOVE “Alone Again Or” from Forever Changes (1967, Elektra)

• DONNY McCASLIN, “Kid” from Lullaby for the Lost (2025, Edition)

• MEGADETH, “Symphony of Destruction” from Countdown to Extinction (1992, Capitol)

• EDDIE PALMIERI & LALO RODRIGUEZ, “Cobarde” from Unfinished Masterpiece (1975, Coco)

• VIBRAVOID, “Computer Dreams” from Remove the Ties (2025, Tonzonen)

• DEPECHE MODE, “Halo” from Violator (1990, Mute)

• ORCHESTRAL MANOEUVRES IN THE DARK, “Bloc Bloc Bloc” from Crush (1985, Virgin)

• MIRIAM MAKEBA, “Akana Nkomo” from The Magnificent Miriam Makeba (1966, Mercury)

• TOM PETTY, “To Find a Friend” from Wildflowers (1994, Warner Bros.)

• BRIGITTE FONTAINE, “Éternelle” from Brigitte Fontaine Est...Folle (1968, Saravah)

• DIONNE WARWICK, “Alfie” from Here, Where There Is Love (1966, Scepter)

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These legendary releases celebrate their 50th anniversary this month (December 2025)!

The Blue Effect, Modrý Efekt & Radim Hladík (Supraphon)

A landmark of Czech prog rock, showcasing Radim Hladík’s virtuosic guitar work alongside the band’s adventurous blend of jazz, psychedelia, and classical motifs. An exemplification of fearless experimentation during a time of political constraints in Czechoslovakia, marrying poetic lyrics with instrumental prowess.

Burning Spear, Marcus Garvey (Island)

A cornerstone of roots reggae, capturing the spiritual intensity and social consciousness of Marcus Garvey’s teachings by Burning Spear, one of the most influential roots artists to emerge from the 1970s. Its hypnotic rhythms and commanding vocals helped bring Rastafarian ideology and Pan-African pride to global audiences, making the LP one of the definitive examples of reggae not just as music but as a medium of cultural and political liberation.

Los Jaivas, Los Jaivas (EMI)

Representing a pioneering fusion of Andean folk instruments with rock’s eclectic energy, Los Jaivas’ self-titled album crafted a distinctly Chilean art-rock identity, demonstrating Latin American music’s penchant for innovation while honouring indigenous traditions.

Parliament, Mothership Connection (Casablanca)

George Clinton’s Parliament released a funk masterpiece with Mothership Connection, cementing the concept of Afrofuturism in funk with imaginative storytelling and synthesiser wizardry. The record also includes such Parliament classics as “P Funk (Wants to Get Funked Up)” and “Give Up the Funk (Tear the Roof off the Sucker).”

Patti Smith, Horses (Arista)

Patti Smith’s groundbreaking debut album and a legendary merging of punk’s raw energy with literary and poetic sophistication. Smith’s incisive lyrics and commanding presence helped reshape expectations of what rock could be, inspiring entire generations of artists across punk and indie music, proving and intellect, rebellion, and mainstream popularity could coexist.

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Vinyl heads! As you know, nothing beats the experience of collecting and spinning records. Here are five standout vinyl releases dropping this week, spanning a mix of genres, styles, and sounds from around the world.

After Geography, A Hundred Mixed Emotions (Kuroneko)

A Hundred Mixed Emotions marks the debut album by After Geography, following two well-received EPs and a sold-out tour in their native France. The LP affirms them as one of France’s best new power-pop outfits through ten tracks of pulsating, retro-modern elegance.

Dust, Sky Is Falling (Kanine)

The Australian punk outfit’s debut album, blending jagged instrumentation and shoegaze textures with surprising influences, including some free-jazz inflexions. A cathartic record channelling melancholia and self-inquiry, Sky Is Falling builds on Dust’s powerful live reputation from festivals and tours alongside such bands as Interpol and Slowdive.

