Best Of 2015: Albums of The Year.

There was a crackle in the air before Wolf Alice even stepped onstage, the kind of charged, anticipatory energy that only comes when a band returns to the city that made them. From their scrappy London beginnings to two sold-out nights at The O2 Arena, this felt like a coronation years in the making.

French synthwave powerhouse Carpenter Brut has returned with Leather Temple, a punishing and atmospheric new single that offers the first, ferocious taste of the third and final instalment of his long-running Leather trilogy, due in 2026. Loaded with abrasive beats, metallic textures, and a rising sense of tension, the track arrives as an immediate statement of intent: this concluding chapter will be darker, heavier, and more cinematic than anything that has come before.

Russian-born, Lancashire-based “bedlamcore” artist n0trixx has announced her debut album A Catalogue Of Madness And Melancholia, set for release on 13th March 2026, alongside the arrival of its uncompromising lead single Revenge On God.

Flamenco icons Gipsy Kings featuring Tonino Baliardo have announced their new album Historia, set for release on 15 May 2026. The record marks a major new chapter for the GRAMMY®-winning group, who first reshaped global pop in the late ’80s with their pioneering blend of flamenco, Latin rhythms, pop hooks and genre-spanning influences.

Alt-pop powerhouse Charlotte Sands has announced details of her new album Satellite, set for release on 6th March 2026. Alongside the news, she has unveiled a brand-new single, One Eye Open, offering another electrifying preview of what’s to come.

There are comebacks, and then there are resurrections. For punk devotees, the return of The Saints ’73–’78 — the latest live incarnation of the legendary Melbourne outfit — firmly belonged in the latter category. With original members Ed Kuepper and Ivor Hay at the helm, and an inspired line-up completed by Mick Harvey, Mark Arm, Peter Oxley, and a three-piece brass section led by Terry Edwards, the Electric Ballroom felt less like a gig and more like a communal rite of appreciation for one of punk’s most quietly revolutionary bands.