{"id":2186869,"date":"2025-12-04T15:43:21","date_gmt":"2025-12-04T15:43:21","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2186869"},"modified":"2025-12-04T15:43:21","modified_gmt":"2025-12-04T15:43:21","slug":"mojos-must-have-records-of-the-year","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/mojos-must-have-records-of-the-year\/","title":{"rendered":"MOJO’s must-have records of the year."},"content":{"rendered":"

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Admittedly, we do get excited about MOJO\u2019s essential review of the year each time December rolls around, but 2025 really has proved to be a vintage one when it comes to new releases. Alongside highlights by returning \u201890s heroes Suede<\/a>, Pulp<\/a> and Stereolab<\/a>, we\u2019ve been thrilled by soon-to-be-classics being laid down by the likes of Cameron Winter and Geese, The Tubs, Horsegirl, Emma-Jean Thackray and CMAT<\/a>, while MOJO legends Robert Plant<\/a>, Mavis Staples<\/a> and Van Morrison<\/a> have all served up some of the finest work of their long and storied careers.<\/p>\n

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How to pick just 50 was a tall order, but we polled MOJO\u2019s world-class team of writers and genre experts* to deliver what we believe is the definitive list of 2025\u2019s best new albums. Want to tell us something you think we missed? You can always get in touch at mojoreaders@bauermedia.co.uk. Until next year…<\/p>\n

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50.<\/strong><\/p>\n

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MARGO PRICE<\/strong><\/p>\n

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Hard Headed Woman<\/strong><\/p>\n

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(LOMA VISTA)<\/p>\n

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Never one to be constrained by genre, Price\u2019s recent work had moved away from Nashville\u2019s cultural city limits, with 2023\u2019s\u00a0Strays<\/em>\u00a0a heady kind of mushroom-powered soft rock. Her fifth solo album, though, was an exuberant rapprochement with country, right down to the Waylon Jennings song and cowboy hat on the cover. As with 2016 debut\u00a0Midwest Farmer\u2019s Daughter<\/em>, it suited her perfectly: a fine, unfettered talent ultimately most at home causing trouble at the honky-tonk.<\/p>\n

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Standout track:<\/strong>\u00a0Don\u2019t Let The Bastards Get You Down<\/p>\n

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49.<\/strong><\/p>\n

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SALIF KEITA
So Kono<\/strong><\/p>\n

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(N\u00d8 F\u00d8RMAT!)<\/p>\n

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The \u2018Golden Voice Of Africa\u2019 had formally closed his career at a Mali gig in 2018. Still, as he told\u00a0MOJO 377<\/a>, \u201cA musician is never in retirement\u201d \u2013 hence this gorgeous comeback. Where once Keita\u2019s albums were lush,\u00a0So Kono<\/em>\u00a0was an intimate session of reworked old and new songs, with his acoustic guitar backed only by ngoni and calabash. The ideal showcase, it transpired, for the extraordinary flight, range and delicacy of the 76-year-old\u2019s voice.<\/p>\n

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Standout track:<\/strong>\u00a0Kant\u00e9 Manfila<\/p>\n

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48.<\/strong><\/p>\n

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LEMONHEADS<\/strong><\/p>\n

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Love Chant<\/strong><\/p>\n

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(FIRE)<\/p>\n

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For too long, it had been depressingly easy to categorise Evan Dando as a great talent squandered. 2025, though, brought a sober reckoning with his past in the shape of a meaty memoir, plus his first album of new songs in 19 years. Extremely good songs, too, recorded in S\u00e3o Paulo, that mixed the old scrappy joie de vivre with hard-won wisdom. Among the guests \u2013 Juliana Hatfield, J Mascis and key songwriting foil Tom Morgan, as you\u2019d hope.<\/p>\n

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Standout track:<\/strong>\u00a0Togetherness Is All I\u2019m After<\/p>\n

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47.<\/strong><\/p>\n

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GREENTEA PENG<\/strong><\/p>\n

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Tell Dem It\u2019s Sunny<\/strong><\/p>\n

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(AWAL)<\/p>\n

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\u201cI am not who I was yesterday,\u201d sang Aria \u2018Greentea Peng\u2019 Wells on her second album, an impression corroborated when she told MOJO 377 she\u2019d given up spliffs after a \u201cbeautiful relationship\u201d of 17 years. That said,\u00a0Tell Dem<\/em>\u00a0It\u2019s Sunny still sounded exquisitely smoked, a millennial update of trip-hop that presented Wells as an intoxicating hybrid of Amy Winehouse, Erykah Badu and Tricky, firmly rooted in South London.<\/p>\n

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Standout track:<\/strong>\u00a0Green<\/p>\n

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46.<\/strong><\/p>\n

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CAMERON WINTER<\/strong><\/p>\n

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Heavy Metal<\/strong><\/p>\n

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(PARTISAN)<\/p>\n

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A breakout 12 months for the young New Yorker climaxed with the exceptional fourth album by his band, Geese, after it had begun in the dog days of 2024 with this solo debut.\u00a0Heavy Metal<\/em>\u00a0revealed a rock\u2019n\u2019roll classicist with a razorblade croon, as much Tom Waits as\u00a0Thom Yorke<\/a>, and a precocious songwriting talent. \u201cA glorious, emotive voice with brilliant, blistering words, a racked and wondrous thing,\u201d gushed fanboy\u00a0Nick Cave<\/a>.<\/p>\n

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Standout track:<\/strong>\u00a0Drinking Age<\/p>\n

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45.<\/strong><\/p>\n

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BILLY NOMATES<\/strong><\/p>\n

