Taylor Swift has smashed multiple streaming records with the debut of her new music video for “ME!”, the first single from her forthcoming seventh album.
According to a release from YouTube published on Saturday, the pop star’s video – which stars Panic! At the Disco frontman Brendon Urie – achieved a record-breaking 65.2m views within the first 24 hours of its release.
This makes Swift the solo and female artist with the biggest 24-hour debut on YouTube to date.
1/32 Rina Mushonga – In a Galaxy
It’s not uncommon for an artist to be influenced by the place they grew up in. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga.
The singer-songwriter’s nomadic personality is reflected in the vast scale of reference points on her new record, In a Galaxy. It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling.
Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. On “AtalantA”, she showcases her muscular vocals, which are capable of switching between an airy lilt to a deep, emotional moan, as she sings lyrics inspired by the Greek hunter goddess who refused to marry. In a Galaxy is a record that takes you far beyond the borders of the world you’re familiar with, and into something altogether more colourful. (Roisin O’Connor)
2/32 Deerhunter – Why Hasn’t Everything Already Disappeared?
On Deerhunter’s eighth album, frontman Bradford Cox takes on the role of war poet, documenting the things he observes with a cool matter-of-factness, and heart-wrenching detail. Death is everywhere on Why Hasn’t Everything Already Disappeared?, as much as others may refuse to see it.
Already Disappeared is not an easy album. It’s often bleak and experimental: Cox’s vocals burst through like distorted, burbling fragments of static, or appear muffled amid the instrumentation. This is a new side of Deerhunter that gives the listener much to contemplate. (Roisin O’Connor)
3/32 Sharon Van Etten – Remind Me Tomorrow
After a period of tumult, Sharon Van Etten’s fifth album is a reinvention. But beneath its hazy synths and electronics are songs of endurance and inner peace, of settling after a flurry of activity.
On Remind Me Tomorrow, written during her recent pregnancy and the birth of her first child, Van Etten dims her spotlight on toxicity and instead casts a warm glow behind the record’s psychic overview.
The anxiety and pride of impending parenthood converge on “Seventeen”, a paean to the invincibility and melancholy of adolescence. Addressing a younger version of herself, the 37-year-old sings of the carefree young and their mistrust of those defeated by time.
After years making peace with drift and uncertainty, she’s never sounded more sure of anything. (Jazz Monroe)
Ryan Pfluger
4/32 Bring Me the Horizon – Amo
BMTH frontman Oli Sykes wants to assert the fragility of the boundary between love and hate. Amo is a way of exploring that, even down to the title itself.
Closer “I Don’t Know What to Say” is cinematic in its symphonic drama – perhaps inspired by their 2016 shows at the Royal Albert Hall that featured a full orchestra and choir – and becomes the album’s most moving song. Over urgent, darting violin notes and soft strumming on an acoustic guitar, Sykes sings about the loss of a close friend, building to a hair-raising climax where he screams out the song’s title one last time. Amo won’t satisfy all of BMTH’s fans, but it’s certainly accomplished, catchy and eclectic enough to bring in some new ones. (Roisin O’Connor)
5/32 Nina Nesbitt – The Sun Will Come Up, the Seasons Will Change
Nesbitt is back with her second LP, switching to a brand of soul and R&B-fused pop that feels bang on time, and suits her far better. The Sun Will Come Up, the Seasons Will Change has slick, polished production from Fraser T Smith (Adele), Lostboy (Anne-Marie), Jordan Riley (Zara Larsson), and Nesbitt herself.
Several tracks tap into a Nineties R&B sound that UK women, from Mabel to Ella Mai, are excelling at right now. Assertive tracks “Loyal to Me” and “Love Letter” nod to TLC’s “No Scrubs” and Destiny’s Child’s “Survivor”, but there is vulnerability, too, in the acoustic guitar-led neo-soul of “Somebody Special”, and the tender heartbreak on ”Is it Really Me You’re Missing”. (Roisin O’Connor)
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6/32 Better Oblivion Community Center
This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age – the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good.
As if to hammer home their parity, they even largely sing in unison – which might have had a plodding effect if the pair’s voices weren’t so distinct: Bridgers sings with a hazy assurance, Oberst with an emotive tremor. And when Bridgers’ melody does sporadically glide above Oberst’s, it is all the more potent for it. (Alexandra Pollard)
7/32 Ariana Grande – Thank U, Next
The album is packed with personal confessions for the fans – “Arianators” – to pick over. It lacks a centrepiece to match the arresting depth and space of Sweetener’s “God Is A Woman”, but Grande handles its shifting moods and cast of producers (including pop machines Max Martin and Tommy Brown) with engaging class and momentum. One minute you’re skanking along to the party brass of “Bloodline”; the next floating into the semi-detached, heartbreak of “Ghostin’”, which appears to address Grande’s guilt at being with Davidson while pining for Miller. She sings of the late rapper as a “wingless angel” with featherlight high notes that will drop the sternest jaw. (Helen Brown)
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8/32 James Blake – Assume Form
The perma-brilliant James Blake has flooded his fourth album – Assume Form – with euphoric sepia soul and loved-up doo-wop. His trademark intelligence, honesty and pin-drop production remain intact. But the detached chorister vocals of a decade in which he battled depression have thawed to reveal a millennial Sam Cooke crooning: “Can’t believe the way we flow, way we flow, way we flow…”
The warm splashes of piano that washed over that song break through the anxious rattle of dance beats on the album’s eponymous opener, the singer so regularly reviewed as “vaporous” promises to “leave the ether, assume form” and “be touchable, be reachable”. His own sharpest critic, he winks at the journalists who’ve called him glacial as he drops from remote, icy falsetto into a richly grained, deeper tone to ask: “Doesn’t it seem much warmer?” (Helen Brown)
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9/32 AJ Tracey – AJ Tracey
While he recognises his roots and includes plenty of nods to grime, AJ Tracey’s magpie’s eye for a good melody or hook extends far beyond that. With the help of stellar producers like Cadenza (Kiko Bun), Swifta Beater (Kano, Giggs), and Nyge (Section Boyz, Yxng Bane), Tracey incorporates electronic music, rock, garage and even country on his most cohesive work to date.
