Read
Essays
Journals
Interviews
Panels
75—4—25:
Our Top 75 Music Projects of 2025
Members: Diego Francis Garcia, Abrien Millington, Laurine Mukoko, Liam Williams, Elijah Winfield
Location: Everywhere
Date: December 31st, 2025
In a year seemingly chock full of nonstop turbulence and turmoil, 2025’s music output managed to be one of its hard-to-come-by silver linings. Consistent quality projects dropping almost every week on end have led to a result so categoric, some are already considering it one of the greatest years for the medium on record.
Here at VGEERA, we’ve decided to compile a list of 75 albums which we feel define 2025 in terms of its sound & scope, as well as those we feel didn’t get enough press and deserve more appreciation.We dove into a lengthy selection process where our individual choices were gathered in a collective, definite pool + categorized into numbered brackets for organization.
To clear up any potential confusion as to the differing methods in which our thoughts on the respective albums are laid out, an explanation is warranted. After the selection process, the team was given a grace period to relay their thoughts on the projects via any medium of choice. Some chose to pull from actual conversations, others made use of transcribed voice messages or written editorial pieces. Any preferred format that the individual felt most adequate channeling their ideas through, the tried and true method of dealer’s choice.
We hope that the list not only showcases standout pieces from a broad range of great musicians, but also encourages the viewer to listen in and seek to engage with these projects, bringing further momentum to an essential craft and the people most dedicated to it.
Here at VGEERA, we’ve decided to compile a list of 75 albums which we feel define 2025 in terms of its sound & scope, as well as those we feel didn’t get enough press and deserve more appreciation.We dove into a lengthy selection process where our individual choices were gathered in a collective, definite pool + categorized into numbered brackets for organization.
To clear up any potential confusion as to the differing methods in which our thoughts on the respective albums are laid out, an explanation is warranted. After the selection process, the team was given a grace period to relay their thoughts on the projects via any medium of choice. Some chose to pull from actual conversations, others made use of transcribed voice messages or written editorial pieces. Any preferred format that the individual felt most adequate channeling their ideas through, the tried and true method of dealer’s choice.
We hope that the list not only showcases standout pieces from a broad range of great musicians, but also encourages the viewer to listen in and seek to engage with these projects, bringing further momentum to an essential craft and the people most dedicated to it.
(Please Note: some of these selections we had little-to-no thoughts on, so we didn't include any words to accompany them. That does not take away from the quality of the project, in any way.)
a:
More vulnerable-type project. Not entirely, of course, but-like moreso than what we're usually used to from him, as fans. A nice change of pace.
e:
Honestly one of [Mick Jenkins'] strongest projects of the decade. It was tight, man. And, I been spinnin' that Words I should've said track since I first heard it.
a:
I thought this was solid. I love the energy I get from it — gets me turnt, hype, all that stuff. Really liked the beat selection, for sure. [Playboi Carti]'s disciple strikes again.
e:
You know — this grew on me so much over the last few months. I thought A Great Chaos was hard too. This wasn't as crazy as that but it's wicked tough, still. Would love to hear some of these songs mixed live.
lw:
Gives us a summer's worth of music to get drunk, fall in love with people, and roll the windows down to. I Want You (Fever) rightfully took its place as one of the defining and new alt tracks of the summer. The classic you-should-be-with-me-instead pop trope into the shoegaze-inspired fuzzy-guitar-led indie soundscape of the 2020s... Endlessly replayable.
lm:
Everytime I listen to this project, there’s one song stuck in my head. It’s a credit to her production which is stellar. The way she mixes her voice in creative ways, accompanied by the eclectic instrumentals. Many, especially the use of acoustic guitars, remind me of something nostalgic yet so fresh. It’s no surprise that Tyler, The Creator has recently promoted this project. Both artists are brilliant producers. She is truly a talented songwriter exploring love and yearning and the stardom with her single, Jezebel, throughout making it an enjoyable listen.
d:
Flying Lotus is a name that doesn't get brought up nearly enough when we're talking about the great producers of the last 15-20 years. What I love about this album — supporting the film that he not only composed but directed, as well — it crosses his usual fusion of jazz, hip-hop, and electronic elements with the 80's synth sounds of a guy like John Carpenter. And, it all leads to this super interesting, atmospheric, sort-of tense soundtrack. Really sick — worth checking out.