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Metalhorse<\/strong><\/p>\n

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(INVADA)<\/p>\n

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A longtime Stranglers devotee, Tor \u2018Billy Nomates\u2019 Maries told MOJO 379 how\u00a0Golden Brown<\/a>\u00a0transformed for her \u201cwhat punk was and could be. You don\u2019t always need a thrashing guitar\u201d. It was an imperative that pulsed through the third Nomates album, as she confronted grief and health challenges with a sound that imbued windswept \u201980s AOR with punk spirit. Also useful: a guest spot from Hugh Cornwell himself, on Dark Horse Friend.<\/p>\n

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Standout track:<\/strong>\u00a0Plans<\/p>\n

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44.<\/strong><\/p>\n

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SVEN WUNDER
Daybreak<\/strong><\/p>\n

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(PIANO PIANO)<\/p>\n

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Cratediggers looking for lost library music albums and soundtracks would be well advised to spend some time in the new release racks and hunt down Stockholm\u2019s Sven Wunder. After homages to Turkish psych and Japanese jazz,\u00a0Daybreak<\/em>\u00a0found him summoning the spirits of\u00a0Morricone<\/a>, Barry and Axelrod: expansively orchestrated, meticulously realised scores to imaginary movies that were way too classy to be mere pastiche \u2013 and provided rich new pickings for breaks hunters.<\/p>\n

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Standout track:<\/strong>\u00a0Daybreak<\/p>\n

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43.<\/strong><\/p>\n

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BC CAMPLIGHT<\/strong>
A Sober Conversation<\/p>\n

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(BELLA UNION)<\/p>\n

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A baroque pop auteur who fit snugly into a triumvirate with labelmates John Grant and\u00a0Father John Misty<\/a>, Brian Christinzio also shared their ability to make simultaneously wry, accessible and moving music about personal trauma. His seventh album pivoted on how he was abused in his teens by an adult at summer camp \u2013 and how he would speak to that abuser three decades on: \u201cI don\u2019t want to hate anything anymore.\u201d<\/p>\n

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Standout track:<\/strong>\u00a0Where You Taking My Baby?<\/p>\n

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42.<\/strong><\/p>\n

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STEVEN WILSON<\/strong><\/p>\n

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The Overview<\/strong><\/p>\n

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(FICTION)<\/p>\n

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Hard to imagine how Steven Wilson finds the time to make his own records, given his ubiquity as remixer of classic rock (this year:\u00a0Jethro Tull<\/a>,\u00a0Simple Minds<\/a>,\u00a0Yes<\/a>\u2026). This eighth solo album, notably, sounded like it should\u2019ve required a full year\u2019s monomaniacal focus to complete: a cosmic prog extravaganza (with lyrical help from XTC\u2019s Andy Partridge) that positioned Wilson as fitting successor to another of his star mixing clients,\u00a0Pink Floyd<\/a>.<\/p>\n

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Standout track:<\/strong>\u00a0The Overview<\/p>\n

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41.<\/strong><\/p>\n

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SHARON VAN ETTEN & THE ATTACHMENT THEORY<\/strong><\/p>\n

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Sharon Van Etten & The Attachment Theory<\/strong><\/p>\n

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(JAGJAGUWAR)<\/p>\n

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If Van Etten\u2019s last two solo albums were clear signifiers of her synth-goth cravings, this first set with her newly promoted backing band was the full raven-black shebang. The Attachment Theory effectively left Van Etten\u2019s indie-folk roots in the dust, amping up the drama through even the album\u2019s more ethereal moments. And for additional crespuscular bona fides,\u00a0The Cure<\/a>\u2019s Lol Tolhurst wrote the biography that accompanied the album for journalists.<\/p>\n

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Standout track:<\/strong>\u00a0Idiot Box<\/p>\n

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40.<\/strong><\/p>\n

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PANDA BEAR<\/strong><\/p>\n

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Sinister Grift<\/strong><\/p>\n

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(DOMINO)<\/p>\n

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Noah \u2018Panda Bear\u2019 Lennox reworked\u00a0Reset<\/em>, his 2022 collaboration with\u00a0Sonic Boom<\/a>, so assiduously and frequently that he ended up releasing mariachi versions of the songs. This eighth solo album, then, proved an actual reset, his\u00a0Beach Boys<\/a>\u00a0timbre and looping melodic sense crystallising into ravishing, incrementally melancholic avant-pop. A stealth sequel, too, to Animal Collective\u2019s\u00a0Isn\u2019t It Now<\/em>\u00a0(2023), with extensive contributions from Lennox\u2019s three longtime bandmates.<\/p>\n

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Standout track:<\/strong>\u00a0Left In The Cold<\/p>\n

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39.<\/strong><\/p>\n

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JONATHAN RICHMAN<\/strong><\/p>\n

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Only Frozen Sky Anyway<\/strong><\/p>\n

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(BLUE ARROW)<\/p>\n

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\u201cWhen I make my transition\/I want you to know I only changed position,\u201d Richman sang on his first album in four years, a characteristically jaunty reckoning with mortality. The past was memorialised, discreetly, so Modern Lovers compadre Jerry Harrison co-produced, and guitarist Tommy Dunbar returned after playing on 1975\u2019s Roadrunner. But the quixotic charm, the way of reimagining how songs could work (here: Night Fever) still sounded idiosyncratic and fresh.<\/p>\n

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Standout track:<\/strong>\u00a0But We May Try Weird Stuff<\/p>\n

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38.<\/strong><\/p>\n

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LOADED HONEY<\/strong><\/p>\n

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Love Made Trees<\/strong><\/p>\n

