{"id":2258748,"date":"2026-01-30T21:10:39","date_gmt":"2026-01-30T21:10:39","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2258748"},"modified":"2026-01-30T21:10:39","modified_gmt":"2026-01-30T21:10:39","slug":"music-of-the-month-the-best-albums-and-tracks-of-january-2026","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/music-of-the-month-the-best-albums-and-tracks-of-january-2026\/","title":{"rendered":"Music of the Month: The Best Albums and Tracks of January 2026"},"content":{"rendered":"<p><\/p>\n<div id=\"post-266108\">\n<p>\t\t\t\t\t<!-- Mobile Top Jump To Links --><\/p>\n<div class=\"lead-text\">\n<p class=\"wp-block-thequietus-snippet excerpt\">With 2026 off to a flyer (musically at least), tQ&#8217;s staffers select the albums and tracks that stood out in January<\/p>\n<\/p><\/div>\n<figure class=\"lead-image m-0\">\n<div class=\"d-flex justify-content-center\">\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t<\/div>\n<\/figure>\n<div class=\"entry-content\" style=\"content-visibility: auto;contain-intrinsic-size: auto 14963px;\">\n<p>There was a time when compiling a best-of list for January felt like scraping the barrel, artists and labels holding fire on their best music until the blossoming of snowdrops and the renewal of post-festive energy. Not so in 2026, as already we\u2019ve been treated to several records that will be best of the year contenders come next winter, as you can find below.<\/p>\n<p>Everything you\u2019ll find below, as well as all the other excellent music we\u2019ve covered at tQ this month, will be compiled into an hours-long playlist exclusive to our subscribers. In addition, subscribers can enjoy exclusive music from some of the world\u2019s most forward-thinking artists, regular deep-dive essays, a monthly podcast, specially-curated \u2018Organic Intelligence\u2019 guides to under-the-radar international sub-genres, and more.<\/p>\n<p>To sign up for all those benefits, and to help us keep bringing you the kind of music you\u2019re about to read about below, you can click\u00a0<a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thequietus.com\/subscribers\/\">here<\/a>. Read on below for the best of the best from January 2026.<\/p>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1960595182\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=5674\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/drycleaning.bandcamp.com\/album\/secret-love\">Secret Love by Dry Cleaning<\/a><\/iframe><\/p>\n<p>\u201cThe objects outside the head control the mind,\u201d says Dry Cleaning\u2019s Florence Shaw, less than a minute into\u00a0<em>Secret Love<\/em>. \u201cTo arrange them is to control people\u2019s thinking.\u201d At first, it\u2019s easy to view this line merely as one of many others. Shaw\u2019s writing has always offered tightly crafted little vignettes that briefly emerge and then disappear to make way for another. And yet, as\u00a0<em>Secret Love<\/em>\u00a0progresses in this way, knotty and complex, it\u2019s that first line that I keep returning to. \u201cThe objects outside the head control the mind\u201d emerges gradually as the theme of the record writ large. The mind and the head in question \u2013 the one being \u201chit all day\u201d, as the name of the opening track has it \u2013 are Shaw\u2019s own. It\u2019s a mercurial mind, flittering from moments of confidence to self-consciousness, from longing desperately for connection to revelling in it, from piercing observation to meandering half-thoughts. Outside it swirl the things that control it in one way or the other, for better and worse \u2013 the devotion of a loved one or the joy of organisation on the one hand; sinister influencers, warmongers, and societal expectation on the other.