Life Metal resonates in the surrounding air particles long after the last track concludes, and will reverberate in the minds of listeners longer still. A truly magnificent, very real, and ultimately restorative record.
This is easily one of the best pop albums of the year as it is.
Inside The Rose is a wonder. A beautiful, dramatic, idiosyncratic album.
There might be more anger, darkness and politics on this album but Giants Of All Sizes shows they are still fundamentally one of the best bands around at offering consolation and comfort when the surrounding turbulence threatens to get too much.
Lost Girls is hardly uncharted territory, yet Khan manages to embolden it with her canny narrative, some truly beautiful sonic touches and her trademark gorgeous harmonies.
This album, though not what anybody on the face of the Earth would call ‘fun’, is an absolute classic of modernist architecture. It’s certainly the best thing she’s ever done.
Serfs Up! is ... an oddly neutered beast, lacking passion while veering towards the cliff-edge of credibility and acceptance. There are moments of brilliance and experimentation, but these are too often outweighed by pedestrian tunes and indistinct vocals.
thank u, next is a very accomplished album which showcases Grande’s inner strength and emotional maturity in the face of the undeniably harrowing trauma she has suffered in the past couple of years. Forget Grande: This album is a Venti, with an extra shot.
These songs might not be his most immediate, but House Of Sugar, it rewards repeated listening as these songs start to reveal their hidden depths with every listen.
No Home Record is the sort of record that will satisfy both Sonic Youth fans wanting a shot of nostalgia, and those who wish to see Gordon moving forward.
The combined effect is that of an artist at the top of his game, with the newfound artistic freedom that Konnichiwa granted him but the energy of still having something to prove.
In a year where R&B and hip hop have proved the most innovative and original genres Solange has delivered a brilliantly crafted record that places her right at the top.
Overall The Book Of Traps And Lessons is best with a healthy dose of thoughtfulness and nuance, and while it falters on the occasions when these are disregarded, this album is another example of why Tempest’s spoken-word works now routinely amplify well beyond her poetic beginnings.
It is thrilling, a whirlwind of textures wrapped up in a relatively short run-time, with a sonic consistency that wasn’t always present in 2017’s World Eater.
For most Big Thief fans, UFOF is a natural, welcome progression, and one that you likely won’t want to tear yourself away from.
It’s the culmination of ideas being slowly refined over a period of years and a careful merging of a wide range of musical influences.
It seems unfair to describe this as The Twilight Sad’s masterpiece as, truth be told, they haven’t made a bad record in their career – but this certainly feels like a ‘moment’, the time where they step up and deliver a truly special album.
The Centre Won’t Hold sees them as vital, compelling and as searingly relevant as ever.
While it never quite hits the musical heights of 1989 or Red, Lover feels like a necessary recalibration after Reputation. It’s an album that screams out for an editor, but when it hits the right notes, it demonstrates just why Taylor Swift is one of the biggest pop stars in the world.
It’s an intriguing album with few dips, and it adds up to Tyler, The Creator’s best work to date.
With CALIGULA, Kristin Hayter (aka LINGUA IGNOTA) has delved deep into themes of control, domestic abuse, violence, vengeance, depravity, love and most importantly, transformation to create a truly unsettling yet hugely rewarding album.
It’s rare to hear a debut album so confident and accomplished, especially when the artist himself has just turned 20 years old. Yet Psychodrama is pretty close to a masterpiece and raises the bar for a new standard in British rap.
If you’re willing to invest the time, there’s plenty to enjoy in Father Of The Bride. Although they may have been away for six years, it’s the sound of a band re-centring themselves.
With its 16 tracks clocking in at 63 minutes, it’s the band’s longest album to date and, despite a smattering of classy highlights, it feels laboured and cumbersome.
Magdalene is an album that, like FKA twigs herself, defies both genre and classification.
At over an hour long, this isn’t an album to dip in and out of – it’s that rare album that you have to commit to, and let it wash over you.
By this point, she’s probably preaching to the converted, and won’t attract anyone previously immune to the Del Rey charm – yet this is probably her finest record since Born To Die.
Schlagenheim will open up a whole new bottle of weird, if you let it in.
Olsen, her arrangers and producer have created an album that simply bulges with perfection and timeless songs.
A lush, adventurous experience, immersive and refreshing.
KIWANUKA doesn’t waste a single one of its 51 minutes, and seems destined to receive the same sort of acclaim as its predecessor.
Yes, it can be painful, but there’s a beautiful catharsis contained within Ghosteen that makes it one of the most essential records of recent times – a lifejacket for anyone surfing that dreadful wave of grief.