'Iridescence' feels like Brockhampton have regrouped musically to create a great, if not perfect, representation and platform to build on.
Clark is similarly focused on ensuring that each track is projected from a different angle than on the original record, and this is where ‘Masseducation’ gets interesting.
Nao is entirely galactic on this record – there is an omnipresent sensation of otherness throughout the album. Whether it be in the trademark effluvient vocal or in the consistently atmospheric and glistening instrumental, ‘Saturn’ is spacial.
Black Panther: The Album is an instantly enjoyable project that allows its featured artists to shine under the watchful eyes and ears of Kendrick Lamar.
Albarn on Britain is a proven formula, but Simonon, Allen and Simon Tong combine to craft curious twenty-first century folk about curious twenty-first century folk.
A slow burn of an album, ‘Broken Politics’ artfully cuts through a turbulent, noisy world.
‘Tha Carter V’ was never going to be flawlessly executed - the odds were too stacked against it - but it certainly gives the audience the thrill we were hoping for. It’s a return to form, and a triumphant return for one of the greatest of all time.
Even if the delivery is often delicate, the record’s deft lyricism is arresting and unflinching.
'Dirty Computer' captures the plight of today's outsiders who are fighting back, forming the world to be. Monáe is 10 steps ahead, past the Trump era, embracing the robot-utopia that gives hope to an unprejudiced and equal world. She´s already there - now the rest of us have to catch up.
Absorbing ‘Scorpion’s 90-minute run time in one sitting is a big ask, but the ratio of good to bad here is impressively in Drake’s favour.
Like a magic eye puzzle falling into place, ‘I’m All Ears’ has only slightly shifted the band’s focus, but suddenly it all makes sense.
Hynes creates an elegant sadness that is balanced and ultimately flawless.