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/track=1446053603\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/infraredrecordsinc.bandcamp.com\/track\/plastic-princess\">Plastic Princess by MPTL Microplastics<\/a><\/iframe><\/p>\n<p>With a healthy word-of-mouth buzz, a slew of legendary live shows, and a percussionist who seems to prefer drumming on beer kegs than bongos, MPTL Microplastics\u2019 debut album,\u00a0<em>Sod In Heaven<\/em>, seeks to bottle a raucous, unpredictable and beguiling live band into an LP. The result is a satisfying record that runs the tricky gamut between musical freedom and maturity. Tracks capture the capricious mania of a MPTLM live show, with just the right amount to be desired. Noise rock, post punk, outsider music and krautrock crash at the ship\u2019s bough. A series of Windmill scene adjacent soup\u00e7ons are palpable, like the sprechgesang that clips the mix on the album\u2019s title track, or the Fall adjacent \u2018Sex Pol\u2019, which sees crepuscular woodwind scales reach up like rickety treefingers and prod at a grimly repetitive baseline.\u202f<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3772930616\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/pvaareok.bandcamp.com\/album\/no-more-like-this\">No More Like This by PVA<\/a><\/iframe><\/p>\n<p>Part of PVA\u2019s consistency comes from ongoing self-sampling that the band have used since the start. Stems crop up from past songs in this new album, including the choral end to \u2018Rain\u2019 that\u2019s a stack of all three band members\u2019 voices from a different song they made years ago. Deftly plied out of the stereo file, the only version they had left, the splintered stem has a ghostly texture. Other elements are drawn out of the album demo file they started three years ago, that included mashed up synths from \u2018Exhaust \/ Surroundings\u2019, that I seem to hear everywhere in PVA\u2019s work.\u00a0<em>No More Like This<\/em>\u00a0sees the familiar and unfamiliar shake hands, like a hallucinatory introduction between friends.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1315167578\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/thesoftpinktruth.bandcamp.com\/album\/can-such-delightful-times-go-on-forever\">Can Such Delightful Times Go On Forever? by The Soft Pink Truth<\/a><\/iframe><\/p>\n<p><em>Can Such Delightful Times Go On Forever?<\/em> evades binary categories. Funkiness sneaks into the ornate, dissonance duels with the genteel, ostentatious sweeps of cinematic pomp deflate into cartoonish tangles. It\u2019s most potent on \u2018Phrygian Ganymede\u2019 where angelic flurries lead into keening violins before a downpour of chaotic piano, dissonant strings and Zach Rowden (from the duo Tongue Depressor)\u2019s growling bass. The track exists as peculiar bridge \u2013 both avant-garde and possible soundtrack to clownish farce. Even when Drew Daniel steps furthest into abstraction, it never feels like pretensions towards aloof, high art alienation.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2925926505\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/xiuxiu.bandcamp.com\/album\/xiu-mutha-fuckin-xiu-vol-1\">Xiu Mutha Fuckin&#8217; Xiu: Vol. 1 by Xiu Xiu<\/a><\/iframe><\/p>\n<p>What drives an artist to remake another\u2019s work? On reflection it is probably a desire to undergo a multidimensional process: to replicate or learn from techniques and technologies found in the original artefact, a notion that a new time births new perspectives that only the remaker can impart, a desire to scratch an itch that wants to embellish, or destroy, or to remake and remodel the original, and then to display it again. Still: why put so much effort into something that has already been done? From Rubens copying Titian to\u00a0Xiu\u00a0Xiu\u2019s new album of cover versions, this question will always remain at some level. In scratching their own itch,\u00a0Xiu\u00a0Xiu\u00a0have made a brave record and one which we, in turn, can employ to our own ends.