Despite only releasing their first studio album in 2021, English rock band Black Country, New Road is a name that brings with it a certain mental image. Experimental rock instrumentals, heart wrenching vocals and melodramatic lyrics from lead singer Isaac Wood were all aspects that defined the group’s first two works. So, when Wood would announce his departure from the group after the release of 2022’s “Ants From Up There,” the band’s identity was in question: do they keep their style the same and attempt to replace Wood’s presence, or is it time for a sonic shift?

“Forever Howlong” is the embodiment of the latter. The band’s new artistic direction is apparent right off the bat, with the intro track “Besties,” which features a glitzy instrumental and a touching tribute to friendship. The warm and tender vocals from Georgia Ellery are a true highlight that sets a precedent for the tonal contrast between the groups new and old.

Ellery also takes the helm on “Two Horses,” another stand out that showcases the band’s versatility with a delightfully playful folk instrumental, over which Ellery sings of a lonely love life that ends in betrayal. The track is exemplative of the often tragic emotion that never left the music, despite Wood’s departure.

Similarly powerful is “For the Cold Country,” sung by May Kershaw, a song which sounds like something straight out of a medieval period piece, fitting the track’s metaphorical narrative about a knight on a search for inner peace. The instrumental consists of tension-filled build ups that crescendo into explosive louder moments, which make it one of the most memorable moments on the tracklist.

How Black Country, New Road will move forward from here is yet to be known, but “Forever Howlong” is proof that anything is possible for the boundary-pushing band.

Rating: 4.5/5
Favorite songs: “For the Cold Country,” “Socks,” “Two Horses”

Who is Jane Remover? A seemingly simple question on the surface, it’s one that becomes harder to answer with every one of the alternative artist’s new albums. Only three albums into their career, the New Jersey musician has explored everything, from glitchpop to shoegaze to rock, all of which they have pulled off with admirable precision and care.

“I do whatever, cause I’ve been whatever,” they say on “JRJRJR,” the chaotic lead single to their newest release, “Revengeseekerz,” which sees Jane dive face-first into a mix of rage, hyperpop and EDM.

It is the same sense of attention to detail in their previous work that makes Jane’s latest foray an unforgettable release; the instrumentals are overtly in your face, often featuring dramatically loud synths and maximalist chord progressions and drum work that is just as carefully crafted as it is ear-breaking.

Most impressive about “Revengeseekerz,” and what sets it apart from some releases in the rage genre, is Jane’s vocal capabilities. While something that they have flexed on some of their other releases, it shines the brightest on here, with melodies and choruses that somehow remain catchy while drowned in the chaos of the instrumentals.

The ear-worm refrains and vibrant beat drops on the second track, “Psychoboost,” serve as a stand out example of Jane’s fantastic handling of both the production and the vocals. The energy on the album never really dies down from there, as Jane takes us deeper and deeper into their rage world. “Experimental skin” is an undeniable highlight of the record, one that perfectly melds the slick electronic production with the abrasiveness and sensory overload of rage and hyperpop.

The never-ending intensity does eventually catch up to the album, as certain aspects of the songs become repetitive and start to blend together. As a result, tracks like “Fadeoutz” and “Professional Vengeance” at the end of the album become forgettable. This ends up being a footnote on an otherwise invigorating listening experience.

“Revengeseekerz” doesn’t make defining Jane any easier, if anything it does the opposite, but that’s what makes it a special release for 2025.

Rating: 4/5
Favorite songs: “TWICE REMOVED,” “Psychoboost,” “Experimental Skin”

There’s an undeniably infectious rapper-producer synergy laced into every song of “From the Private Collection of Saba and No I.D.” that makes it one of the most addictive hip hop releases of recent memory.

Originally intended to release in the summer of 2023, the two Chicago natives scrapped the original version of the album, hoping to create something that truly showcased the potential of their collaboration. The result is glaringly successful on all 15 tracks on the record, as No I.D. ‘s lush, jazz-influenced production provides a perfect backdrop for Saba’s silky smooth flows and introspective writing.

As the title suggests, Saba doesn’t refrain from digging into more personal topics across the album’s 41 minute runtime, allowing him to put his elite pen game on display. Take, for example, “Big Picture,” an ode to photography that Saba uses to reflect on his upbringing, his current headspace and the value of his art.

Throughout the album, the creative song concepts keep coming, such as “head.rap,” a “loc journey” that chronicles Saba’s experience with struggling to style his hair. There’s also the stand out “How to Impress God,” a song from the perspective of God that Saba uses to wonder what makes a person truly impressive. At the end of the song Saba decides to devalue material objects and achievements, rapping “Saba, you showed love, and that’s all I required” at the second verse’s conclusion, a moment of serenity in a song of questioning.

Similar to Saba’s top notch lyricism, the beats that No I.D. crafts are varied and endlessly detailed.Whether it’s the anthemic horns of “Westside Bound Pt.4” or the neo-soul groove of “Crash,” the instrumentals are just as evocative as the writing. A beat switch halfway through “Westside Bound Pt.4” in particular perfectly coincides with a flow switch on Saba’s part, a true testament to the two’s artistic harmony that underlines the record.

Rating: 4.5/5
Favorite songs: “Big Picture,” “head.rap,” “How to Impress God”