The variety and scale of ambition on this album is breathtaking. Fans will be surprised to discover Tracey sings almost as much as he raps, in pleasingly gruff tones. Each track is a standout, none more so than “Ladbroke Grove”, a hat-tip to classic garage in which Tracey switches up his flow to emulate a Nineties MC. It’s a thrilling work. (Roisin O’Connor)
Ashley Verse
10/32 Sleaford Mods – Eton Alive
The album title of the year gives us an image of Brexit Britain trashed by Old Etonians David Cameron, Boris Johnson and Jacob Rees-Mogg, but the fifth studio work from the punk duo has more than social commentary to offer. There’s some of that, as vocalist Jason Williamson skewers documentary-makers who take advantage of the poor in “Kebab Spider” – “the skint get used in loo roll shoes” – but elsewhere this is a record that expands the idea of what Sleaford Mods could be.
Andrew Fearn’s beats are no longer just the backdrop, they’re threatening to take over this album. Surprising influences creep in, from Eighties R&B to the Human League, and on “When You Come Up To Me”, Williamson not only sings but there’s a melancholy tone breaking through the anger. “I don’t want to flip the page/ Of my negative script,” he intones on the final track, but there’s just a hint that he does. (Chris Harvey)
11/32 Julia Jacklin – Crushing
“Do you still have that photograph?/ Would you use it to hurt me?” asks Australian indie rocker Julia Jacklin, against the menacing throb of “Body”. The tension is stormy: imagine a mid-period Fleetwood Mac song, covered by Cat Power. It’s a masterclass in narrative songwriting.
Those who fell for Jacklin’s 2016 excellent debut, Don’t Let the Kids Win, will find a continuity of alternative attitude and vintage influences.
But there’s a deeper sense of personal connection to anchor Jacklin’s lyrical and melodic smarts. That snare drum keeps a relentless, nerve-snapping pulse throughout, with Jacklin sounding more confident in her contradictions: at once yearning to comfort a lover she’s dumped and then, on “Head Alone”, declaring: “I don’t wanna be touched all the time/ I raised my body up to be mine.”
Ah. Shucks. Grunge-rinsed, feminist-flipped, upcycled Fifties guitar an’ all: Crushing is a triumph. (Helen Brown)
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12/32 Little Simz – GREY Area
With praise from Kendrick Lamar, five EPs released by the time she was 21, tours with Lauryn Hill, collaborations with Gorillaz and two critically praised albums – including 2017’s excellent concept album Stillness in Wonderland – fans and critics alike wondered what else Little Simz could do to find the kind of mainstream success enjoyed by so many of her male peers.
Yet you’d be hard pushed to find a moment over the past few years where Simz has commented on this issue herself. Instead, she’s been busy honing her craft for Grey Area, which sees her land on a new, bolder sound assisted by her childhood friend – the producer Inflo [Michael Kiwanuka’s Love & Hate] – for a record that incorporates her dextrous flow and superb wordplay with an eclectic range of influences. The album takes in everything from jazz, funk and soul to punk and heavy rock, plus three carefully chosen features.
(Roisin O’Connor)
Jen Ewbank
13/32 Solange – When I Get Home
Solange Knowles has never been coy about the intent behind her music. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose.
This time, with When I Get Home, Solange has effectively given us permission to rest. Echoing similar movements seen in recent years, such as Fannie Sosa and niv Acosta’s “Black Power Naps” exhibition – which speaks to and hopes to remedy the socio-economic problem of higher rates of sleep deprivation among black people – the album has a calming, blissed-out quality, with its layers of sound and enveloping harmonies.
And where better to dream than from the comfort of your own digs? Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. (Kuba Shand-Baptiste)
Max Hirschberger
14/32 Foals – Everything Not Saved Will be Lost (Part 1)
FoalsMerging their asymmetrical early math pop with the deep space atmospherics of Total Life Forever and Holy Fire, plus added innovations – ambient rainforest throbs on “Moonlight”, deadpan EDM on “In Degrees”, Afro-glitch Radiohead on “Café D’Athens” – they’ve created an inspired album of scorched earth new music that, in all likelihood, will only really be challenged for album of the year by Part 2. (Mark Beaumont)
Alex Knowles
15/32 Dave – Psychodrama
Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons. “Black”, the most recent single from the record, considers what that word means to different people around the world, as well as to Dave. “Voices” has him singing over an old-school garage beat, fighting off personal demons.
“I could be the rapper with a message like you’re hoping, but what’s the point in me being the best if no one knows it?” he challenges on “Psycho”, which flips scattershot between beats and moods as though the track itself is schizophrenic. Dave spends Psychodrama addressing issues caused by the generations who came before him. By the end of the album, he sounds like a figurehead for the hopeful future.