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(AWAL)<\/p>\n

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The London production outfit Jungle had long been attuned to how retro soul, disco and funk could feed into contemporary dance pop. But this spin-off from two-thirds of Jungle \u2013 J Lloyd and Lydia Kitto \u2013 flipped the paradigm, giving precedence to fastidiously reimagined, downtempo-trending rare grooves that hit the sweet spot between Philly Soul and The Avalanches. Listen out, too, for Kitto\u2019s rapturous channelling of the young Michael Jackson.<\/p>\n

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Standout track:<\/strong>\u00a0Don\u2019t Speak<\/p>\n

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37.<\/strong><\/p>\n

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NATURAL INFORMATION SOCIETY\/ BITCHIN BAJAS<\/strong><\/p>\n

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Totality<\/strong><\/p>\n

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(DRAG CITY)<\/p>\n

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A kosmische jazz summit,\u00a0Totality<\/em>\u00a0reunited two mainstays of Chicago\u2019s experimental scene for the first time since 2015\u2019s\u00a0Autoimaginary<\/em>. Over four gracefully unravelling tracks, the collective fused jazz, minimalism, Krautrock, New Age, raga and more into a vibrational, far from intimidating whole. Want more? This year\u2019s other albums by Natural Information Society (Perseverance Flow<\/em>) and Bitchin Bajas (Inland See<\/em>) proved that both bands were every bit as potent alone as they were together.<\/p>\n

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Standout track:<\/strong>\u00a0Clock No Clock<\/p>\n

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36.<\/strong><\/p>\n

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EMMA POLLOCK<\/strong><\/p>\n

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Begging The Night To Take Hold<\/strong><\/p>\n

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(CHEMIKAL UNDERGROUND)<\/p>\n

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In a year of headllne-grabbing comebacks, Emma Pollock\u2019s first album in nine years may have slipped under most radars.\u00a0Begging The Night To Take Hold<\/em>\u00a0was, though, only the fourth Pollock album since her initial band, The Delgados, split in 2005, and a powerful reassertion of her status as one of the UK\u2019s most undervalued singer-songwriters: one who could navigate the complexities of midlife while dropping allusions to Mary Queen Of Scots.<\/p>\n

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Standout track:<\/strong>\u00a0Black Magnetic<\/p>\n

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35.<\/strong><\/p>\n

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BONNIE \u2018PRINCE\u2019 BILLY<\/strong><\/p>\n

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The Purple Bird<\/strong><\/p>\n

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(DOMINO)<\/p>\n

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\u201cA phenomenal coming together of different forces,\u201d is how Will Oldham described his latest Bonnie Billy album in MOJO 377.\u00a0The Purple Bird<\/em>\u00a0was his deepest engagement with Nashville royalty in a 30+ year career, as his ornery way with tradition was mediated by a troupe of country vets led by Johnny Cash alum \u201cFerg\u201d Ferguson. A great entry point for those previously daunted by Oldham\u2019s vast and weird catalogue.<\/p>\n

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Standout track:<\/strong>\u00a0Boise, Idaho<\/p>\n

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34.<\/strong><\/p>\n

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BON IVER<\/strong><\/p>\n

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SABLE, fABLE<\/strong><\/p>\n

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(JAGJAGUWAR)<\/p>\n

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1.90.0-EKKHO3FYEZE275FNGJZYZHGRAI.0.1-1<\/p>\n<\/div>\n

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Justin Vernon\u2019s fifth Bon Iver album \u2013 his first in six years \u2013 was very much a game of two halves. Sable stripped back much of the electronic fidgeting of latterday Bon Iver records, recalling the acoustic woodshedding of his debut. Fable, meanwhile, re-upped much of that processing for a digi-soul masterclass, albeit one where the emotional heft and directness of his songwriting still took precedence over obfuscation.<\/p>\n

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Standout track:<\/strong>\u00a0There’s A Rhythmn<\/p>\n

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33.<\/strong><\/p>\n

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JASON ISBELL<\/strong><\/p>\n

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Foxes in the Snow<\/strong><\/p>\n

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(SOUTHEASTERN RECORDS)<\/p>\n

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The divorce of Americana royalty Jason Isbell and Amanda Shires provided source material for both artists on their 2025 solo albums: a compelling if sometimes unnerving opportunity to hear opposing sides of the story. Isbell\u2019s take was MOJO\u2019s pick, an entirely solo, acoustic set recorded in five days at Electric Lady Studios in New York, and foregrounding a craft and rawness that placed it very near the top of Isbell\u2019s considerable catalogue.<\/p>\n

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Standout track:<\/strong>\u00a0Open And Close<\/p>\n

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32.<\/strong><\/p>\n

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GEESE<\/strong><\/p>\n

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Getting Killed<\/strong><\/p>\n

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(PARTISAN)<\/p>\n

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Cameron Winter again, this time with his old schoolfriends, now matured into possibly the US\u2019s most exciting newish indie-rock group. Winter\u2019s astonishing voice and agile songwriting again impressed, but he was matched by the band\u2019s funky and wired flexing, so that\u00a0Getting Killed<\/em>\u00a0frequently sounded like a mythic Stones\/Magic Band\/Talking Heads mash-up. A great, fraught 21st Century New York record: \u201cI have been fucking destroyed by this city tonight!\u201d<\/p>\n

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Standout track:<\/strong>\u00a0Getting Killed<\/p>\n

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31.<\/strong><\/p>\n

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MANIC STREET PREACHERS<\/strong><\/p>\n

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Critical Thinking<\/strong><\/p>\n

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(COLUMBIA)<\/p>\n

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Ten out of 12 tracks from\u00a0Critical Thinking<\/em>\u00a0made the cut for Keith Cameron\u2019s selection of Manics tracks in MOJO\u2019s Book Of The Year,\u00a0168 Songs Of Hatred And Failure<\/a>\u00a0\u2013 a strong indicator of the consistent quality of this, the band\u2019s 15th album. The rousing anthems recalled the band\u2019s \u201980s antecedents as much as their mid-\u201990s commercial peak; the elegantly jangly Dear Stephen, meanwhile, provided a timely grappling with the ongoing complexities of being a Smiths fan.<\/p>\n

