NME’s most anticipated album releases of 2025

Happy new year! 2025 brings a whole clutch of anticipated new records, with Bad Bunny and Lil Baby firing the starting gun. You can look ahead to exciting debuts from Lambrini Girls, Heartworms, Honesty and more, as well as rock returns from Sharon Van Etten, Bartees Strange and Sam Fender. And that’s not forgetting pop tentpoles from FKA Twigs, The Weeknd and Lana Del Rey.

Here’s NME’s list of the most anticipated albums coming out this year (that have been confirmed and officially announced) – let’s dive in…

Ethel Cain, ‘Perverts’ (January 8, Daughters of Cain Records)

‘Perverts’ is Ethel Cain’s first new project since her 2022 breakthrough ‘Preacher’s Daughter’. In November, she teased it with the single ‘Punish’, a powerful slow-burner that is more ‘Ptolemaea’ than ‘American Teenager’.

Franz Ferdinand, ‘The Human Fear’ (January 10, Domino)

What’s so scary about Franz Ferdinand’s sixth album? Alex Kapranos told NME that on this record he channeled observations of “different fears [he saw] in other people”, though the band are more confident than ever: “We went into the studio knowing exactly what makes Franz Ferdinand good.”

Lambrini Girls, ‘Who Let The Dogs Out’ (January 10, City Slang)

Brighton noisemakers Lambrini Girls will make their highly anticipated debut with ‘Who Let The Dogs Out’. As the punk duo revealed in their NME Cover, they wanted a “fucking fat” sound on the record that would match their raucous live shows. And going off the tremendous single ‘Love’, they succeeded.

Delivery, ‘Force Majeure’ (January 17, Heavenly)

Melbourne punks Delivery make their debut on Heavenly Recordings with their second album ‘Force Majeure’. The band told NME that they wanted to push boundaries on the record: “The guitar solos are even more turbo, the slower songs are even more emotional, the harmonies are bigger.”

Ela Minus, ‘Dia’ (January 17, Domino)

Ela Minus is back with ‘Dia’. The Colombian electronic musician has described the making of her second album as “opening new paths inward and outward, continuing to delve further through unexplored territory”.

Jasmine.4.t, ‘You Are The Morning’ (January 17, Saddest Factory)

Manchester musician Jasmine.4.t is the first UK signee to Phoebe Bridgers’ Saddest Factory Records. Her debut album ‘You Are The Morning’ was entirely produced by Boygenius – the holy indie trinity of Bridgers, Julien Baker and Lucy Dacus.

Rose Gray, ‘Louder, Please’ (January 17, [PIAS] Recordings)

Rose Gray tapped the likes of Sega Bodega and Uffie for her slick and sultry debut album, ‘Louder, Please’. This is a dance record that’s both fresh and nostalgic – give yourself over to its easy charm and turn up the volume.

Victoria Canal, ‘Slowly, It Dawns’ (January 17, Parlophone)

Victoria Canal gets the party started on debut album ‘Slowly, It Dawns’, which uses the narrative of a party to explore love, desire, and so much more. “I was telling the story through quite a simple frame, which made room for all the things in the music that are much deeper,” she said in her NME Cover story.

Central Cee, ‘Can’t Rush Greatness’ (January 24, Columbia)

In the years since he broke into the mainstream with 2022’s ‘Doja’, Central Cee has been omnipresent thanks to chart-scaling collaborations with the likes of Dave, PinkPantheress and Raye. He’s not really a newcomer – but his debut studio album, ‘Can’t Rush Greatness’, will still feel like a grand arrival.

FKA Twigs, ‘Eusexua’ (January 24, Young/Atlantic)

FKA Twigs named her third studio album ‘Eusexua’ after a concept she coined herself to describe a transcendental state of euphoria. Anticipation has jumped with every preview of the record, from the title track (which NME named one of the best songs of 2024) to ‘Perfect Stranger’ to Koreless collaboration ‘Drums Of Death’.

The Weeknd, ‘Hurry Up Tomorrow’ (January 24, Republic)

The Weeknd is going all out in 2025 for his “last hurrah” under this stage name. Leading the charge in January will be ‘Hurry Up Tomorrow’, the long-awaited closing chapter in his trilogy of albums that started with 2020’s ‘After Hours’. Also lined up are a star-studded movie – starring himself, Jenna Ortega and Barry Keoghan – named after the record, as well as the continuation of the ‘After Hours til Dawn’ tour.