lm:
Afrosurrealist’s project showcases the many talents of Black Britain, the rising stars and those still building a platform. What better way to do this than merging a dynamic producer with numerous artists. the valleys are peak (stylized like so) features Ceebo and Zinovinci rapping about their respective areas in London and the struggles surrounding them. This track infuses garage, drum-and-bass, and hip-hop and is one of the stand-outs. As it says in the intro, BUYBRITISH is a celebration of a new British culture.
e:
Sick album. I can listen to Bell Scanner on a loop.
a:
Same thing with the Baby Smoove project, just a nice change of pace. I think Perfect Storm is one of the best rap albums of the year. I think [Hurricane Wisdom] being a more underground artist really stuck with a lot of people who don't just listen to mainstream hip-hop.
lw:
For an album by a band called Divorce, it might sound ironic that I think Drive To Goldenhammer resonated with me so much because of how it understands connection. It finds the joy in making friends on single All My Freaks, and surrenders to the desperation to feel loved and important to people on songs like Antarctica... It's a heartfelt examination of the trials that make our relationships with each other as fragile and precious as they are.
a:
I've always thought Tecca flies under the radar, in a sense. That's just how I feel. I thought this was the album of the summer, honestly. All the beats flow into the next song — I loved that. This was in my personal top 20.
e:
Really nice display of rapping and I fuck with the features super heavy on this. Production was really special as well, especially loved the beat for All the Loved Ones.
lw:
Quadeca’s eagerly awaited Vanisher... lived up to expectations. Opener NO QUESTIONS ASKED takes its time to immerse you in this sailors journey. A journey that sports global musical influences, which really sell the globetrotting feeling of the albums plot. MONDAY may well be the best love song of the year, “Had my heart on the line airing out my clothes, its so easy to dry but its harder to fold”, is one of many lyrical highlights on the record. But, like with any quadeca project, it’s the sonic landscape that keeps you coming back. AT A TIME LIKE THIS, THUNDRRR, THE GREAT BUKANAWA, and CASPER propel Vanisher, Horizon Scraper to feel as high stakes, adventurous, and cinematic as a voyage to the horizon should.
a:
I've always been attracted to A$AP Ant's unconventional flow. Him, Soduh, LuLu P... Really smooth project — on brand with what they do.
e:
Abrien put me on — [chuckles] I was sleep. It's crazy cause Tekken Tag was one of my most played songs from last year.
lw:
Japanese Breakfast's follow up to the vibrant and extroverted Jubilee is something more introspective and vulnerable. Honey Water is a ripping shoegaze track that scalds a cheating partner and Picture Window sees Michelle Zauner poke fun at her own fears of loss with a delightfully catchy indie folk cut. For the most part, this album is a quiet reflection... This album is a deep and honest conversation with Michelle on a cold winter morning, one worth braving the weather for.
lm:
Talented British saxophonist Venna, released his smooth record MALIK which has been a personal favourite [of mine] this year, especially when driving. He blends his proficient musicality in jazz with elements of r&b and rap, seen in his collaborations with Smino, MIKE, and Yussef Dayes. Myself, featuring Jorja Smith was a song I kept coming back to, being torn in a relationship and remembering not to lose yourself in the heights. The song on record especially sounds so divine, emphasising the drums, saxophone and strings. Overall, this is such a strong project that you keep coming back to.
d:
There wasn't a shot in hell that Nine Inch Nails was gonna release a project and it not be in my personal end of the year list. It's just so fucking sick to listen to. [Trent Reznor and Atticus Ross] have done a million scores but I guess this is the first under the Nine Inch Nails brand. Even though they admitted it was a Disney cash grab — it fits right in there with the other Nine Inch Nails albums [in terms of quality.] Everything from the gritty, industrial shit to the more somber, melancholy beats—it's Trent Reznor — it's gonna be this great journey, still.
e:
I really enjoyed the original but the remix project is on a-whole-nother level, for me. And, I feel like we don't appreciate remix projects as much, anymore. That Girl Like Me Oklou mix is so crazy. I honestly prefer this project over the original.
lw:
Sharon Van Etten is a natural to the role of frontwoman in her first project with a full band. In name, aesthetic, and sound, Sharon Van Etten & the Attachment Theory feels like one of those timeless alternative bands from the 80's and 90's. Indio sports one of the coolest guitar parts of the year and I Can't Imagine (Why You Feel This Way) really evokes the confidence and swagger of the classic synth-laden 80's band sound. Sharon's trademark powerhouse vocals and poignant lyrics are present throughout, with Trouble and Idiot Box being highly resonant emotional moments on this February release, which didn't leave my rotation for the entire year.
