1000 gecs contains the weirdest and wildest combinations of sounds I've heard this year.
Fever sort of serves as a bold character portrait for Megan Thee Stallion, but more importantly, it's catchy as fuck.
TFS's unique brand of art punk gets even vivider on Braindrops.
Malibu Ken is pure fun for total weirdos.
With their self-titled debut, The Highwomen prove themselves to be a versatile country supergroup with a unique perspective.
Flume's full-length followup to 2016's Skin takes a very welcome turn for the experimental.
PUP solidifies itself as one of this decade's best pop punk acts with Morbid Stuff.
Hiding Places is Billy Woods' most personally cutting project so far.
Pyroclasts' improvisational concept yields Sunn O)))'s most stimulating set of drones all decade.
The Origin of My Depression is one of the most harrowing offerings in experimental music this year. Profoundly disturbing and not for the faint of heart.
With Sonic Citadel, the two Brians successfully take Lightning Bolt's sound in a more melodic and accessible direction.
A Long Red Hot Los Angeles Summer Night contains quite a bit of Blu and Oh No's best work to date.
I’m not disappointed. That’s for sure.
For the most part, uknowhatimsayin¿ is an amusingly subversive update on some classic rap formulas.
Lana Del Rey improves as a songwriter by leaps and bounds on NFR.
GINGER is a return to form for the BROCKHAMPTON boys, albeit a decidedly downcast one.
David Berman's wryly depressive (or depressively wry) songwriting seems to have only gotten sharper during his decade away from music.
It's hard to deny just how sweet, cleanly produced, and fantastical the bulk of Pang is.
Sweetener is no longer Ariana Grande's strongest album.
Beyoncé pulls out all the stops on HOMECOMING, a live album of epic proportions.
Freddie and Madlib continue to bring out the best in each other on Bandana.
Despite some structural shortcomings, Guns is a great work of politically-charged jazz rap.
Even after 25 years, Matmos is creating some of the most fun and inventive electronic music you'll hear in your life.
Make room in your annual Halloween-time music rotation for Clipping's latest.
The Comet Is Coming is doing its part to bring jazz into the next decade.
Though it succumbs to some trends and has a bit of a loose framework, Lizzo's latest album is still a fantastic fusion of rap and soul music.
A Quiet Farwell is an inventive and consistently stimulating collage of underground hip hop and various strands of abstract music.
On his debut album, slowthai proves himself to be an exciting new voice in the UK hip hop landscape.
Right out of the gate, black midi has crafted one of the decade's most creative rock albums.
It's a shame that the popularity and promotion behind Billie Eilish has poisoned the well a bit, as When We All Fall Asleep is actually an artful, well-crafted, and unique pop album.
King Gizzard takes a successful swing at thrash metal on their second album of 2019.
Weyes Blood comes through with an immaculately produced and performed baroque pop album in Titanic Rising.
Flamboyant is a distillment of what has made bubblegum bass so interesting over the past few years, as well as an apt commentary on gender politics.
Alex Cameron has a talent for writing witty and smart songs about love and masculinity from a male perspective.
The fourth installment of Matana Roberts' COIN COIN series is instantly one of the decade's most compelling jazz projects.
H.A.Q.Q. is the culmination of all of Hunter Hunt-Hendrix's musical innovations this decade.
Though Grey Area isn't the most cutting-edge rap album out there, there's not a spot on it where Little Simz falters even slightly.
Caligula is an even more incredible journey to hell than its predecessor.
Richard Dawson outdoes himself with this modernist spiritual successor to 2017's Peasant.
IGOR is easily one of the best breakup albums of the decade.
Charli is a near-perfect balance of trusty pop formulas and PC Music experimentalism.