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Standout track:<\/strong>\u00a0Decline And Fall<\/p>\n

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30.<\/strong><\/p>\n

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ST ETIENNE<\/strong><\/p>\n

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International<\/strong><\/p>\n

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(HEAVENLY)<\/p>\n

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A bittersweet moment for a certain class of pop connoisseur, as the 12th album by the Cracknell\/Stanley\/Wiggs triumvirate was also announced as their swansong.\u00a0International<\/em>\u00a0suitably reasserted the band\u2019s strengths \u2013 the delicate balance between shiny dancefloor epiphany and rueful English melancholy \u2013 with some key co-writers and guests:\u00a0Depeche Mode<\/a>\/Yazoo\u2019s Vince Clarke, Chemical Brother Tom Rowlands,\u00a0Orbital<\/a>\u2019s Paul Hartnoll and, on the knowingly titled The Go Betweens, a guest vocal from Haircut 100\u2019s Nick Heyward.<\/p>\n

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Standout track:<\/strong>\u00a0The Go Betweens<\/p>\n

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29.<\/strong><\/p>\n

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JACOB ALON<\/strong><\/p>\n

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In Limerence<\/strong><\/p>\n

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(ISLAND)<\/p>\n

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In the year Sufjan Stevens released\u00a0a tenth anniversary edition of his\u00a0Carrie & Lowell<\/em><\/a>, a Scottish newcomer found a beguiling way to rechannel that record\u2019s indie-folk fragility. Alon\u2019s touch was featherlight, and their queer tales of love and hurt at once ethereal and visceral: note one song (Liquid Gold 25) named after a bottle of amyl; another (Confession) a tender coming-of-age tale contextualised by Alon\u2019s admission, \u201cNow I’m snorting cocaine.\u201d<\/p>\n

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Standout track:<\/strong>\u00a0Zathura<\/p>\n

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28.<\/strong><\/p>\n

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CATE LE BON<\/strong><\/p>\n

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Michelangelo Dying<\/strong><\/p>\n

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(MEXICAN SUMMER)<\/p>\n

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The Welsh maverick\u2019s parallel career as super-producer took a relative backseat in 2025 (Horsegirl\u2019s\u00a0Phonetics On And On;<\/em>\u00a0Dry Cleaning\u2019s forthcoming\u00a0Secret Love<\/em>) in favour of her own charmed, often uncanny music. Her seventh album was an allusive, typically off-kilter breakup album, made in Hydra, Cardiff, London, LA and Joshua Tree, with the gauzy airs of the early Cocteau Twins.\u00a0 Oddly funny, too: \u201cAnd now I\u2019m older than Lady Diana\/Holding out my arms\/Starting a fight.\u201d<\/p>\n

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Standout track:<\/strong>\u00a0Love Unrehearsed<\/p>\n

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27.<\/strong><\/p>\n

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DAVID BYRNE
Who Is The Sky?<\/strong>
(MATADOR)<\/p>\n

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\u201cYou can surrender to despair, happiness, anger and frustration. But that doesn\u2019t help anything,\u201d Byrne told MOJO 384. \u201cYou have to persevere, to believe that things can be changed.\u201d That vigorous optimism powered his first album in seven years, embracing contemporary pop (via Harry Styles producer Kid Harpoon) while recruiting a quirky avant-garde chamber orchestra as backing band. No Talking Heads reunion, but the spirit of 1988\u2019s\u00a0Naked<\/em>\u00a0was palpable.<\/p>\n

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Standout track:<\/strong>\u00a0Everybody Laughs<\/p>\n

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26.<\/strong><\/p>\n

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HORSEGIRL<\/strong><\/p>\n

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Phonetics On And On<\/strong><\/p>\n

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(MATADOR)<\/p>\n

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If the Chicago trio\u2019s promising 2022 debut was a fuzzy, post-Sonic Youth throwback, its sequel was a different kind of beast.\u00a0Phonetics On And On<\/em>\u00a0found Horsegirl (with producer Cate Le Bon) stripping their sound back to bare bones, to something more reminiscent of brittle minimalists like The Raincoats, Young Marble Giants and The Feelies. An album that started with a perfect echo of Roadrunner and then, remarkably, only got better.<\/p>\n

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Standout track:<\/strong>\u00a02468<\/p>\n

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25.<\/strong><\/p>\n

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VAN MORRISON<\/strong><\/p>\n

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Remembering Now<\/strong><\/p>\n

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(EXILE\/VIRGIN)<\/p>\n

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After albums focusing on skiffle, rock\u2019n\u2019roll covers and duet versions of his back catalogue, Morrison\u2019s 47th album (!) saw his still staggering voice back on the deep stuff \u2013 a heroic re-engagement with the mystic, with the muse William Blake and what he calls on page 54 \u201ctranscending the mundane\u201d. Side Two, remarkably, held perhaps his best run of music in over 35 years, meditative, transported extemporisations that stood comparison with his very finest work.<\/p>\n

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Standout track:<\/strong>\u00a0Stretching Out<\/p>\n

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24.<\/strong><\/p>\n

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MOGWAI<\/strong><\/p>\n

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The Bad Fire<\/strong><\/p>\n