Manic Street Preachers, ‘Critical Thinking’ (January 31, Columbia)

Manic Street Preachers have hit the milestone of album number 15. “There are crises at the heart of” the songs on ‘Critical Thinking’, says Nicky Wire. “They are microcosms of skepticism and suspicion, the drive to the internal seems inevitable – start with yourself, maybe the rest will follow.”

Maribou State, ‘Hallucinating Love’ (January 31, Ninja Tune)

The duo of Chris Davids and Liam Ivory are back with a new studio album after nearly seven years. ‘Hallucinating Love’ is a welcome return for Maribou State, who’ve had a turbulent few years as Davids underwent surgery for a rare brain condition. In February they’ll play three sold-out shows at Alexandra Palace to launch the new record.

Biig Piig, ‘11:11’ (February 7, RCA)

Following a handful of EPs and her acclaimed ‘Bubblegum’ mixtape (which NME rated four stars), Irish alt-pop star Biig Piig is finally ready to unleash her debut album ‘11:11’ on the world. If the record’s singles – including the cheeky ‘Favourite Girl’ and introspective ‘4AM’ – are anything to go by, we’re in for one hell of a ride.

Heartworms, ‘Glutton For Punishment’ (February 7, Speedy Wunderground)

Heartworms is the post-punk project of Londoner Jojo Orme. Her debut album ‘Glutton For Punishment’ was produced by Speedy Wunderground’s Dan Carey [Black Midi, Black Country, New Road] and reflects her personal fascination with military history – just see the stirring single ‘Warplane’. Find out more in her NME Cover story, our first of the year.

Honesty, ‘U R Here’ (February 7, Partisan)

Fans of Burial, Massive Attack and Portishead will find much to savour in ‘U R Here’, the haunting debut album by Leeds collective Honesty and their self-described “organic collaborative effort at sounding like passing the aux cable around at an afterparty”.

Inhaler, ‘Open Wide’ (February 7, Polydor)

Inhaler loosen up on their third album ‘Open Wide’. The Dublin band told NME they were under less pressure while making this record: “We had eight months off and we were free to just write as a four-piece in our rehearsal room,” said Ryan McMahon. “That shines through in the songs. There’s a sense of optimism in the tracks.” Check out the title track, which started as a “short electronic house demo”, and the T.Rex-inspired ‘Your House’.

Oklou, ‘Choke Enough’ (February 7, True Panther)

French electronic musician Oklou’s debut album ‘Choke Enough’ is organised around a fascinating question: “What situations are we ready to put ourselves into in order to provoke sensations and drama, in order to feel alive?”

Sharon Van Etten & The Attachment Theory, ‘Sharon Van Etten & The Attachment Theory’ (February 7, Jagjaguwar)

This album marks the first record by Sharon Van Etten written in full collaboration with her band: Jorge Balbi, Devra Hoff and Teeny Lieberson. So far, the self-titled debut by Sharon Van Etten & The Attachment Theory has been previewed by the slinky, synthy ‘Southern Life (What It Must Be Like)’ and the haunting ‘Afterlife’.

Squid, ‘Cowards’ (February 7, Warp)

Each of the nine tracks on Squid’s third album ‘Cowards’ is its own story. The English art-rockers have crafted protagonists who reckon with the line between right and wrong, contending with charisma and apathy alike. The first single ‘Crispy Skin’, per singer/drummer Ollie Judge, “was lyrically inspired by a dystopian novel I read where cannibalism becomes the societal norm and humans are manufactured and sold in supermarkets”.

Bartees Strange, ‘Horror’ (February 14, 4AD)

Who cares about Valentine’s Day when you’ve got spooky season with ‘Horror’, the new album by Bartees Strange? Rock, funk, country and more sounds and histories intertwine in the singer-songwriter’s third album, which was produced by Jack Antonoff.

Mallrat, ‘Light Hit My Face Like A Straight Right’ (February 14, Nettwerk)

Mallrat – aka Grace Shaw – returns with her second album, ‘Light Hit My Face Like A Straight Right’, which showcases the Australian pop maverick’s knack for dreamy, singular songwriting.

Mereba, ‘The Breeze Grew A Fire’ (February 14, Secretly Canadian)

A lot has changed for Mereba since her 2021 EP ‘AZER’, including motherhood and finding a new home with indie label Secretly Canadian. Her long-awaited sophomore album ‘The Breeze Grew A Fire’ will spotlight the R&B singer “trying to find my way back to myself” during her time away from music, where she was “a little disconnected from the world”.