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16/32 Sigrid – Sucker Punch
At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. Then she growls like an Icelandic volcano preparing to disrupt western civilisation until we sort ourselves out.
l enjoyed the muted, Afro-tinged authenticity of “Level Up” and the conscious, pasty-girl reggae of “Business Dinners” (on which she refuses to be an industry angel) and I loved the Robyn-esque rush of “Basic” (which sees her yearning to shed love’s complications).
Sigrid has a raw energy and emotional briskness that can make you feel like you’re doing aerobics in neon leg warmers atop a pristine mountain. (Helen Brown)
Francesca Allen
17/32 Karen O and Danger Mouse – Lux Prima
Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse – real name Brian Joseph Burton – during which the pair vowed they would work on something together. It wasn’t until after O had given birth to her son, though, that recording finally began, and there is a beatific sense of contentment on songs like “Drown”, with its Kamasi Washington-like choirs and stately horns.
Danger Mouse is known for genre-hopping collaborations with artists such as Beck, the Black Keys and CeeLo Green, and he applies that approach here, too: the album is an impressive mix of blissed-out synths, psych-rock guitars and trippy hip-hop beats.
Lux Prima is an accomplished record – proof that two wildly different minds can work seamlessly together. Maybe drunk-dialling isn’t always such a bad idea. (Roisin O’Connor)
Eliot Lee Hazel
18/32 The Cinematic Orchestra – To Believe
This is an ambitious creation, meticulously crafted and assembled. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat.
Ma Fleur was emotive and piano-led, its themes of mortality and the passage of life captured so evocatively in the Patrick Watson collaboration “To Build a Home” – which went on to soundtrack every TV show from Grey’s Anatomy to Orange is the New Black. To Believe, however, feels more expansive in reach. (Elisa Bray)
B+
19/32 Lucy Rose – No Words Left
Rose – who found fame in the UK’s indie-folk scene as an unofficial member of Bombay Bicycle Club in 2010, only to walk away amid the band’s growing hype – is darkly compelling on No Words Left. Assisted by producer Tim Bidwell, who worked on Rose’s last record Something’s Changing, she sounds braver than she ever has before. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young. (Roisin O’Connor)
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20/32 Nilufer Yanya – Miss Universe
The record is loosely conceptual insomuch as it’s punctuated with mock adverts for “WWAY HEALTH, our 24/7 care programme”. But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. Yanya – who is of Turkish-Irish-Bajan heritage – grew up in London on a mix of Pixies, Nina Simone, The Libertines and Amy Winehouse, and this unlikely combination is certainly reflected in the sound. (Patrick Smith)
Molly Daniel
21/32 Jenny Lewis – On the Line
Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet. Even when she’s singing, “I’ve wasted my youth”, it’s in that sweet voice, with carefree “doo doo doo doo doo doos”, and at a pace that’s so upbeat that it masks the sentiment. It’s a bittersweet mourning of her past. (Elisa Bray)
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22/32 Ty Segall – Deforming Lobes
Comprising songs from Segall’s eclectic (that’s putting it lightly) catalogue and performed by him and the Freedom Band (Mikal Cronin, Charles Moothart, Emmett Kelly, and Ben Boye), the album is delightfully short and sweet. It is certainly a drastic switch-up from Freedom’s Goblin (2018), which had 19 tracks and ran for 75 minutes.
Opener “Warm Hands”, from Segall’s self-titled 2017 LP, is essentially an epic jam; he grinds out fuzzy distortion and squalling riffs for a solid nine and a half minutes with a gleeful lawlessness. “Love Fuzz”, which serves as the opposing bookend at the album’s close, is even wilder. This isn’t a “best of” selection – the band simply chose the tracks out of which they got the biggest kick. Deforming Lobes is unpredictable and invigorating – the best representation of Segall’s restless creativity to date, not to mention the most fun to listen to. (Roisin O’Connor)
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23/32 Weyes Blood – Titanic Rising
If you want to know how hard it is to categorise Titanic Rising – the enthralling fourth album from Weyes Blood – look no further than the American musician’s own attempt to do so. It is, she says, “The Kinks meet the Second World War, or Bob Seger meets Enya.”
Neither of those is a particularly accurate description, but they do at least fit the album’s refusal to loiter in any one genre. Slide guitars give way to violas, which usher in eerie synths. Organs crop up throughout, evoking both Renaissance music and a fairground attraction. The fragmented strings in “Movies”, a song about the falsities of Hollywood romance, recall the chaotic minimalism of Arthur Russell.
And then there’s that voice – at once warm and haunting, controlled and untethered. It’s no wonder she’s lent it to the likes of Perfume Genius, Drugdealer and Ariel Pink: it adds a touch of profundity to everything it meets.
Titanic Rising isn’t Bob Seger meets Enya. It’s better. Alexandra Pollard
24/32 Chemical Brothers – No Geography
Tension aside, there’s a great sense of fun here. The title track is pure euphoria, as restless synths of a Utah Saints or Orbital rave break into swelling bass and melody. And they create the full club experience with “Got to Keep On”, on which the four-to-the-floor beat, funky rhythm guitar, sweet backing vocals and chiming bells make way for the simple sounds of happy party-goers; just as the anticipation builds, so does the instrumentation into a hypnotic crescendo. It’s masterful production. (Elisa Bray)
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25/32 Anderson .Paak – Ventura
Six months after the release of Oxnard, Anderson .Paak returns with another Dr Dre-produced record, Ventura. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album.