lw:
Headlights is Alex G continuing to be one of the most consistently great artists in indie. Lyrically, this album feels like a fever dream — talking about riding horses and running between heaven and tv screens. Yet, musically for a lot of this album, Alex G sticks to trusty worldly guitar and piano elements. This makes Bounce Boy stick out like a sore thumb, bringing in a pitched-up vocal and a roaring synth line. Elements that never return but serve as a neat reminder that this album is very intentional. Closing the album with a live performance feels like Alex grounding this collection of songs in his reality, across a whole album that feels emotional and necessary for the acclaimed singer songwriter.
Vol. 3
d:
AD (Adair Thomas) — who's also apart of VGEERA put me on to this one, and as great as so many albums were this year, I feel like this is one of the few that sticks the landing near perfect from start-to-finish. The way these samples flickered, the way the songs are structured, the guest appearances — everything... The Lost Tape, Vol. 3 carries such a great understanding of soul, hip-hop, r&b... I'm obsessed with this record. Such a special album.
e:
Man — let me tell y'all — this project is so special. And, I don't think enough people talk about Salami Rose Joe Louis as an artist. I found her music around 2023-2024. That intro' track, Inside — a track like that forces you to listen to the rest of the project. It's hypnotic." You decide the ways that you want to have me. I don't mind as long as I have to think" — what a relatable line. Lorings definitely in my personal top 10-15 of this year.
e:
So sick. Tidal Memory Exo was in my top 5 from 2024. This project feels almost-like a DLC to that album, and I love that.
lw:
Irish outfit Just Mustard gives compatriots My Bloody Valentine a run for their money on this blisteringly-loud shoegaze project. Katie Ball's soft high pitched voice plays an observational role as the instruments crash beneath her words. She fills in dialogue with the instrumentals at times, which makes for an album with brilliant moments of release, where every element of the band feels imperative... Like all the best shoegaze records, there is something mystical about the world Just Mustard sound out on this album.
e:
It's been over 5 years since I heard a Yung Bans project, so this was nice. Emo Thug and IWFOYB both crazy tracks and the latter is one of my favorite songs of the year.
lw:
Water From Your Eyes are one of the most sonically mischevous bands around right now. From inventive alt-rock tracks like Nights in Armor, Life Signs, and Born 2, and earnest, subdued track Blood on the Dollar to the show-stopping, pop-adjacent experimental track, Playing Classics. It's a Beautiful Place marks Rachel Brown and Nate Amos' double act as one of the most interesting and unpredictable in the scene right now. Brown's soft vocals are perfect for the endlessly imaginative production to intertwine with, creating one of the most distinct albums of the year.
d:
One of the things I love most about Spike's films is how vast the music selection is. For example, on He Got Game, you have songs from Public Enemy but the score consists of classical compositions from Aaron Copland's whole career. So, I feel like part of this stems from Spike being a New York filmmaker, because N.Y.'s a melting pot... That same ethos applies to Highest 2 Lowest — you got cuts from A$AP Rocky, Eddie Palmieri, and even Rodgers & Hammerstein finds its way in here. I love Howard Drossin's score. If you go back and listen to any thriller score from the 70's, it all had that jazzy, cool, high-roller feel to it. This feels like a great throwback to that era of scoring, even though the film is a tribute to Kurosawa... Super enjoyable album to a very underrated film.
a:
I almost forgot about this one. I feel like it flew under the radar a bit — I don't know how 'cause after relistening to it, it's full of bangers. A perfect mixture between a chill vibe and upbeat energy... And, [Babyface Ray] brought some people on this project from outside of Detroit — Michigan, and I think that helped, honestly.
lw:
Night Tapes' first full album is a dream-pop wonderland, a rare album — where falling asleep to it wouldn't be a slight at its quality, but indicative of the state it puts the listener in. Liris Vesik has one of the most enchanting voices in underground pop right now, backed with warm acoustic guitars and an array of synthy sounds and drum packs that make you feel like you are slowly gliding through a starry night sky.
e:
So groovy. This artist released like 3 different projects this year too. Check 'em all out.