Rizzle Kicks, ‘Competition Is For Losers’ (February 14, BMG)

After three or four years of writing, Rizzle Kicks will return this February with their first album in a decade. Though ‘Javelin’, the first preview of ‘Competition Is For Losers’, is funky and light-hearted, the new record will have moments of introspection and touch on “mental health struggles, family life, love and the idea of getting older”, the duo told NME last year.

Anxious, ‘Bambi’ (February 21, Run For Cover)

Anxious are readying their second album ‘Bambi’. The band have said they were inspired by “big swing records” like Blink-182’s self-titled or Jimmy Eat World’s ‘Clarity’, and singles ‘Head & Spine’ and ‘Counting Sheep’ – ambitious and accessible – showcase the Connecticut punk five-piece at their best yet.

Nao, ‘Jupiter’ (February 21, Little Tokyo Recordings/Sony)

It’s time to return to Nao’s orbit. Her long-awaited fourth album ‘Jupiter’ – also her second named after a celestial body, following 2018’s ‘Saturn’ – has been described as a record that embodies the “growth, expansion and personal transformation” that the planet represents in astrology.

Sam Fender, ‘People Watching’ (February 21, Polydor)

Excitement is at an all-time high for Sam Fender’s new album. ‘People Watching’ – previewed so far by its title track, ‘Me And The Dog’ and ‘Wild Long Lie’ – will feature extensive production work by The War On Drugs’ Adam Granduciel, who recently praised Fender as a “savant”.

Saya Gray, ‘Saya’ (February 21, Dirty Hit)

In a past musical life, Saya Gray served as bassist and musical director for the likes of Daniel Caesar and Willow. In her current chapter as a solo artist she makes intriguing, unpredictable indie pop, as showcased on her debut, self-titled studio album.

Tate McRae, ‘So Close To What’ (February 21, RCA)

Following two banner years, Tate McRae is looking to translate her massive momentum into superstardom with third album ‘So Close To What’, which she promises will be “an introspective exploration of self-discovery, love and searching for balance in moments of uncertainty”.

The Murder Capital, ‘Blindness’ (February 21, Human Season)

February brings ‘Blindness’, the third album from The Murder Capital. James McGovern, frontman of the Dublin band, told NME the title chimed with the themes of the record: “denial of faith – also a grappling with faith – and an underbelly of Irishness”. For singles out so far, check out ‘Words Lost Meaning’ and ‘Can’t Pretend To Know’.

Antony Szmierek, ‘Service Station At The End Of The Universe’ (February 28, Mushroom/Virgin)

If you crossed over into 2025 listening to Antony Szmierek’s ‘The Words To Auld Lang Syne’, we have good news for you – the Manchester ‘pop poet’ is dropping his debut album ‘Service Station At The End Of The Universe’ in February.

Bdrmm, ‘Microtonic’ (February 28, Rock Action)

Bdrmm’s sound is more immersive than ever on ‘Microtonic’. For their third album, the Leeds band dived further into electronica and dance music, while exploring ideas around memory and hauntology. A record to throw on in the dead of night.

Ichiko Aoba, ‘Luminescent Creatures’ (February 28, Hermine/Psychic Hotline)

Nearly five years after the quietly captivating ‘Windswept Adan’, Ichiko Aoba is back with a new album. ‘Luminescent Creatures’, previewed so far by the singles ‘Luciférine’ and ‘Flag’, finds the critically acclaimed Japanese folk artist reckoning with the beauty – and terror – of the ocean.

Lisa, ‘Alter Ego’ (February 28, LLOUD/RCA)

Last year BLACKPINK star Lisa rolled out an impressive red carpet of singles for her debut solo album. So far, standouts on ‘Alter Ego’ include the Tame Impala-sampling ‘Rockstar’ and the Rosalía collab ‘New Woman’ – the latter one of NME’s best K-pop songs of 2024.

Sports Team, ‘Boys These Days’ (February 28, Bright Antenna/Distiller)

After releasing their 2022 album ‘Gulp!’, Sports Team took a well-deserved break. They return good and proper in February with their third album ‘Boys These Days’, which so far sports the strutting single ‘Condensation’ and the Bryan Ferry-inspired ‘I’m In Love (Subaru)’.

Divorce, ‘Drive To Goldenhammer’ (March 7, Gravity Records)

According to Nottingham band Divorce, they made their debut album ‘Drive To Goldenhammer’ exactly how they wanted to: “kept the weird parts in, followed the warmth and didn’t overthink it”. The result is a whimsical, welcoming record of alt-country and indie rock that you should keep an eye out for come March.