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" data-lazy-src=\"https:\/\/open.spotify.com\/embed\/album\/3InmPui8pj47JAOOu1e4GR?utm_source=generator\"><\/iframe><\/p>\n<p>13 studio albums and a couple of mixtapes down, New York rap elder Roc Marciano still sounds as sharp and combustible as ever on <em>656<\/em>. It\u2019s his first fully self-produced LP since 2013\u2019s <em>Marci Beaucoup<\/em>, and is littered with the kind of hazy, lo-fi, jazz-inflected loops that have long provided impeccable accompaniment to his uniquely acerbic trash-talking rhymes. Opener \u2018Trick Bag\u2019 rolls out with an effortless swagger as fuzzy organ melodies and unfussy drum patterns combine with Marci\u2019s villainous wordplay that references a cast as wide-ranging as US figure skater\u00a0Kristi Yamaguchi and <em>Looney Tunes<\/em> character Elmer Fudd. On \u2018Yves St. Moron\u2019, mellow horn-aided loops rub up against the rapper\u2019s sneering takedowns of the competition (\u201cRappers looking like maggot dinner on <em>Fear Factor<\/em>\u201d) and reminders of his own high-flying standards (\u201cVS Patek, but that\u2019s only if it\u2019s factory set\u201d). As he passes more than two decades in the game, having first emerged in 2005 as a member of Busta Rhymes\u2019 Flipmode Squad, <em>656 <\/em>is proof that Marci is still making some of the most thrilling and vital music of his career.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=456778645\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/cravenfaults.bandcamp.com\/album\/sidings\">Sidings by Craven Faults<\/a><\/iframe><\/p>\n<p>Craven Faults is known for his anonymity, giving rare, select live performances without revealing his identity. He plays with his back, for the most part, to the audience, while manipulating a wall of analogue modular synthesisers. Over the course of several EPs and one other full-length album, he has built a strong following for his deeply atmospheric tracks which express the Yorkshire landscape from which he presumably hails. His new album,\u00a0<em>Sidings<\/em>, moves into more stately, sombre territory which suits his simple, yet multi-layered sound down to the stoney Yorkshire ground.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" data-lazy-src=\"https:\/\/open.spotify.com\/embed\/album\/3PVx0nf16eZmTOiTu33UaK?utm_source=generator\"><\/iframe><\/p>\n<p>The death of Stepa J. Groggs in 2020, aged just 32, saw the end of Injury Reserve, the breathlessly creative experimental hip hop outfit of which he formed one-third. By Storm is partly a successor project by surviving members Parker Cory and RiTchie, but also feels like something entirely different, both a continuation and a new beginning. Where Injury Reserve were carried by maximalist energy, By Storm\u2019s debut album is more meditative. The same sense of breathless creativity remains \u2013 this is a record of extraordinary sonic scope, and meditation doesn\u2019t necessarily mean lack of impact \u2013 but it\u2019s channeled through a more experimental haze, flittering from hard-hitting beats and staccato bars to sweeping minimalist sound design, to an explosion of enveloping noise on penultimate track \u2018And I Dance\u2019, to a moment of disarmingly tender contemplation on closer \u2018GGG\u2019.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=467066687\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/dialect-trax.bandcamp.com\/album\/full-serpent\">Full Serpent by Dialect<\/a><\/iframe><\/p>\n<p>The title track on Dialect\u2019s latest LP sounds like an experiment: several tapes played simultaneously, cut-up vocals that are both folk and retro-futuristic. Processed voices, cicadas somewhere in the background \u2013 on the edge of civilisation. Sounds like android reflections and experiences of the world in a post-apocalyptic scenario. A delicate bass line, then a rhythmic buzzing in the background, scraps of something between post-opera and autotune, forming a phantasmal song. At the end, the electronics gradually fade away: all that remains is a barely perceptible line in the background, machine reverberations, screams, and a melancholic piano part in the foreground. Antiquity meets futurism here. The tools are thoroughly technoid and electrified but arranged in song forms \u2013 perhaps folk \u2013 filled with emotion.