Gong Gong Gong III and Mong Tong, Mongkok Duel (Wharf Cat)

Beijing’s experimental rock duo Gong Gong Gong III joins forces with Mong Tong, a psychedelic music act from Beijing. Recorded live at Hong Kong’s President Piano Co., Mongkok Duel is a groove-laden mix of snarling sounds and vintage studio textures, resulting in a soundtrack for an imagined kung-fu epic.

Melody’s Echo Chamber, Unclouded (Domino)

Melody’s Echo Chamber weaves rich textures and velvet grooves on her fourth album. Described as a life-affirming chapter of psychedelic pop, the new album also features a refreshed lineup of collaborators, including Sven Wunder, Josefin Runsteen, and more.

Zakir Hussain, Making Music (ECM)

A luminous quartet session fusing Indian classical music and jazz improv, led by tabla maestro Zakir Hussain and featuring Hariprasad Chaurasia on flute, John McLaughlin on acoustic guitar, and Jan Garbarek on saxophones. Originally released in 1987, Making Music is reissued as part of ECM’s Luminessence series.

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By 1975, Eddie Palmieri had firmly established himself as a trailblazer in Latin jazz and salsa, masterfully blending the two genres in new, groundbreaking ways. Though Unfinished Masterpiece was released against his wishes before he considered it complete, it captures the pianist at the height of his creative powers.

Featuring singer Lalo Rodriguez, the record revels in a bold, orchestral salsa dura sound, ranging from the more traditional, driving opener “Un Puesto Vacante” to more unconventional explorations like “Cobarde.” The latter is a true sonic odyssey, weaving avant-garde flourishes and pounding piano into a dense, textured arrangement without sacrificing a danceable and accessible groove.

Further expanding the album’s palette is “Random Thoughts,” a mesmerising solo piano piece that traverses classical, Latin, and jazz improv, occasionally enriched by subtle atmospheric background bass and percussion.

While the production doesn’t always match the ambition, with horns often clashing in the mix and clipping occasionally marring the sound, these raw edges also lend the Unfinished Masterpiece a visceral, raw energy underscoring the urgency and adventurousness that defined Palmieri’s output during this peak period.

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Un Puesto Vacante,” “Cobarde,” “Random Thoughts”

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Discover hidden gems and timeless hits on this week’s episode of Matt’s Music Crate, where I guide you through an eclectic mix of sounds. Originally broadcast on Babylon Radio, this hour-long show dives into iconic tracks, rare finds and new favourites from all over the world across genres.

Perfect for audiophiles and music fans alike, each episode is a journey through musical history and modern innovations, designed to expand musical horizons, from garage punk to Latin jazz to Zamrock and beyond.

Click on the image below to listen to this week’s show!

Here is the playlist from this week’s show, originally broadcast on Babylon Radio on November 27, 2025:

• DEPECHE MODE, “Policy of Truth” from Violator (1990, Mute)

• FOALS, “Mountain at My Gate” (2015, Warner)

• TOM PETTY, “You Don’t Know How It Feels” from Wildflowers (1994, Warner Bros.)

• EDDIE PALMIERI & LALO RODRIGUEZ, “Un Puesto Vacante” from Unfinished Masterpiece (1975, Coco)

• THE LAST POETS, “When the Revolution Comes” from The Last Poet (1970, Douglas)

• PATTI SMITH, “People Have the Power” from Dream of Life (1988, Arista)

• HASIRIKOMIS, “Tokyo City” from I Love You! Next to Music (2025, self-released)

• DIDO, “Here With Me” from No Angel (1999, Arista)

• MULATU ASTATKE, “Nètsanèt” from Ethio Jazz (1974, Amha)

• STARSAILOR, “Silence Is Easy” from Silence Is Easy (2003, EMI)

• FEDERATION OF THE DISCO PIMP, “Robot Rock” from Volume III (2010, self-released)

• EBO TAYLOR, “Heaven” from Ebo Taylor (1977, Dix/Essiebons)

• NATALIE COLE & NAT KING COLE, “Unforgettable” from Unforgettable With Love (1991, Elektra)

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Widely regarded as one of Depeche Mode’s crowning achievements, Violator is also a landmark in the electronic music canon at large, expanding its emotional and intellectual range with atmospheric soundscapes and profound lyrics, while retaining a glamorously dark pop appeal.