The Horrors, ‘Night Life’ (March 7, Fiction)

Hello again to The Horrors, who are back with ‘Night Life’. It’s their first studio album since 2017’s ‘V’ and the first Horrors record that doesn’t feature all five original members: Though vocalist Faris Badwan, bassist Rhys Webb and guitarist Joshua Hayward remain, they’ve added Amelia Kidd on keys and Telegram’s Jordan Cook on drums.

HotWax, ‘Hot Shock’ (March 7, Marathon Artists)

HotWax – the Hastings-via-Brighton rock trio who landed on the NME Cover in 2023 – will drop their debut album ‘Hot Shock’ in March. Early shocks to the system come via the tracks ‘Wanna Be A Doll’ and ‘She’s Got A Problem’.

Sasami, ‘Blood On The Silver Screen’ (March 7, Domino)

Sasami is for lovers. Three years after the nu metal experiments of ‘Squeeze’, the singer-songwriter releases her third solo album, which ruminates on the experience of being “a modern lover”. Three tracks – ‘Honeycrash’, ‘Slugger’ and ‘Just Be Friends’ – are out so far.

Spiritbox, ‘Tsunami Sea’ (March 7, Pale Chord/Rise)

Spiritbox return with the anticipated follow-up to their acclaimed 2021 debut ‘Eternal Blue’. This time, the Canadian metal band are preparing a balanced experience of brutal heaviness and haunting melodies. They told NME in 2023 that they’re excited to “figure ourselves out”: “Sometimes it’s going to be heavy-sounding; sometimes it’s going to be really beautiful”.

Courting, ‘Lust for Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’’ (March 14, Lower Third)

Take a breath: Courting’s third album is titled ‘Lust for Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’’. Based on the single ‘Pause At You’, the Liverpool band have successfully threaded the danceable post-punk needle – they’ll tell us the full story come March.

Floodlights, ‘Underneath’ (March 21, [PIAS] Recordings)

Floodlights have distinguished themselves in their native Australia with their brand of sweeping, heartfelt indie rock. The Melbourne band return in March with their third album ‘Underneath’, which was catalysed by a “metamorphic”, touring-heavy period for the five-piece, frontman Louis Parsons told NME.

Japanese Breakfast, ‘For Melancholy Brunettes (& sad women)’ (March 21, Dead Oceans)

Japanese Breakfast had a massive 2021 – they released their third album ‘Jubilee’, which went on to be nominated for a Grammy, and bandleader Michelle Zauner published her acclaimed memoir Crying In H Mart. After that, Japanese Breakfast took a little hiatus, with Zauner moving to Seoul to focus on learning Korean and working on her next book. But now they’re back with one of the most anticipated indie releases of 2025. ‘For Melancholy Brunettes (& sad women)’ was produced by Blake Mills [Perfume Genius, Alabama Shakes, Feist] – you can now hear the first single, the strings-festooned ‘Orlando In Love’.

Welly, ‘Big In The Suburbs’ (March 21, Vertex Music)

Welly’s debut album is not only ‘Big In The Suburbs’, it’s so energetic as to be larger than life. This record is an boisterous introduction to the band and its Southampton-born frontman, songwriter and producer Welly (real name Elliot Hall). His songs are tongue-in-cheek micro-satires wrapped in infectious alt-pop. “It’s fun, and music hasn’t been fun for a long time, especially British music,” Welly himself has said of the album. “This is a lob in the right direction.”

Lana Del Rey, ‘The Right Person Will Stay’ (May 21, Interscope/Polydor)

Throughout 2024, Lana Del Rey kept us waiting with bated breath for a supposed country album, ‘Lasso’. In November, though, she clarified that she was exploring a southern Gothic sound instead, and that her 10th studio album would be titled ‘The Right Person Will Stay’. Mercifully, she also confirmed a release date.

Burna Boy, ‘No Sign Of Weakness’ (2025, Spaceship/Bad Habit/Atlantic Records)

Last July, Burna Boy shocked his fanbase with a three-word tweet: “Album dropping 12am”. But no record materialised, and the African Giant later cheekily said: “I said 12am, I never said what date.” So it’s not surprising no release date has been announced for his eighth studio album ‘No Sign Of Weakness’, though it was confirmed alongside the release of the clubby single ‘Bundle By Bundle’ that it’d be out in 2025.

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