lm:
Caesar brings a unique sound to traditional r&b — playing with gospel influences as he reflects on his upbringing and his father, who was himself a gospel artist. It’s so smooth and relaxing to listen to — especially with his voice and choirs weaved into the songs. Many of the songs portray a direct call to God, reflecting on the personal relationship with his father, the past mistakes, and pain this brought on. Sins of The Father is so relatable when thinking about any type of familial relationships and wanting to let go of the pain that usually brings up parts of yourself you don’t want uncovered. Each song feels like a weight lifted, they move you in such a grand way. The collaborations from Bon Iver to Yebba elevate this project immensely.
e:
[Burial] is one of the G.O.A.T.'s — simple.
d:
Honestly, I wasn't too familiar with who Burial was, as an artist, until Elijah put me on to him. And, specifically, this E.P. was my introduction to his catalogue. I just remember having this really great memory listening to it for the first time, in my headphones — walking 20-25 minutes back to my place at 2 or 3 in the morning — feeling like some astronaut out in orbit. It all blended together so perfectly. I wish I could relive that all over again.
e:
Really good project. Consistently high-level stuff throughout its entirety. Reminds me a bit of early 2000's pop.
e:
It was either this or [Thank You for Almost Everything], but one of 'em was getting on here, for sure.
e:
Lagos Love is one of the best tracks of the year.
lw:
POST HEAVEN sees Jadu Heart lean into the electronic elements that have seeded in some of my favourite songs from their previous work to make something wholly original and still totally in line with their body of work. Mellowed out rock tracks like AUX and You're Dead further show why that is Jadu Heart's trademark sound, but it's tracks like U and Heaven that really bring to life the world this album builds. This electronic soundscape that these two songs exemplify feels so transportative and original that you can't help but imagine a futuristic cityscape where these sounds blast through car speakers and neon signs.
d:
The thing I really love about The Sword & The Soaring is how autobiographical it is. This feels like we've been given unrestricted access to someone's personal journal, and Navy Blue just wears his heart on his sleeve here. The whole album just covers all the bases of the soul — from grief to religion. It's a really special album.
lw:
Defiant, loud, and rightfully angry, Maruja rages in the face of problems we've all read about and scrolled past, and dare us to come together and stand up for ourselves and each other, exploring the suffering and the wrath of the fittingly named Pain to Power. Bloodsport is fiery and brutal in its sound, as well as its scathing self examination in the relatable, "I'm an addict, addicted to my bad habits" line that is repeated throughout. The 10 minute beast that is Look Down on Us is the monstrous track of the year that really drives the message of the album home. Throughout the album, Maruja trades the bloodshed for moments of jazz-backed beauty like on Saorsie, which sonically bring to life the dichotomy this project examines. 8 tracks spread over 50 minutes, Pain to Power builds and explodes like the waves. Closer Reconcile pleads with us to have no fear and pray for love, and it's hard not to after a full listen of the record.
lm:
Blair babies is an ode to the current adults in the U.K., dealt with the harsh consequences of the Blair government and the governments before and after. Articulated perfectly in the opener 1997-2007, Ceebo speaks for Gen Z living amongst uncertain and risk-adverse times. The underground rap artist highlights his time growing up in Lambeth surrounded by violence and loss, while also being vulnerable about his upbringing. It’s a perfect blend of the homage to the U.K. rap scene — this project does so in the sampling of Dizzee Rascal’s Brand New Day — breathing life into this new underground rap scene. The track — the gospel (as according to tony blair) is Ceebo’s Da Art of Storytellin'. It’s honest, open, and sounds divine. As a child born and raised in Lambeth, this project speaks to me personally, but echoes so much of what this generation is feeling currently.
e:
A must-listen if you fuck with anything in the world of dance — footwork-type music.
lw:
Ninajirachi's I Love My Computer is blissfully youthful, energetic, and in many ways as enticing as its subject matter. It's a love letter to the apps, sounds, and devices that inspired Nina to start making music, but has found an audience amongst those of us reckoning with how digitalised our upbringing was — and for once seeing the comfort in the code instead of yearning for the boundless freedom generations before us love to claim that they had... For an album so digital-and-machine led, the heart of it is rooted in the modern human experience that Nina so richly captures through her writing and production.