Aptly released at the cusp of the 1990s, the album left a profound mark on synth-pop with its moody, minimalist arrangements and extended its influence into alternative rock and beyond. Iconic tracks like “Personal Jesus” and “Enjoy the Silence,” beyond their commercial success and enduring appeal, set a new standard for combining danceable rhythms with introspective, thought-provoking lyrics.

Yet, the popularity of these tracks does not overshadow the album as a whole, which is beautifully constructed, highlighting Martin Gore’s lyrical sophistication and Dave Gahan’s commanding vocal presence. Producer Flood’s contributions are equally important, matching the band’s flair for the dramatic with a precise layering of drum machines, synths, and nuanced textures to craft a timeless, sensual journey through desires and obsessions.

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Sweetest Perfection,” “Personal Jesus,” “Halo,” “Enjoy the Silence,” “Policy of Truth”

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Clocking in at just over an hour, Wildflowers marked a turning point for Tom Petty, shifting away from the polished focus of his Heartbreakers albums toward a more natural, spacious sound. Produced by Rick Rubin, the record finds the artist at his most unguarded, showcasing his gift for pairing simple, memorable melodies with conversational lyrics exploring personal freedom with emotional honesty.

The album blends intimate ballads and ragged rockers, backed by sophisticated arrangements that are textured yet never flashy, keeping the melodies and lyrics front and centre. The warm title track immediately sets the tone with its mix of optimism and melancholy, while songs like “You Don’t Know How It Feels” and “You Wreck Me” highlight Petty’s knack for crafting enduring anthems.

Shifting seamlessly between folk, country, and straight-ahead rock, Wildflowers occasionally nods to influences like Bob Dylan, The Byrds, and George Harrison. Though occasionally sprawling, this looseness adds to the record’s charm, rewarding both casual listening and close attention.

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Wildflowers,” “You Don’t Know How It Feels,” “To Find a Friend,” “Wake Up Time”

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Eduardo Araújo & Silvinha, Sou Filho Desse Chao (Mr Bongo)

Eduardo and Silvinha Araújo, partners in life and music, released this album in 1976, which became a celebrated cult classic of Brazilian rock fusion and garnered newfound fame after one of its tracks, “Opanigê,” was sampled many years later by Madlib. Now returning to vinyl, the record showcases a kaleidoscopic blend of top musicianship and rhythmic prowess, testifying to this golden period in Brazilian music.

Fela Kuti, Best of the Black President (Partisan)

A 13-track guide to Afrobeat legend Fela Kuti’s creative and politically-charged career, available on vinyl for the first time in a limited-edition 4-LP set featuring red, blue, and yellow discs, including such staples as “Shakara,” “Zombie,” and “Roforofo Fight.” This edition of Best of the Black President also comes with updated hardbound artwork, printed inner sleeves, and a collectable Ludo game set.

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Johnny Marr, The Messenger (BMG)

Manchester guitar legend Johnny Marr’s seminal 2013 solo debut, The Messenger, features anthemic and introspective highlights from his post-Smith career, solidifying his place as a solo artist after years of influential collaborations. The record returns as a limited-edition “messenger marble” vinyl, capturing its enduring brilliance for fans and collectors.

Ko Shin Moon, Sin (Universal)

Ko Shin Moon is a project led by Niko Shin and Axel Moon, and stands at a crossroads between traditional strings and electronic music machines. Their new album, Sin, is rooted in the energy of their Miniature I & II tour from 2022, and explores the tension between the desire and fulfilment implied by its title through a multi-territorial sonic collage that transcends time and geography.

SUNNY ROLLINS, Plus 4 (Craft)

Originally released on Prestige in 1956 with saxophone colossus Sonny Rollins alongside the Clifford Brown/Max Roach Quintet, this standout hard bop album features five tracks, including the Rollins originals “Pent-Up House” and “Valse Hot.” This Original Jazz Classic Classics Series reissue is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes and a Stoughton Tip-On Jacket.