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(ROCK ACTION)<\/p>\n

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<\/div>\n

<\/p>\n

Britpoppers weren\u2019t the only 1990s vets back in the spotlight this year. The broad church of post-rock was revisited too, with Chicago maestros Tortoise releasing their first album in nine years, and the more consistent, substantially more widescreen Mogwai back with their 11th.\u00a0The Bad Fire<\/em>\u00a0was a reliably excellent blend of grandeur, gothic currents, motorik pulses, post-hardcore, judiciously applied noise and, of course, droll humour (best song title: Fanzine Made Of Flesh).<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Hammer Room<\/p>\n

<\/span><\/p>\n

23.<\/strong><\/p>\n

<\/span><\/p>\n

MIDLAKE<\/strong><\/p>\n

<\/span><\/p>\n

A Bridge To Far<\/strong><\/p>\n

<\/span><\/p>\n

(BELLA UNION)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Not a typo, by the way: that\u2019s To Far rather than Too Far, for extra cosmic heft. Like David Byrne\u2019s\u00a0Who Is The Sky?<\/em>, Midlake\u2019s sixth privileged hope in adversity, albeit rendered in dappled rather than Technicolor tones. Hence the misty reconstructions of California soft rock and Pentangle-shaped folk-rock, and a creamy consistency that made it their best album since 2006 landmark\u00a0The Trials of Van Occupanther<\/em>.<\/p>\n

Standout track:<\/strong> Eyes Full Of Animal<\/p>\n

<\/span><\/p>\n

22.<\/strong><\/p>\n

<\/span><\/p>\n

EDDIE CHACON<\/strong><\/p>\n

<\/span><\/p>\n

Lay Low<\/strong><\/p>\n

<\/span><\/p>\n

(STONES THROW)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Chacon\u2019s third solo album in the last five years meant that the singer\u2019s second act was now more substantial than his first \u2013 back in the \u201990s, as half of Charles & Eddie.\u00a0Lay Low<\/em>\u00a0continued with Chacon\u2019s latter-day taste for hauntological soul, all digital minimalism and hushed tones. But there was added richness and emotion over the woozy\u00a0Sly Stone<\/a>drum machines, as Chacon leaned into \u201970s harmonies to hymn his late mother.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0End Of The World<\/p>\n

<\/span><\/p>\n

21.<\/strong><\/p>\n

<\/span><\/p>\n

BAXTER DURY<\/strong><\/p>\n

<\/span><\/p>\n

Allbarone<\/strong><\/p>\n

<\/span><\/p>\n

(HEAVENLY)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Nothing quite so spiritually elevated from Ian Dury\u2019s boy, who had the arch self-knowledge to refer to himself \u201ca mockney nepo Jane Austen in a male form\u201d in\u00a0MOJO 383<\/a>. Dury\u2019s ninth located him on a particularly sticky dancefloor, observing West London\u2019s least salubrious with the sort of corrosive wit that made him close kin to Sleaford Mods\u2019 Jason Williamson. A 35-minute masterclass in creative swearing, too: \u201cInternational fuck omelette,\u201d anyone?<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Return Of The Sharp Heads<\/p>\n

<\/span><\/p>\n

20.<\/strong><\/p>\n

<\/span><\/p>\n

CASS MCCOMBS<\/strong><\/p>\n

<\/span><\/p>\n

Interior Live Oak<\/strong><\/p>\n

<\/span><\/p>\n

(DOMINO)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

\u201cThe unreliable narrator\u2019s unreliable narrator,\u201d is how MOJO\u2019s reviewer described the Californian singer-songwriter, now onto his 12th album of covertly excellent songcraft. A reunion with his earliest collaborators in San Francisco,\u00a0Interior Live Oak<\/em>\u00a0was as sprawling, subtle and hard to pin down as much of McCombs\u2019 work; 16 songs that variously placed him in the company of Grant McLennan, Elliott Smith and Bill Callahan, held together by their subtle, steadily engrossing consistency.<\/p>\n

Standout track:<\/strong>\u00a0Peace<\/p>\n

<\/span><\/p>\n

19.<\/strong><\/p>\n

<\/span><\/p>\n

MARK PRITCHARD\/THOM YORKE<\/strong><\/p>\n

<\/span><\/p>\n

Tall Tales<\/strong><\/p>\n

<\/span><\/p>\n

(WARP)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Radiohead\u2019s first tour in seven years<\/a>\u00a0inevitably overshadowed their extra-curricular work in 2025, as Colin Greenwood continued shifts in The Bad Seeds and brother Jonny scored another Paul Thomas Anderson movie. Thom Yorke, meanwhile, hooked up with \u201990s-vintage electronica maven Pritchard (once half of Global Communications) for an album that occupied a comparable place of alienation, dread and cutting-edge sound design as\u00a0Kid A<\/em>.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0The Spirit<\/p>\n

<\/span><\/p>\n

18.<\/strong><\/p>\n

<\/span><\/p>\n

EMMA-JEAN THACKRAY<\/strong><\/p>\n

<\/span><\/p>\n

Weirdo<\/strong><\/p>\n

<\/span><\/p>\n

(BROWNSWOOD)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

It was a quieter year for new British jazz breakouts, but singer\/multi-instrumentalist Emma-Jean Thackray brilliantly illustrated how the scene was diversifying. While 2021\u2019s\u00a0Yellow<\/em>\u00a0showcased Thackray\u2019s spiritual jazz chops,\u00a0Weirdo<\/em>\u00a0put her voice front and centre, on a set of self-played jazz-funk that began as a study of neurodiversity and mental health before tragically, but cathartically, expanding into a meditation on the sudden death in 2023 of her partner.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Maybe Nowhere<\/p>\n