Rather than being an album of Oxnard offshoots, Ventura instead borrows heavily from .Paak’s consistently brilliant 2016 record Malibu, itself a fresh slice of soulful funk. The singer croons over disco-infused, Quincy Jones-inspired trumpets on “Reachin’ 2 Much”, masterfully interplays vocals from Smokey Robinson with violin flourishes on “Making it Better”, and playfully raps about global warming on “Yada Yada”. As .Paak sings on “Winners Circle”, “They just don’t make them like this anymore”. Considering how few artists have such command of their craft as .Paak, he’s not wrong. (Jack Shepherd)
26/32 Loyle Carner – Not Waving, But Drowning
Two years after the release of his Mercury Prize-nominated debut Yesterday’s Gone, the south London hip-hop artist unveils its follow-up, Not Waving, But Drowning. And if any two records could portray how quickly someone can grow from a boy to a man, it’s these.
Familiar faces and themes serve as his trademarks. Fellow Mercury Prize nominee Jorja Smith and winner Sampha sound like old friends in their guest spots – they fit comfortably into Carner’s landscape, built from classic hip-hop beats and warm piano loops. Over all of it, he raps with an easy flow in gruff yet honeyed tones.
Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him. Not Waving, But Drowning has an emotional intelligence that shows just how strong Carner is when he’s at his most vulnerable. (Roisin O’Connor)
27/32 Lizzo – Cuz I Love You
No one could accuse Lizzo of holding back. Not when it comes to her voice – which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to – and certainly not when it comes to her message of unabashed self-love. That’s the predominant theme of the singer / rapper / flautist-extraordinaire’s hugely likeable third album, Cuz I Love You.
When Lizzo played Coachella earlier this week, her set was plagued by technical problems. “When I’m headlining next time,” she announced, “I’m gonna need my motherf**king ears to work.” Judging by the strength of her third album, that might not be such an implausible assumption. (Alexandra Pollard)
Luke Gilford
28/32 Fat White Family – Serfs Up!
It seems as likely as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for Fat White Family. Drenched in chamber strings and celestial harmonies, the plush yet sinister “Oh Sebastian” could be Pet Sounds selling its soul to the devil. “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”.
Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. Wonderfully unsettling. (Mark Beaumont)
Morbid Books
29/32 Cage the Elephant – Social Cues
On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. He undergoes a kind of Jekyll and Hyde transition through the 13 tracks, the result of which is the band’s best work to date.
Assisted by producer John Hill, whose previous credits include co-writing Portugal. The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral.
Single “Ready to let Go” is by far the most explicit – a moody swamp-rock jam where Shultz comes to terms with his impending divorce. “House of Glass” is a sequence of frenzied mutterings with a buzzsaw guitar cutting through his attempts to convince himself of love’s existence.
Social Cues is an album where Shultz bares his soul, and apparently shakes off a few demons in the process. (Roisin O’Connor)
Neil Krug
30/32 SOAK – Grim Town
SOAK reaches to outsiders once again on her new album.
Musically, she’s developed her arrangements and become bolder, too. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone. “Crying Your Eyes Out” appears to be a sombre piano ballad until it ramps up the angst with plaintive vocals, conjuring up a storm with swirling rhythms.
On the melancholy, gently strummed guitar and piano-led “Fall Asleep, Backseat”, Monds-Watson reflects on pretending to sleep as her parents make the painful decision to divorce. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. (Elisa Bray)
Charlie Forgham Bailey
31/32 The Cranberries – In the End
There’s a cruel irony that the release of The Cranberries’ final album should come just a week after journalist Lyra McKee was shot dead by the New IRA during a riot in Londonderry. “Zombie” was a protest song written by the band’s late frontwoman Dolores O’Riordan after two children were killed by IRA bombs – was released. She was deeply affected by the deaths, and would no doubt have been devastated by recent events in Northern Ireland as well.
“Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. On it, O’Riordan, who recorded demos for the album’s 11 tracks before her death in January last year, sings: “Fighting’s not the answer/ Fighting’s not the cure/ It’s eating you like cancer/ It’s killing you for sure.”
The band have spoken about how O’Riordan was singing about leaving many of the negative things in her life behind. It sounds like The Cranberries found some kind of closure in this last record. Hopefully fans will, too. (Roisin O’Connor)
(Photo credit should read GUILLAUME SOUVANT/AFP/Getty Images)
32/32 Aldous Harding – Designer
On her third record, Aldous Harding combines the gothic folk of her self-titled 2014 debut with the dramatically intimate tones of her follow-up album Party.
The New Zealand artist seems to derive a particular glee from unsettling her audience. Her Medusa’s stare – witnessed at her live shows as well as in her music videos – has become the stuff of legend. She switches her vocal style song to song, moving from a lilting croon on “The Barrel” to the quirky elocution of the title track.
She joins forces once again with PJ Harvey collaborator John Harvey, and also enlists Welsh musicians Stephen Black (Sweet Baboo) and Huw Evans (H Hawkline) plus Clare Mactaggart on violin, giving Designer a generously textured feel. It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. At an age where the pressure is on to have everything worked out, Harding sounds delightfully free. (Roisin O’Connor)
Claire Shilland
1/32 Rina Mushonga – In a Galaxy
It’s not uncommon for an artist to be influenced by the place they grew up in. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga.
The singer-songwriter’s nomadic personality is reflected in the vast scale of reference points on her new record, In a Galaxy. It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling.
Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. On “AtalantA”, she showcases her muscular vocals, which are capable of switching between an airy lilt to a deep, emotional moan, as she sings lyrics inspired by the Greek hunter goddess who refused to marry. In a Galaxy is a record that takes you far beyond the borders of the world you’re familiar with, and into something altogether more colourful. (Roisin O’Connor)
2/32 Deerhunter – Why Hasn’t Everything Already Disappeared?