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><iframe style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\" data-lazy-src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2601202760\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/erikhall.bandcamp.com\/album\/solo-three\">Solo Three by Erik Hall<\/a><\/iframe><\/p>\n<p>When Erik Hall returns to Steve Reich,\u00a0<em>Solo Three<\/em>\u00a0finds its footing. He closes the record with \u2018Music For A Large Ensemble\u2019, which showcases his technical skill while finally achieving that flow state. Here, his carefully woven lattices and staccato notes propel the music toward a brilliant climax that foregrounds the grooviness hidden within these clear-cut patterns, leading to a real sense of immediacy. Minimalism is so many things, but it\u2019s at its best when it becomes a place in which to become through the act of listening \u2013\u00a0a journey worth taking over and over again.<\/p>\n<\/div>\n<\/div>\n<h2 class=\"wp-block-heading\"><strong>TRACKS<\/strong><\/h2>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><span class=\"flying-press-youtube\" data-src=\"https:\/\/www.youtube.com\/embed\/jBKJbedSrA0?si=pNvk58t68LLycT-2&amp;autoplay=1\" onclick=\"load_flying_press_youtube_video(this)\"><br \/>\n        <img decoding=\"async\" src=\"https:\/\/thequietus.com\/app\/cache\/flying-press\/032d41b76e42c8f08f28251b5c8caf20.jpg\" width=\"1280\" height=\"720\" alt=\"YouTube video player\" loading=\"lazy\" fetchpriority=\"low\"\/><br \/>\n        <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"68\" height=\"48\"><path fill=\"red\" d=\"M67 8c-1-3-3-6-6-6-5-2-27-2-27-2S12 0 7 2C4 2 2 5 1 8L0 24l1 16c1 3 3 6 6 6 5 2 27 2 27 2s22 0 27-2c3 0 5-3 6-6l1-16-1-16z\"\/><path d=\"M45 24L27 14v20\" fill=\"#fff\"\/><\/svg><br \/>\n        <\/span><\/p>\n<p>Taking square aim at the misogynoir woven through the nonsense \u201cindustry plant\u201d allegations levelled at her since the success of 2024 album\u00a0<em>Alligator Bites Never Heal<\/em>, Doechii kicks off 2026 with this intoxicating link-up with SZA.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><span class=\"flying-press-youtube\" data-src=\"https:\/\/www.youtube.com\/embed\/HZfD2EjD04k?si=HblL5PjOZn0TE_rC&amp;autoplay=1\" onclick=\"load_flying_press_youtube_video(this)\"><br \/>\n        <img decoding=\"async\" src=\"https:\/\/thequietus.com\/app\/cache\/flying-press\/cd507cdf360ef3782b7115c919a0604e.jpg\" width=\"1280\" height=\"720\" alt=\"YouTube video player\" loading=\"lazy\" fetchpriority=\"low\"\/><br \/>\n        <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"68\" height=\"48\"><path fill=\"red\" d=\"M67 8c-1-3-3-6-6-6-5-2-27-2-27-2S12 0 7 2C4 2 2 5 1 8L0 24l1 16c1 3 3 6 6 6 5 2 27 2 27 2s22 0 27-2c3 0 5-3 6-6l1-16-1-16z\"\/><path d=\"M45 24L27 14v20\" fill=\"#fff\"\/><\/svg><br \/>\n        <\/span><\/p>\n<p> \u2018Wor Jackie\u2019 sees Knats take fellow Geordie and legendary footballer Jackie Milburn, who it\u2019s said would divide his time between the coal mine and Newcastle Football Club, as an avatar for the North East everyman, setting urgent, breathless poetry from Cooper Robson to a caterwhaul of sax-driven jazz. It\u2019s also produced by another Geordie (in name at least), former Black Midi man Greep.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><span class=\"flying-press-youtube\" data-src=\"https:\/\/www.youtube.com\/embed\/3OQvTkjGdJs?si=cXU2qEbo3hud2v6t&amp;autoplay=1\" onclick=\"load_flying_press_youtube_video(this)\"><br \/>\n        <img decoding=\"async\" src=\"https:\/\/thequietus.com\/app\/cache\/flying-press\/840e10e87730843ae0af2825fef0fde1.jpg\" width=\"1280\" height=\"720\" alt=\"YouTube video player\" loading=\"lazy\" fetchpriority=\"low\"\/><br \/>\n        <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"68\" height=\"48\"><path fill=\"red\" d=\"M67 8c-1-3-3-6-6-6-5-2-27-2-27-2S12 0 7 2C4 2 2 5 1 8L0 24l1 16c1 3 3 6 6 6 5 2 27 2 27 2s22 0 27-2c3 0 5-3 6-6l1-16-1-16z\"\/><path d=\"M45 24L27 14v20\" fill=\"#fff\"\/><\/svg><br \/>\n        <\/span><\/p>\n<p>The first taste of Denzel Curry\u2019s new collective \u2013 comprising himself, A$AP\u00a0Ferg,\u00a0Bktherula,\u00a0TiaCorine and\u00a0Key\u00a0Nyata \u2013 is an incendiary blend of withering, trash-talking bars and feverish trap beats that build on the sounds Curry explored on his excellent 2024 mixtape\u00a0<em>King Of The Mischievous South Vol. 2<\/em>.