EYES 2
e:
I'mma be honest, this might be my hip-hop album of the year. The energy here is crazy. And the production is outta' this world, notably the tracks produced by Cee Gee — Amira Kitchen, for example. Westside Gunn might have-like a top five rap discography of the last ten years. I'd argue this could be his best project.
e:
Uno continues to be one of the more slept on artists of his generation, even though he's a pioneer. Also, the cover for this album is bananas. Cactus Jack is one of my most played songs all year.
d:
I'm pretty sure I have three Kenny Segal projects in my own round-up list, but I was told to pick one for the sake of the list. So, I chose [Kenstrumentals, Vol. 5]. I—just go listen to it—I don't even wanna try to describe it. Imagine 45 minutes of the sickest Adult Swim bumpers you've ever heard in your life.
a:
Honestly, harder than the first issue. I'm usually not a fan of reissued—patched projects, but this just flows so much better.
e:
This was one of my most anticipated projects for 2025, ever since she announced it toward the end of 2024. I got to this project so late, though, unfortunately — it just slipped by me. I don't know how, when I'd literally been waiting for this album to release. A special work by Oklou — an incredible step-up from Galore. I had this in my personal top 5, if I remember correctly. A wicked, wavy experience.
lw:
One of the biggest compliments I can give Getting Killed is that there doesn't feel like there's much left to say about it. But, people will keep digging for years and decades to come. Cameron Winter has ascended into somewhat of a mythical figure amongst rock listeners young-and-old alike, and Getting Killed only added to this mystique. For all of the universality of charming singer/songwriter-esque cuts like Cobra and Au Pays du Cocaine, Geese also confronts you with the likes of Trinidad, Getting Killed, and Long Island City Here I Come — tracks full of brashness, endlessly interpretable lyrics, and unashamedly irreverent. It's these moments that make Getting Killed—for me—that give the album the allure and ripeness for discussion fitting of the supposed next legendary rock band. A declaration ends closer Long Island City Here I Come, "I have no idea where I'm going, but here I come." Wherever they're going, it feels certain that is somewhere only they could reach.
e:
Crazy People a contender for song of the year.
lm:
This being the first project I’d encountered by Nourished By Time felt overdue because I was floored immediately upon hearing the first track, Automatic Love. His voice mixed-in with electronic synths, as he sings about how alive his love makes him feel. Throughout, there’s strong themes of love but also individual conflict, strongly relatable to the ordinary working person, and the threat of work killing the creative. The Passionate Ones also examines the brainwashing being committed by oppressive structures and establishments. BABY BABY in particular does this brilliantly, its loud and fast-paced nature screams revolt but also compels you to dance. The Passionate Ones is reflective and introspective, bringing experimental elements to solidify it as a timeless and important body of work. This project makes me excited for his future works.
lw:
Equus Caballus is Men I Trust at their silky-smooth best. Adding to a phenomenal run of singles that are included on this record — Billie Toppy, Ring of Past and Husk would have seemed a tall order before this release, but there are plenty of single-worthy songs here. To Ease You sets the luscious tone with one of the most irresistible synth lines of the year. The likes of Carried Away and Another Stone bring an air of mystique to the album's soundscape that perfectly sets up faster moments like Where I Sit and Worn Down to be extra potent. Equus Caballus is everything you love Men I Trust for at its sparkling best.
d:
I Am Music inadvertently became a rorschach test in terms of personal relationships I've had over the last year. So, if I played it in my car, and the other people present could get down with it, we usually ended up growing pretty close. However, if they weren't fuckin' with it, then they usually didn't stick around too long, which is a good thing. I don't understand how someone couldn't fuck with at least some aspect of this album. Anyone that can't get hyped with Swamp Izzo screaming over those 808s is usually a bore. It's this insane, sprawling ride with the best of Atlanta trap — easily Carti's best rapping performance — if you read between the lines, he's actually spitting here. Superb production from Metro Boomin, Cardo, [WakeUpF1lthy], and more. It's the best kind of controlled chaos possible.
e:
OPM BABI song of the decade. Carti dropped this during Ramadan, so I was late to the party, unfortunately.
a:
I think this might be his best album. I love Die Lit a lot, though. I really fuck with the Swamp Izzo adlibs — they remind me of the Gangsta Grillz era. Also, the more mature sounding Carti is the best version. I thought the features, for the most part, were solid. I don't know how Ty Dolla Sign keeps getting work, but he does... Overall, a really great album. I just wish the nigga would drop more often.