<\/span><\/p>\n

17.<\/strong><\/p>\n

<\/span><\/p>\n

JEFF TWEEDY<\/strong><\/p>\n

<\/span><\/p>\n

Twilight Override<\/strong><\/p>\n

<\/span><\/p>\n

(DBPM)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

A regular theme of 2025 albums was how musicians could respond to, or even function in, challenging times. The\u00a0Wilco<\/a>\u00a0frontman\u2019s strategy was, typically, to write even more songs: \u201cCreativity eats darkness,\u201d he told\u00a0MOJO 382<\/a>. Tweedy\u2019s fifth solo album, consequently, was his\u00a0White Album<\/em>\u00a0\u2013 a triple, with not one of its 30 songs a filler. Intimate, funny, profound, understated, it sounded like Tweedy\u2019s finest work away from the day job.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Lou Reed Was My Babysitter<\/p>\n

<\/span><\/p>\n

16.<\/strong><\/p>\n

<\/span><\/p>\n

ROBERT PLANT WITH SUZI DYAN<\/strong><\/p>\n

<\/span><\/p>\n

Saving Grace<\/strong><\/p>\n

<\/span><\/p>\n

(Nonesuch)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Talking to\u00a0MOJO 383<\/a>, Robert Plant revealed he\u2019d turned down a Tony Iommi invite to\u00a0Black Sabbath\u2019s farewell show<\/a>, because \u201cI found these other places that are so rich\u201d.\u00a0Saving Grace<\/em>\u00a0was the latest evidence of his rewarding path away from superstar orthodoxy: a Black Country roots session where his blues, folk and indie tastes were complemented by a new vocal foil, former music teacher Suzi Dyan, in the Alison Krauss\/Patty Griffin\/Sandy Denny role.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Gospel Plow<\/p>\n

<\/span><\/p>\n

15.<\/strong><\/p>\n

<\/span><\/p>\n

MAVIS STAPLES<\/strong><\/p>\n

<\/span><\/p>\n

Sad And Beautiful World<\/strong><\/p>\n

<\/span><\/p>\n

(ANTI-)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Jeff Tweedy had helped the gospel-soul great find new musical directions and settings on 2010\u2019s\u00a0You Are Not Alone<\/em>, but this 15th solo album was plausibly the best of her 21st century phase. The indie-rock connections extended this time to Bon Iver, Waxahatchee and MJ Lenderman, with Sparklehorse and Kevin Morby songs in the repertoire. But it was Staples\u2019 vision and endurance that dominated; at 86, still a necessarily indefatigable torchbearer for Civil Rights.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Human Mind<\/p>\n

<\/span><\/p>\n

14.<\/strong><\/p>\n

<\/span><\/p>\n

RICH(ARD) DAWSON
End Of The Middle<\/strong><\/p>\n

<\/span><\/p>\n

(DOMINO)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Shortening his name to Rich, for his eighth solo album, signalled the Newcastle seer\u2019s intimate music was only becoming more relatable. Spare guitars and domestic narratives did not materially deflect from the underlying weirdness of Dawson\u2019s work, however. His songs still wandered away from their folk beginnings to prog abstrusion; his lyrics zeroed in on the everyday uncanny, with a headless stationmaster haunting \u201can associate research analyst\u201d.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0The Question<\/p>\n

<\/span><\/p>\n

13.<\/strong><\/p>\n

<\/span><\/p>\n

LITTLE SIMZ<\/strong><\/p>\n

<\/span><\/p>\n

Lotus<\/strong><\/p>\n

<\/span><\/p>\n

(AWAL)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

\u201cI am an electric black girl,\u201d asserted the London rapper on her sixth album. \u201cI\u2019m not the one to test\/I can\u2019t take disrespect.\u201d Here, emphatically, was the proof \u2013 an album simmering with rage and betrayal, made in the wake of a split from her longtime producer, Inflo, over financial conflict (another disgruntled Inflo client, Michael Kiwanuka, guested). Business disputes, though, have rarely fuelled such passionate, compelling \u2013 and funky \u2013 music.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Lion<\/p>\n

<\/span><\/p>\n

12.<\/strong><\/p>\n

<\/span><\/p>\n

ALAN SPARHAWK WITH TRAMPLED BY TURTLES<\/strong><\/p>\n

<\/span><\/p>\n

Alan Sparhawk With Trampled By Turtles<\/strong><\/p>\n

<\/span><\/p>\n

(SUB POP)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

\u201cGrief constantly manifests in new ways, and constantly requires new methods to address it,\u201d wrote MOJO\u2019s reviewer. The Low frontman had first responded to his wife Mimi Parker\u2019s death with the heavily processed electronics of 2024\u2019s\u00a0White Roses, My God<\/em>. Its rapid follow-up, though, matched his raw tones with a Duluth bluegrass band for a radically rootsier,\u00a0Harvest<\/em>-like set, where shared music-making provided a rousing communal response to loss.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Not Broken<\/p>\n

<\/span><\/p>\n

11.<\/strong><\/p>\n

<\/span><\/p>\n

PAUL WELLER<\/strong><\/p>\n

<\/span><\/p>\n

Find El Dorado<\/strong><\/p>\n

<\/span><\/p>\n

(PARLOPHONE)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Weller confided to MOJO in 2024 he was making a covers LP \u2013 provisionally called Small Town Melancholia \u2013 which would give him a break from the all-consuming pressure of songwriting.\u00a0Find El Dorado<\/em>, as it was eventually titled, revelled in that freedom, foregrounding the Guv\u2019nor\u2019s vast enthusiasms as he tackled The Bee Gees, the Flying Burritos,\u00a0Ray Davies<\/a>\u00a0and suitably deeper cuts, with an early \u201970s sepia ambience that reflected the melancholia of the original title.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0One Last Cold Kiss<\/p>\n