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Sabrina Carpenter shines with her infectious hooks and relatable lyrics, cementing her status as one of today’s brightest pop stars. If her confident energy and the sparkling production of her music, as well as her storytelling charm, are something that speaks to you, here are ten more artists worth diving into next. (Scroll to the bottom for a specially curated playlist.)

Miley Cyrus

One of the shapeshifting forces in mainstream pop today, whether on rock-leaning releases like Plastic Hearts (2020) or the glossier Endless Summer Vacation (2023). Bringing a powerful and unapologetic attitude to every release, Cyrus is great at weaving together vulnerability and bravado, a balance that Carpenter also excels at.

Ariana Grande

Like Carpenter, Grande merges polished hooks with personality, building worlds of romance and self-assured glamour. Her evolution from Disney stardom and bubblegum pop into a more mature, R&B-tinted type of music also mirrors Carpenter’s growth into her signature sound.

Madonna

Often called the Queen of Pop for good reason, Madonna’s influence stretches across decades of reinvention. She inevitably makes for a strong companion for Carpenter fans, having set the blueprint for the kind of glossy, high-impact pop that Carpenter carries forward today.

Taylor Swift

Swift’s evolution from country storyteller to global pop phenomenon mirrors the kind of artistic growth Carpenter is experiencing in her own career. Fans who appreciate Carpenter’s honest songwriting and clever turns of phrase usually find much to love in Swift’s expansive body of work, ranging from introspective ballads to bright pop anthems.

Dua Lipa

Dua Lipa brings a sleek, dancefloor-ready energy to modern pop, blending disco influences with sharp production and empowering lyrics. Her music carries the same confident swagger and feel-good vibrancy that defines Carpenter’s more upbeat tracks, as well as her penchant for earworm choruses.

Dolly Parton

Parton’s pioneering storytelling brilliance and magnetic charm transcend genre boundaries, making her a fitting recommendation. Her knack for crafting memorable melodies and her ability to balance humour with heart have influenced a generation of artists, including Carpenter.

Earth, Wind & Fire

Earth, Wind & Fire offer an essential dive into pure musical uplift. Elements of their infectious and stylistically sublime blending of funk, R&B, and soul are evidently all over Carpenter’s discography, radiating much warmth, positivity, and a sense of refinement behind the groove.

The Jackson 5

Undoubtedly, The Jackson 5 have helped define the foundations of modern pop with their effervescent vocals and youthful exuberance. Their recognisable melodies capture the kind of upbeat, hook-forward charm that makes Carpenter’s songs so addictive to millions of fans around the world.

Olivia Rodrigo

Rodrigo is one of the most compelling young storytellers of her generation, blending pop-rock intensity with lyrical vulnerability. Like Carpenter, she transforms personal experiences into songs that resonate widely, capturing everything from heartbreak to self-discovery in ways that occasionally feel cathartic.

Prince

One of music’s greatest innovators, Prince’s bold fusion of experimentation and playfulness echoes in most corners of pop music to this day, and is present in the confidence and personality Carpenter brings to her own work. Fans who appreciate pop that isn’t afraid to be theatrical and deeply expressive will find Prince’s discography endlessly inspiring.

Listen to a specially curated playlist via the player below

Dutch singer/songwriter Robin Kester showcases artistic growth on her synth-driven, lush second LP, Dark Sky Reserve. Drifting between chamber pop and electronic nuances, the record is enriched by sophisticated vocal harmonies and atmospheric depth.

Across its introspective program, Kester explores deeply personal themes through a mix of sparsely arranged, contemplative pieces and cuts driven by a more pulsating rhythm. It is arguably in the latter moments that Dark Sky Reserve truly shines, with “Happy Sad (It’s a Party)” exemplifying the kind of tension between vulnerability and momentum that pulls in with its understated yet restless energy.

𝗥𝗮𝘁𝗶𝗻𝗴: ⭐⭐⭐⭐

𝗧𝗼𝗽 𝗧𝗿𝗮𝗰𝗸𝘀: “Happy Sad (It’s a Party),” “The Daylight,” “Game Sounds”

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