e:
Bro, I fought for this to be in the top five. This project is magical, man, and it's my personal album of the year. There's a mini-guitar solo—rip on Code Your Name With Feelings that stuck with me through the entire year. I just don't see how this is as overlooked as it is. This is a masterwork.
d:
[Debunker] dropped in late January, and I really wish I'd taken Elijah's advice and listened to this sooner, because it is exactly my kind of album. It feels a bit unpolished — the guitar has such a raw sound — like the mic' could clip at any second. The drums are real punchy. You can feel the snare hits — none of that compressed bedroom-pop shit. Eterna's vocals come in and add this dreamy texture on top of all the haziness that's already there because of the chords. A lot of the songs blend into each other, and some may take issue with it, but I didn't mind it at all. It ends up leading to the tracks feeling like this entire cohesive, long concerto. My favorite track's gotta be Code Your Name With Feelings — I'm in love with the way it all comes together by the time the outro's arrived. And, also the following track — It Isn't. Go give this a listen.
d:
The hip-hop albums I revisit the most usually have one key ingredient that gives them staying power — the quotables. This Clipse project sits on that top shelf, and a big chunk of the reason for that is Malice. Look at his verse on P.O.V. alone... We all knew [Pusha T] was gonna deliver — that was a given. But him going back and forth with his brother was something that we sorely missed, and thankfully not only did they deliver, but they exceeded every expectation. It's not a comeback album — it's a welcome home album that's here to re-establish their greatness.
lm:
A very important album for me this year. I had been familiar with some of Rochelle Jordan’s previous solo work and collaborations with Kaytranada. However, Through the Wall was a pleasant surprise as it’s honestly a perfect body of work to me. This album borrows influences of house, ballroom, garage, and everything dance. It speaks to who she is as an artist — bold and confident. Every song commands her presence and puts Rochelle Jordan in conversations for remarkable musicians. Songs like Sum and TTW feel like independence and dance as a form of release and liberation.
lm:
Baby was an unexpected, but welcomed release from Dijon. Dijon is for the yearners — the ones that are in love with love. Baby, similarly to his other projects, focuses closely on his wife and his devotion to her. The production on this album sounds very chaotic in the best way possible. Dijon has an incredibly raw voice that evokes so much passion and conviction in his songs. In the Pitchfork interview, he talks about wanting this album to be "radical" and "disorienting", which is plastered all over this project with screams—chopped-and-layered vocals with compelling sampling.
e:
It's his best work. I hear so much D'Angelo influence throughout the entire project. Rest in peace, by the way. I loved this album — the back half of it is just masterful.
music (2025)
a:
This was my first experience listening to Jim Legxacy, and I gotta say I found another one. I had the same reaction listening to this project as I did with AJ Tracey, in like 2019-2020... When rappers make things that shouldn't sound upbeat, sound fun — I love that. Some of the production on here reminds me of Caribbean music my dad and I listen to.
e:
This and Debunker were tied for my personal album of the year pick. I feel like we [at VGEERA] all had this project in our own top 3-5 spots, though. This felt like my first time listening to College Dropout, weirdly enough. Shoutout to my U.K. folks, man. This is a phenomenal work.
lw:
BBM (2025) is as vibrant as it is vulnerable. Jim's influences are improbably eclectic for a record so sonically cohesive and singular... His tale is a classic rags-to-riches story — he recounts his personal struggles with grief and poverty, whilst partying through best of the times. This tape starts off with Context about Jim's story and that feels fitting for a project that feels like an introduction to a new star. Jim Legacxy planted a Black British flag in the industry for the whole world to see, and it feels like the poster-child of a more ambitious and creative U.K. sound that I cant wait to see grow and prosper.
lm:
Thinking back to the day black british music (2025) released, and it truly felt like a profound moment in British history that we’ll talk about for a very long time. This was a project, highly anticipated for me after the single aggressive, and the two lead singles father and stick. Jim Legxacy creates a timeless masterpiece of a project, blending in hip-hop, rap, afro-swing, and garage — every single sound is crafted carefully to create a representation of being Black and British. There’s also multiple call backs to our history such as Dave referencing lyrics from Wanna Know. This project, and amongst a few others released this year, helped to put the U.K. underground scene on the map — platforming artists such as dexter in the newsagent and YT who co-produced 'father'. Jim’s use of chopping is done so creatively adding interesting layers to each song and embedding feelings of dispair, grief, and disconnect.