<\/span><\/p>\n

10.<\/strong><\/p>\n

<\/span><\/p>\n

WET LEG<\/strong><\/p>\n

<\/span><\/p>\n

Moisturizer<\/strong><\/p>\n

<\/span><\/p>\n

(DOMINO)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Following a hit the size of Chaise Longue has rarely been easy, and the Isle Of Wight\u2019s Wet Leg didn\u2019t always seem entirely committed to the project: \u201cMaybe we could start a band\/As some kinda joke,\u201d sang Rhian Teasdale on the final track of this effortlessly punchy second album. But Moisturizer was fiercer and more muscular, still funny but less whimsical, and with a glut of killer alt-rock anthems.\u00a0 A band energetically reconciled to the long game.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0CPR<\/p>\n

<\/span><\/p>\n

9.<\/strong><\/p>\n

<\/span><\/p>\n

ADRIAN SHERWOOD<\/strong><\/p>\n

<\/span><\/p>\n

The Collapse Of Everything<\/strong><\/p>\n

<\/span><\/p>\n

(ON-U SOUND)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Sherwood\u2019s ominous bassbin rumble has been a subterranean constant in British music for over 40 years, via his On-U Sound imprint. His first solo album in 13 years, The\u00a0Collapse Of Everything<\/em>\u00a0worked as the ideal way for latecomers to find a way into his world of extreme dub science: elegantly zoned-out instrumentals \u2013 incorporating Ethio-jazz and Morricone twang \u2013 that, as MOJO noted, summoned melancholy rather than Armageddon dread.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Dub Inspector<\/p>\n

<\/span><\/p>\n

8.<\/strong><\/p>\n

<\/span><\/p>\n

THE TUBS
Cotton Crown<\/strong><\/p>\n

<\/span><\/p>\n

(TROUBLE IN MIND)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

\u201cIt\u2019s quite fun for me to dredge up my most embarrassing or selfish moments,\u201d Tubs frontman Owen Williams admitted in\u00a0MOJO 376<\/a>. The second Tubs album was emotionally visceral, too, with a full-pelt intensity \u2013 think H\u00fcsker D\u00fc meets\u00a0Richard Thompson<\/a>\u00a0\u2013 that made them instant MOJO favourites. Also essential from 2025: Tubs twin band Ex-V\u00f6id\u2019s\u00a0In Love<\/em>, where Williams ceded most of the frontperson duties to Lan McArdle, tonally Linda Thompson to his Richard.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Freak Mode<\/p>\n

<\/span><\/p>\n

7.<\/strong><\/p>\n

<\/span><\/p>\n

ROBERT FORSTER
Strawberries<\/strong><\/p>\n

<\/span><\/p>\n

(TAPETE)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

If 2023\u2019s\u00a0The Candle And The Flame<\/em>\u00a0documented Forster and family creatively responding to his wife Karin B\u00e4umler\u2019s cancer diagnosis, solo album number nine was less overtly personal; an album of fictions and innovations, recorded in Sweden with producer Peter Mor\u00e9n (of Peter, Bj\u00f6rn & John). Cue, then, tales of noisy sex and gay crushes, uninhibited yelps and jazz-punk skronk; a songwriting craftsman investigating new territory without ever compromising his authentic voice.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Breakfast On The Train<\/p>\n

<\/span><\/p>\n

6.<\/strong><\/p>\n

<\/span><\/p>\n

STEREOLAB<\/strong><\/p>\n

<\/span><\/p>\n

Instant Holograms On Metal Film<\/strong><\/p>\n

<\/span><\/p>\n

(DUOPHONIC)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Six years of reunion touring laid the groundwork for the 11th Stereolab album, and their first since 2010. From the title down,\u00a0Instant Holograms\u2026<\/em>\u00a0illustrated how L\u00e6titia Sadier, Tim Gane and co could still deploy so many elaborate musical and lyrical concepts with such stainless avant-pop ease. Recorded by Bitchin Bajas\u2019 Cooper Crain, and an album to stand comparison with key \u2018Lab work like 1999\u2019s\u00a0Cobra And Phases Group<\/em>\u2026<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Immortal Hands<\/p>\n

<\/span><\/p>\n

5.<\/strong><\/p>\n

<\/span><\/p>\n

ANNIE AND THE CALDWELLS<\/strong><\/p>\n

<\/span><\/p>\n

Can\u2019t Lose My (Soul)<\/strong><\/p>\n

<\/span><\/p>\n

(LUAKA BOP)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Next to most of 2025\u2019s comeback kids, Annie Caldwell took even longer to return to the musical fray \u2013 50 years since she debuted as part of The Staples Jr Singers. Caldwell\u2019s faith, energy and musical gifts hadn\u2019t diminished in the intervening half century, though, as this debut from her multi-generation family band became a gospel-soul crossover sensation. And as their ecstatic longform jams suggested, Caldwells gigs were even more transporting \u2013 for unbelievers, too.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0I Made It<\/p>\n

<\/span><\/p>\n

4.<\/strong><\/p>\n

<\/span><\/p>\n

BIG THIEF<\/strong><\/p>\n

<\/span><\/p>\n

Double Infinity<\/strong><\/p>\n

<\/span><\/p>\n

(4AD)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

It can be hard to remember that Big Thief have only existed for a decade, so swiftly did they become serious players in US indie rock. This sixth album was their first as a trio, but their sound and communal vibes expanded rather than contracted, the mantric folk-rock grooves and hippy trim \u2013 guest ululations from Laraaji \u2013 adding further cosmic depth and grandeur to Adrianne Lenker\u2019s ineffably human, poetically vivid voice and lyrics.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Los Angeles<\/p>\n