On Deerhunter’s eighth album, frontman Bradford Cox takes on the role of war poet, documenting the things he observes with a cool matter-of-factness, and heart-wrenching detail. Death is everywhere on Why Hasn’t Everything Already Disappeared?, as much as others may refuse to see it.
Already Disappeared is not an easy album. It’s often bleak and experimental: Cox’s vocals burst through like distorted, burbling fragments of static, or appear muffled amid the instrumentation. This is a new side of Deerhunter that gives the listener much to contemplate. (Roisin O’Connor)
3/32 Sharon Van Etten – Remind Me Tomorrow
After a period of tumult, Sharon Van Etten’s fifth album is a reinvention. But beneath its hazy synths and electronics are songs of endurance and inner peace, of settling after a flurry of activity.
On Remind Me Tomorrow, written during her recent pregnancy and the birth of her first child, Van Etten dims her spotlight on toxicity and instead casts a warm glow behind the record’s psychic overview.
The anxiety and pride of impending parenthood converge on “Seventeen”, a paean to the invincibility and melancholy of adolescence. Addressing a younger version of herself, the 37-year-old sings of the carefree young and their mistrust of those defeated by time.
After years making peace with drift and uncertainty, she’s never sounded more sure of anything. (Jazz Monroe)
Ryan Pfluger
4/32 Bring Me the Horizon – Amo
BMTH frontman Oli Sykes wants to assert the fragility of the boundary between love and hate. Amo is a way of exploring that, even down to the title itself.
Closer “I Don’t Know What to Say” is cinematic in its symphonic drama – perhaps inspired by their 2016 shows at the Royal Albert Hall that featured a full orchestra and choir – and becomes the album’s most moving song. Over urgent, darting violin notes and soft strumming on an acoustic guitar, Sykes sings about the loss of a close friend, building to a hair-raising climax where he screams out the song’s title one last time. Amo won’t satisfy all of BMTH’s fans, but it’s certainly accomplished, catchy and eclectic enough to bring in some new ones. (Roisin O’Connor)
5/32 Nina Nesbitt – The Sun Will Come Up, the Seasons Will Change
Nesbitt is back with her second LP, switching to a brand of soul and R&B-fused pop that feels bang on time, and suits her far better. The Sun Will Come Up, the Seasons Will Change has slick, polished production from Fraser T Smith (Adele), Lostboy (Anne-Marie), Jordan Riley (Zara Larsson), and Nesbitt herself.
Several tracks tap into a Nineties R&B sound that UK women, from Mabel to Ella Mai, are excelling at right now. Assertive tracks “Loyal to Me” and “Love Letter” nod to TLC’s “No Scrubs” and Destiny’s Child’s “Survivor”, but there is vulnerability, too, in the acoustic guitar-led neo-soul of “Somebody Special”, and the tender heartbreak on ”Is it Really Me You’re Missing”. (Roisin O’Connor)
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6/32 Better Oblivion Community Center
This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age – the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good.
As if to hammer home their parity, they even largely sing in unison – which might have had a plodding effect if the pair’s voices weren’t so distinct: Bridgers sings with a hazy assurance, Oberst with an emotive tremor. And when Bridgers’ melody does sporadically glide above Oberst’s, it is all the more potent for it. (Alexandra Pollard)
7/32 Ariana Grande – Thank U, Next
The album is packed with personal confessions for the fans – “Arianators” – to pick over. It lacks a centrepiece to match the arresting depth and space of Sweetener’s “God Is A Woman”, but Grande handles its shifting moods and cast of producers (including pop machines Max Martin and Tommy Brown) with engaging class and momentum. One minute you’re skanking along to the party brass of “Bloodline”; the next floating into the semi-detached, heartbreak of “Ghostin’”, which appears to address Grande’s guilt at being with Davidson while pining for Miller. She sings of the late rapper as a “wingless angel” with featherlight high notes that will drop the sternest jaw. (Helen Brown)
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8/32 James Blake – Assume Form
The perma-brilliant James Blake has flooded his fourth album – Assume Form – with euphoric sepia soul and loved-up doo-wop. His trademark intelligence, honesty and pin-drop production remain intact. But the detached chorister vocals of a decade in which he battled depression have thawed to reveal a millennial Sam Cooke crooning: “Can’t believe the way we flow, way we flow, way we flow…”
The warm splashes of piano that washed over that song break through the anxious rattle of dance beats on the album’s eponymous opener, the singer so regularly reviewed as “vaporous” promises to “leave the ether, assume form” and “be touchable, be reachable”. His own sharpest critic, he winks at the journalists who’ve called him glacial as he drops from remote, icy falsetto into a richly grained, deeper tone to ask: “Doesn’t it seem much warmer?” (Helen Brown)
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9/32 AJ Tracey – AJ Tracey
While he recognises his roots and includes plenty of nods to grime, AJ Tracey’s magpie’s eye for a good melody or hook extends far beyond that. With the help of stellar producers like Cadenza (Kiko Bun), Swifta Beater (Kano, Giggs), and Nyge (Section Boyz, Yxng Bane), Tracey incorporates electronic music, rock, garage and even country on his most cohesive work to date.