<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><span class=\"flying-press-youtube\" data-src=\"https:\/\/www.youtube.com\/embed\/amT1tTLpzm8?si=wupHTcLPZpJy6Jfo&amp;autoplay=1\" onclick=\"load_flying_press_youtube_video(this)\"><br \/>\n        <img decoding=\"async\" src=\"https:\/\/thequietus.com\/app\/cache\/flying-press\/f57ab54ad830954c38c8d38885b345e9.jpg\" width=\"1280\" height=\"720\" alt=\"YouTube video player\" loading=\"lazy\" fetchpriority=\"low\"\/><br \/>\n        <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"68\" height=\"48\"><path fill=\"red\" d=\"M67 8c-1-3-3-6-6-6-5-2-27-2-27-2S12 0 7 2C4 2 2 5 1 8L0 24l1 16c1 3 3 6 6 6 5 2 27 2 27 2s22 0 27-2c3 0 5-3 6-6l1-16-1-16z\"\/><path d=\"M45 24L27 14v20\" fill=\"#fff\"\/><\/svg><br \/>\n        <\/span><\/p>\n<p>Off-kilter, angular crunchiness from one-half of Los Thuthanaka that comes off like an electric guitar dropped in a combine harvester, shedding splinters of harmony here and there. Strangely affecting!<\/p>\n<\/div>\n<\/div>\n<div class=\"chart-item align wp-block-tqblock-chart-entry\">\n<div class=\"acf__innerblocks\">\n<p><span class=\"flying-press-youtube\" data-src=\"https:\/\/www.youtube.com\/embed\/PCSh4x1QWEM?si=9U3lP6azcbDgZdfU&amp;autoplay=1\" onclick=\"load_flying_press_youtube_video(this)\"><br \/>\n        <img decoding=\"async\" src=\"https:\/\/thequietus.com\/app\/cache\/flying-press\/bd1d7df01ef12e9c78239247d5b8d89e.jpg\" width=\"1280\" height=\"720\" alt=\"YouTube video player\" loading=\"lazy\" fetchpriority=\"low\"\/><br \/>\n        <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"68\" height=\"48\"><path fill=\"red\" d=\"M67 8c-1-3-3-6-6-6-5-2-27-2-27-2S12 0 7 2C4 2 2 5 1 8L0 24l1 16c1 3 3 6 6 6 5 2 27 2 27 2s22 0 27-2c3 0 5-3 6-6l1-16-1-16z\"\/><path d=\"M45 24L27 14v20\" fill=\"#fff\"\/><\/svg><br \/>\n        <\/span><\/p>\n<p>Aided by a majestically employed sample of Burial\u2019s \u2018Rival Dealer\u2019 and Fakemink\u2019s sad boy\u00a0ruminating on the trappings of increased fame, \u2018FML.\u2019 is a highlight of new mixtape\u00a0<em>The Boy Who Cried Terrified.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<p>\t\t\t\t\t\t<!-- Mobile Bottom Fixed Next Button --><\/p>\n<p>\t\t\t\t\t\t<!-- Desktop Bottom Next Button --><\/p><\/div>\n<p><script type=\"text\/plain\" data-cookieconsent=\"marketing\">\n\t  !function(f,b,e,v,n,t,s)\n\t  {if(f.fbq)return;n=f.fbq=function(){n.callMethod?\n\t  n.callMethod.apply(n,arguments):n.queue.push(arguments)};\n\t  if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0';\n\t  n.queue=[];t=b.createElement(e);t.async=!0;\n\t  t.src=v;s=b.getElementsByTagName(e)[0];\n\t  s.parentNode.insertBefore(t,s)}(window, document,'script',\n\t  'https:\/\/connect.facebook.net\/en_US\/fbevents.js');\n\t \u00a0fbq('init', '915192336834721');\n\t  fbq('track', 'PageView');\n\t  fbq('track', 'ViewContent');\t<\/script><\/p>\n<p><em> \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n<p><em> \u2018 Some details of this article were extracted from the following source thequietus.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>With 2026 off to a flyer (musically at least), tQ&#8217;s staffers select the albums and tracks that stood out in January There was a time when compiling a best-of list for January felt like scraping the barrel, artists and labels holding fire on their best music until the blossoming of snowdrops and the renewal of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2258749,"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-2258748","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/01\/Music-of-the-Month-The-Best-Albums-and-Tracks-of.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2258748","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=2258748"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2258748\/revisions"}],"predecessor-version":[{"id":2258750,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2258748\/revisions\/2258750"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2258749"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2258748"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2258748"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2258748"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}