<\/span><\/p>\n

3.<\/strong><\/p>\n

<\/span><\/p>\n

CMAT<\/strong><\/p>\n

<\/span><\/p>\n

Euro-Country<\/strong><\/p>\n

<\/span><\/p>\n

(AWAL)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

\u201cThis is making no sense to the average listener,\u201d Ciara Mary-Alice Thompson \u2013 aka CMAT \u2013 claimed halfway through The Jamie Oliver Petrol Station. But part of the genius of CMAT\u2019s third album was the infectious energy and sharp tunes with which she universalised her internal dialogues and parochial references. Irish indie country-pop was the jump-off point; credible, funny and emotionally astute superstardom was the inevitable \u2013 and totally deserved \u2013 final destination.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0The Jamie Oliver Petrol Station<\/p>\n

<\/span><\/p>\n

2.<\/strong><\/p>\n

<\/span><\/p>\n

SUEDE
Antidepressants<\/strong><\/p>\n

<\/span><\/p>\n

(BMG)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

Relatively old hands at the Britpop reunion business, having reformed in 2010, Suede\u2019s fifth album of their second act made clear the band were still going from strength to strength.\u00a0Antidepressants<\/em>\u00a0built on the reset of 2022\u2019s\u00a0Autofiction<\/em>, its soundworld closer to the band\u2019s \u201980s adolescences rather than their \u201990s success: pounding, post-punk anthems with blood ties to\u00a0The Cult<\/a>, Killing Joke, Magazine and\u00a0PiL<\/a>. Windswept romantics forever!<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Dancing With The Europeans<\/p>\n

<\/span><\/p>\n

1.<\/strong><\/p>\n

<\/span><\/p>\n

PULP<\/strong><\/p>\n

<\/span><\/p>\n

More<\/strong><\/p>\n

<\/span><\/p>\n

(ROUGH TRADE)<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

When\u00a0Jarvis Cocker<\/a>\u00a0rhymed \u201cvicars\u201d with \u201cknickers\u201d a couple of songs after dropping a reference to Ingmar Bergman into the end of comeback single Spike Island,\u00a0it was apparent that at least one of\u00a0Pulp\u2019s idiosyncratic missions \u2013 loosely, to make existential crisis out of bedroom farce, or bedroom farce out of existential crisis \u2013 remained intact.<\/p>\n

<\/span><\/p>\n

The band\u2019s first new album in 24 years.\u00a0More<\/em>_,_\u00a0of course, also presented a\u00a0more\u00a0reflective\u00a0Pulp\u00a0\u2013 it being 30 years since they headlined Glastonbury at their\u00a0Common People\u00a0peak, and 27 since the harrowing morning-after comedown of\u00a0This Is Hardcore<\/em>. But there was also a vibrational energy coursing through the album, exemplified by the dancefloor epiphany of Got To Have Love, and Cocker\u2019s warning that \u201cWhen love disappears\/ Life disappears\/ & you sit on your backside\/ For 25 years.\u201d<\/p>\n

<\/span><\/p>\n

Speaking to\u00a0MOJO 379<\/a>, in the band\u2019s first interview in over two decades, Cocker insisted that\u00a0More<\/em>\u00a0hadn\u2019t been\u00a0\u201cconceived as our big full stop\u201d<\/a>. Indeed, much like\u00a0The Ballad Of Darren<\/em>\u00a0from their old Britpop compadres Blur<\/a> (MOJO\u2019s album of 2023<\/a>, incidentally), it was one of those rare reunion records: one that transcends nostalgia to actually enhance a band\u2019s legacy.<\/p>\n

<\/span><\/p>\n

Standout track:<\/strong>\u00a0Spike Island<\/p>\n

<\/span><\/p>\n

The MOJO Review Of 2025!<\/h3>\n

<\/span><\/p>\n

Get the new issue of MOJO to read the full list of the 75 best albums of the year, 2025\u2019s best reissues, music books and films, and the pick of the best genre records selected by our specialist experts. Plus! A CD featuring the year’s best tracks! More info and to order a copy HERE<\/a><\/strong>!<\/p>\n

<\/span><\/p>\n

<\/div>\n

<\/p>\n

*This list was voted for by MOJO’s writers, reviewers and genre experts including: John Aizlewood, Martin Aston, Mike Barnes, Mark Blake, Glyn Brown, Jenny Bulley, John Bungey, Keith Cameron, Chris Catchpole, Stevie Chick, Andy Cowan, Grayson Haver Currin, Max D\u00e9charn\u00e9, Tom Doyle, Danny Eccleston, David Fricke, Andy Fyfe, Pat Gilbert, John Harris, Ian Harrison, David Hutcheon, Will Hodgkinson, Jim Irvin, David Katz, Ted Kessler, Andrew Male, James McNair, Bob Mehr, John Mulvey, Lucy O\u2019Brien, Mark Paytress, Andrew Perry, Jon Savage, Victoria Segal, Michael Simmons, Sylvie Simmons, Mat Snow, Ben Thompson, Kieron Tyler, Charles Waring, Roy Wilkinson, Lois Wilson, Jim Wirth, Stephen Worthy.<\/em><\/p>\n

<\/span><\/div>\n

\u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n

\u2018 Some details of this article were extracted from the following source www.mojo4music.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Admittedly, we do get excited about MOJO\u2019s essential review of the year each time December rolls around, but 2025 really has proved to be a vintage one when it comes to new releases. Alongside highlights by returning \u201890s heroes Suede, Pulp and Stereolab, we\u2019ve been thrilled by soon-to-be-classics being laid down by the likes of […]<\/p>\n","protected":false},"author":2,"featured_media":2186870,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25179],"tags":[],"class_list":["post-2186869","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2025\/12\/MOJOs-must-have-records-of-the-year.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2186869","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2186869"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2186869\/revisions"}],"predecessor-version":[{"id":2186871,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2186869\/revisions\/2186871"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2186870"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2186869"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2186869"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2186869"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}