The variety and scale of ambition on this album is breathtaking. Fans will be surprised to discover Tracey sings almost as much as he raps, in pleasingly gruff tones. Each track is a standout, none more so than “Ladbroke Grove”, a hat-tip to classic garage in which Tracey switches up his flow to emulate a Nineties MC. It’s a thrilling work. (Roisin O’Connor)
Ashley Verse
10/32 Sleaford Mods – Eton Alive
The album title of the year gives us an image of Brexit Britain trashed by Old Etonians David Cameron, Boris Johnson and Jacob Rees-Mogg, but the fifth studio work from the punk duo has more than social commentary to offer. There’s some of that, as vocalist Jason Williamson skewers documentary-makers who take advantage of the poor in “Kebab Spider” – “the skint get used in loo roll shoes” – but elsewhere this is a record that expands the idea of what Sleaford Mods could be.
Andrew Fearn’s beats are no longer just the backdrop, they’re threatening to take over this album. Surprising influences creep in, from Eighties R&B to the Human League, and on “When You Come Up To Me”, Williamson not only sings but there’s a melancholy tone breaking through the anger. “I don’t want to flip the page/ Of my negative script,” he intones on the final track, but there’s just a hint that he does. (Chris Harvey)
11/32 Julia Jacklin – Crushing
“Do you still have that photograph?/ Would you use it to hurt me?” asks Australian indie rocker Julia Jacklin, against the menacing throb of “Body”. The tension is stormy: imagine a mid-period Fleetwood Mac song, covered by Cat Power. It’s a masterclass in narrative songwriting.
Those who fell for Jacklin’s 2016 excellent debut, Don’t Let the Kids Win, will find a continuity of alternative attitude and vintage influences.
But there’s a deeper sense of personal connection to anchor Jacklin’s lyrical and melodic smarts. That snare drum keeps a relentless, nerve-snapping pulse throughout, with Jacklin sounding more confident in her contradictions: at once yearning to comfort a lover she’s dumped and then, on “Head Alone”, declaring: “I don’t wanna be touched all the time/ I raised my body up to be mine.”
Ah. Shucks. Grunge-rinsed, feminist-flipped, upcycled Fifties guitar an’ all: Crushing is a triumph. (Helen Brown)
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12/32 Little Simz – GREY Area
With praise from Kendrick Lamar, five EPs released by the time she was 21, tours with Lauryn Hill, collaborations with Gorillaz and two critically praised albums – including 2017’s excellent concept album Stillness in Wonderland – fans and critics alike wondered what else Little Simz could do to find the kind of mainstream success enjoyed by so many of her male peers.
Yet you’d be hard pushed to find a moment over the past few years where Simz has commented on this issue herself. Instead, she’s been busy honing her craft for Grey Area, which sees her land on a new, bolder sound assisted by her childhood friend – the producer Inflo [Michael Kiwanuka’s Love & Hate] – for a record that incorporates her dextrous flow and superb wordplay with an eclectic range of influences. The album takes in everything from jazz, funk and soul to punk and heavy rock, plus three carefully chosen features.
(Roisin O’Connor)
Jen Ewbank
13/32 Solange – When I Get Home
Solange Knowles has never been coy about the intent behind her music. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose.
This time, with When I Get Home, Solange has effectively given us permission to rest. Echoing similar movements seen in recent years, such as Fannie Sosa and niv Acosta’s “Black Power Naps” exhibition – which speaks to and hopes to remedy the socio-economic problem of higher rates of sleep deprivation among black people – the album has a calming, blissed-out quality, with its layers of sound and enveloping harmonies.
And where better to dream than from the comfort of your own digs? Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. (Kuba Shand-Baptiste)
Max Hirschberger
14/32 Foals – Everything Not Saved Will be Lost (Part 1)
FoalsMerging their asymmetrical early math pop with the deep space atmospherics of Total Life Forever and Holy Fire, plus added innovations – ambient rainforest throbs on “Moonlight”, deadpan EDM on “In Degrees”, Afro-glitch Radiohead on “Café D’Athens” – they’ve created an inspired album of scorched earth new music that, in all likelihood, will only really be challenged for album of the year by Part 2. (Mark Beaumont)
Alex Knowles
15/32 Dave – Psychodrama
Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons. “Black”, the most recent single from the record, considers what that word means to different people around the world, as well as to Dave. “Voices” has him singing over an old-school garage beat, fighting off personal demons.
“I could be the rapper with a message like you’re hoping, but what’s the point in me being the best if no one knows it?” he challenges on “Psycho”, which flips scattershot between beats and moods as though the track itself is schizophrenic. Dave spends Psychodrama addressing issues caused by the generations who came before him. By the end of the album, he sounds like a figurehead for the hopeful future.
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16/32 Sigrid – Sucker Punch
At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. Then she growls like an Icelandic volcano preparing to disrupt western civilisation until we sort ourselves out.
l enjoyed the muted, Afro-tinged authenticity of “Level Up” and the conscious, pasty-girl reggae of “Business Dinners” (on which she refuses to be an industry angel) and I loved the Robyn-esque rush of “Basic” (which sees her yearning to shed love’s complications).
Sigrid has a raw energy and emotional briskness that can make you feel like you’re doing aerobics in neon leg warmers atop a pristine mountain. (Helen Brown)
Francesca Allen
17/32 Karen O and Danger Mouse – Lux Prima
Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse – real name Brian Joseph Burton – during which the pair vowed they would work on something together. It wasn’t until after O had given birth to her son, though, that recording finally began, and there is a beatific sense of contentment on songs like “Drown”, with its Kamasi Washington-like choirs and stately horns.
Danger Mouse is known for genre-hopping collaborations with artists such as Beck, the Black Keys and CeeLo Green, and he applies that approach here, too: the album is an impressive mix of blissed-out synths, psych-rock guitars and trippy hip-hop beats.
Lux Prima is an accomplished record – proof that two wildly different minds can work seamlessly together. Maybe drunk-dialling isn’t always such a bad idea. (Roisin O’Connor)
Eliot Lee Hazel
18/32 The Cinematic Orchestra – To Believe
This is an ambitious creation, meticulously crafted and assembled. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat.
Ma Fleur was emotive and piano-led, its themes of mortality and the passage of life captured so evocatively in the Patrick Watson collaboration “To Build a Home” – which went on to soundtrack every TV show from Grey’s Anatomy to Orange is the New Black. To Believe, however, feels more expansive in reach. (Elisa Bray)
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19/32 Lucy Rose – No Words Left
Rose – who found fame in the UK’s indie-folk scene as an unofficial member of Bombay Bicycle Club in 2010, only to walk away amid the band’s growing hype – is darkly compelling on No Words Left. Assisted by producer Tim Bidwell, who worked on Rose’s last record Something’s Changing, she sounds braver than she ever has before. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young. (Roisin O’Connor)
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20/32 Nilufer Yanya – Miss Universe
The record is loosely conceptual insomuch as it’s punctuated with mock adverts for “WWAY HEALTH, our 24/7 care programme”. But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. Yanya – who is of Turkish-Irish-Bajan heritage – grew up in London on a mix of Pixies, Nina Simone, The Libertines and Amy Winehouse, and this unlikely combination is certainly reflected in the sound. (Patrick Smith)
Molly Daniel
21/32 Jenny Lewis – On the Line
Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet. Even when she’s singing, “I’ve wasted my youth”, it’s in that sweet voice, with carefree “doo doo doo doo doo doos”, and at a pace that’s so upbeat that it masks the sentiment. It’s a bittersweet mourning of her past. (Elisa Bray)
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22/32 Ty Segall – Deforming Lobes
Comprising songs from Segall’s eclectic (that’s putting it lightly) catalogue and performed by him and the Freedom Band (Mikal Cronin, Charles Moothart, Emmett Kelly, and Ben Boye), the album is delightfully short and sweet. It is certainly a drastic switch-up from Freedom’s Goblin (2018), which had 19 tracks and ran for 75 minutes.
Opener “Warm Hands”, from Segall’s self-titled 2017 LP, is essentially an epic jam; he grinds out fuzzy distortion and squalling riffs for a solid nine and a half minutes with a gleeful lawlessness. “Love Fuzz”, which serves as the opposing bookend at the album’s close, is even wilder. This isn’t a “best of” selection – the band simply chose the tracks out of which they got the biggest kick. Deforming Lobes is unpredictable and invigorating – the best representation of Segall’s restless creativity to date, not to mention the most fun to listen to. (Roisin O’Connor)
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23/32 Weyes Blood – Titanic Rising
If you want to know how hard it is to categorise Titanic Rising – the enthralling fourth album from Weyes Blood – look no further than the American musician’s own attempt to do so. It is, she says, “The Kinks meet the Second World War, or Bob Seger meets Enya.”
Neither of those is a particularly accurate description, but they do at least fit the album’s refusal to loiter in any one genre. Slide guitars give way to violas, which usher in eerie synths. Organs crop up throughout, evoking both Renaissance music and a fairground attraction. The fragmented strings in “Movies”, a song about the falsities of Hollywood romance, recall the chaotic minimalism of Arthur Russell.
And then there’s that voice – at once warm and haunting, controlled and untethered. It’s no wonder she’s lent it to the likes of Perfume Genius, Drugdealer and Ariel Pink: it adds a touch of profundity to everything it meets.
Titanic Rising isn’t Bob Seger meets Enya. It’s better. Alexandra Pollard
24/32 Chemical Brothers – No Geography
Tension aside, there’s a great sense of fun here. The title track is pure euphoria, as restless synths of a Utah Saints or Orbital rave break into swelling bass and melody. And they create the full club experience with “Got to Keep On”, on which the four-to-the-floor beat, funky rhythm guitar, sweet backing vocals and chiming bells make way for the simple sounds of happy party-goers; just as the anticipation builds, so does the instrumentation into a hypnotic crescendo. It’s masterful production. (Elisa Bray)
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25/32 Anderson .Paak – Ventura
Six months after the release of Oxnard, Anderson .Paak returns with another Dr Dre-produced record, Ventura. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album.
Rather than being an album of Oxnard offshoots, Ventura instead borrows heavily from .Paak’s consistently brilliant 2016 record Malibu, itself a fresh slice of soulful funk. The singer croons over disco-infused, Quincy Jones-inspired trumpets on “Reachin’ 2 Much”, masterfully interplays vocals from Smokey Robinson with violin flourishes on “Making it Better”, and playfully raps about global warming on “Yada Yada”. As .Paak sings on “Winners Circle”, “They just don’t make them like this anymore”. Considering how few artists have such command of their craft as .Paak, he’s not wrong. (Jack Shepherd)
26/32 Loyle Carner – Not Waving, But Drowning
Two years after the release of his Mercury Prize-nominated debut Yesterday’s Gone, the south London hip-hop artist unveils its follow-up, Not Waving, But Drowning. And if any two records could portray how quickly someone can grow from a boy to a man, it’s these.
Familiar faces and themes serve as his trademarks. Fellow Mercury Prize nominee Jorja Smith and winner Sampha sound like old friends in their guest spots – they fit comfortably into Carner’s landscape, built from classic hip-hop beats and warm piano loops. Over all of it, he raps with an easy flow in gruff yet honeyed tones.
Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him. Not Waving, But Drowning has an emotional intelligence that shows just how strong Carner is when he’s at his most vulnerable. (Roisin O’Connor)
27/32 Lizzo – Cuz I Love You
No one could accuse Lizzo of holding back. Not when it comes to her voice – which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to – and certainly not when it comes to her message of unabashed self-love. That’s the predominant theme of the singer / rapper / flautist-extraordinaire’s hugely likeable third album, Cuz I Love You.
When Lizzo played Coachella earlier this week, her set was plagued by technical problems. “When I’m headlining next time,” she announced, “I’m gonna need my motherf**king ears to work.” Judging by the strength of her third album, that might not be such an implausible assumption. (Alexandra Pollard)
Luke Gilford
28/32 Fat White Family – Serfs Up!
It seems as likely as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for Fat White Family. Drenched in chamber strings and celestial harmonies, the plush yet sinister “Oh Sebastian” could be Pet Sounds selling its soul to the devil. “Fringe Runner” is so sleek and funksome it could be a New Romantic “White Lines (Don’t Don’t Do It)”; “Kim’s Sunsets” is a piece of refined cosmic reggae resembling a blissed-out “Bankrobber”.
Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. Wonderfully unsettling. (Mark Beaumont)
Morbid Books
29/32 Cage the Elephant – Social Cues
On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. He undergoes a kind of Jekyll and Hyde transition through the 13 tracks, the result of which is the band’s best work to date.
Assisted by producer John Hill, whose previous credits include co-writing Portugal. The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral.
Single “Ready to let Go” is by far the most explicit – a moody swamp-rock jam where Shultz comes to terms with his impending divorce. “House of Glass” is a sequence of frenzied mutterings with a buzzsaw guitar cutting through his attempts to convince himself of love’s existence.
Social Cues is an album where Shultz bares his soul, and apparently shakes off a few demons in the process. (Roisin O’Connor)
Neil Krug
30/32 SOAK – Grim Town
SOAK reaches to outsiders once again on her new album.
Musically, she’s developed her arrangements and become bolder, too. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone. “Crying Your Eyes Out” appears to be a sombre piano ballad until it ramps up the angst with plaintive vocals, conjuring up a storm with swirling rhythms.
On the melancholy, gently strummed guitar and piano-led “Fall Asleep, Backseat”, Monds-Watson reflects on pretending to sleep as her parents make the painful decision to divorce. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. (Elisa Bray)
Charlie Forgham Bailey
31/32 The Cranberries – In the End
There’s a cruel irony that the release of The Cranberries’ final album should come just a week after journalist Lyra McKee was shot dead by the New IRA during a riot in Londonderry. “Zombie” was a protest song written by the band’s late frontwoman Dolores O’Riordan after two children were killed by IRA bombs – was released. She was deeply affected by the deaths, and would no doubt have been devastated by recent events in Northern Ireland as well.
“Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. On it, O’Riordan, who recorded demos for the album’s 11 tracks before her death in January last year, sings: “Fighting’s not the answer/ Fighting’s not the cure/ It’s eating you like cancer/ It’s killing you for sure.”
The band have spoken about how O’Riordan was singing about leaving many of the negative things in her life behind. It sounds like The Cranberries found some kind of closure in this last record. Hopefully fans will, too. (Roisin O’Connor)
(Photo credit should read GUILLAUME SOUVANT/AFP/Getty Images)
32/32 Aldous Harding – Designer
On her third record, Aldous Harding combines the gothic folk of her self-titled 2014 debut with the dramatically intimate tones of her follow-up album Party.
The New Zealand artist seems to derive a particular glee from unsettling her audience. Her Medusa’s stare – witnessed at her live shows as well as in her music videos – has become the stuff of legend. She switches her vocal style song to song, moving from a lilting croon on “The Barrel” to the quirky elocution of the title track.
She joins forces once again with PJ Harvey collaborator John Harvey, and also enlists Welsh musicians Stephen Black (Sweet Baboo) and Huw Evans (H Hawkline) plus Clare Mactaggart on violin, giving Designer a generously textured feel. It’s layered with whimsical flutes, intricate guitar picking and sombre bass lines that meander with casual abandon. At an age where the pressure is on to have everything worked out, Harding sounds delightfully free. (Roisin O’Connor)
Claire Shilland
It also marks the biggest 24-hour debut of her career, followed by the 43.2m views achieved by her “Look What You Made Me Do” video. “ME!” also received more likes in its first day than any of Swift’s earlier music video releases.
Her numbers bested Ariana Grande’s previous record of 55m views for “Thank U, Next”. She also boasts the second-biggest 24-hour debut overall, with K-pop group BTS in first place for their “Boy With Love” video, featuring Halsey.
Swift is currently one of just eight musicians who have over 30 million subscribers on her YouTube channel.
Over on Amazon, she broke two records for the most first-day streams and on-demand voice requests with Alexa than any other single to debut on Amazon Music.
Swift acknowledged the YouTube record on Twitter, writing: GUYS!! YOU DID THIS!!!! CANNOT STOP SMILING. And I’m not trying to be loud but 65.2 million views… ?? and 6+5+2=…” (Swift’s lucky number is 13.)
Fans are currently trying to guess the title of Swift’s seventh album after she revealed that several clues are hidden in the “ME!” video. See why we think it could be titled Kaleidoscope, here.
In a review of the new single, The Independent praised the drastic switch from the sound on Swift’s previous album Reputation and said it marked a “bright new era” for the pop star.
