The magnetic scrappiness doubles as a bracing alert. Designer is a fitting headphone companion for wandering the city in a melancholy fog, but it never fades into the background. “U (Man Like)” is a piano ballad that urges men to do better. The album is always enchanting and full of small surprises: the particularly cartoonish warble of a synth on “Sayonara,” the intimate binaural hums on the meandering “Marafon 15,” the burst of laughter answering the lure of a saxophone on the cosmos-traversing “Plans.” New details peek out on every listen, like elements of wonder waiting to be discovered. Garcia has worked with many other musicians in and around her city’s vibrant jazz scene over the last few years, and her collaborators on Source are crucial to its eclectic range of styles. Inner Song’s palette of pulsing basslines, swirling synths, and visceral found sounds draws influence from the practices of the sound-healing community: sound baths, shamanic drumming, and voice work. –Jayson Greene, Like white light refracted through a prism to reveal an array of colors, ordinary words and phrases—wrinkled hands, silver hair, clear water—take on new meanings when sung by Big Thief’s Adrianne Lenker. Polo approaches his verses with the dedication of a singer-songwriter, and his bleeding-heart sadness is more akin to country than emo-rap. These songs are intimate and personal, with Le Bon carefully leveraging a broader, deeper palette of instrumentation than on past work. November 8, 2019. –Jesse Dorris, Ariana Grande released thank u, next in the aftermath of her ex-boyfriend Mac Miller’s death and her broken engagement to Pete Davidson, but she refuses to bend to the tropes of traumatized women throughout the album. But even though she’s sick of the bullshit surrounding her, she doesn’t let it consume her being. It’s both the country album she was destined to make and an acknowledgment that self-acceptance is hard-won; Saint Cloud reckons with addiction, sobriety, imperfect romance, trauma, and trying to navigate it all. Close friends and peers contributed voice, reeds, percussion, and piano; the album’s nine tracks shift from airy drones to richly rendered deep house, from lyrical etudes to propulsive classical minimalism. Edit #1 - it has become obvious that the RYM 5 Star scale is inadequate for this list. –Quinn Moreland, Fifteen years ago, on the title track to Extraordinary Machine, Fiona Apple declared, “I still only travel by foot, and by foot, it’s a slow climb.” She worked her way up to the clear heights of Fetch the Bolt Cutters over the course of the last half-decade or so, largely at her L.A. home alongside trusted bandmates and friends and a small shelter’s worth of barking dogs. Pitchfork: The 250 Best Albums of the 1980s . Pitchfork's the 50 Best Ambient Albums of All Time show list info "As ignorable as it is interesting." Her glittering debut, The Angel You Don’t Know, features waist-winding afropop rhythms; bouncy, avant-pop melodies; experimental modulated vocals; and playful lyrics as Instagram-ready as any artist this side of Drake. Angel Bat Dawid. Equal parts meticulous and haphazard, the self-directed songs pick up on the percussive thread of 2012’s The Idler Wheel… with elemental rhythms formed, in part, by handclaps, floorstomps, and furniture-banging. Kendrick Lamar — To Pimp A Butterfly. Slap bass intrudes, his gnomic utterances fold in on themselves, and his clenched voice disappears completely amid ambient guitar and unholy noise. Like a freshly polished lens, the album’s eclectic production only pulls Van Etten’s songwriting into sharper focus. Perhaps that’s why slowthai, a grime MC from the nowheresville dead-center of England, often feels so punk. Kate NV on the 9 Things That Inspired Her Excellent New Album, Rina Sawayama on Her Wildly Eclectic and Disarmingly Personal Debut Album, Chicago Indie Rockers Dehd Tackle Life’s Cosmic Joke With Unpretentious Charm, Lomelda’s Hannah Read Is Forever Searching for Connection, product of his father’s sins cursing east Brooklyn’s soil, How Drakeo the Ruler Recorded an Amazing-Sounding Album From Jail, How Radiohead, Social Media Addiction, and the Ravages of Climate Change Inspired Kelly Lee Owens’ New Album, Porridge Radio Make Indie Rock for the Angsty Antisocial in All of Us, The Quiet Return of Fleet Foxes and Sufjan Stevens, Get to Know Amaarae, Who’s Expanding the Sound of Afropop, Destroyer’s Dan Bejar Serenades the Apocalypse, U.S. –Ben Cardew. Sure, Radiohead’s “Idioteque” kind of banged, and the singer has been known to flail around to syncopated rhythms from time to time. Inner Song is club music at its most spiritual. Set My Heart on Fire Immediately, his fifth album, celebrates the endless possibility and vulnerability of the body without losing sight of the fundamental absurdity of the human ordeal. Nothing, it seems—neither time, nor age, nor a shifting cultural landscape—can chip away at their self-delighted gleam, their garish sophistication, their heartbroken contentment. (As if the Bowies and Madonnas of the world didn’t spend decades proving that an artist’s greatest triumphs can come from reinvention.) That immediacy pervades the sound of Howard’s solo debut, which is less wedded to genre than her work with Alabama Shakes and Thunderbitch. “Glossy yellow skin/Have nothing more than this.” Looking like what society demands of you isn’t weakness, they seem to say—it just means you can start your fire within its walls. Now, Crutchfield gazes into the mirror and doesn’t shy away from the reflection. It’s arguably the defining throwback aesthetic of American culture today, from the TV series we reboot to the prints we wear. Twentieth-century listeners imagined the music of the next millennium as a harsh, mechanistic grind or a frenzy of twitchy glitches. African Giant places him in the lineage of his Nigerian countryman Fela Kuti, a national treasure whose supreme musicality was inextricable from the rebellious surroundings in which it was made. But in her instrumentation, she reaches for organic matter, sometimes painstakingly: Grimes meticulously tweaked acoustic guitar loops on “Delete Forever,” layering actual violins and banjo until they recall a post-apocalyptic campfire song. With this intimate hospice of a record, Allison gave us both. Neither hot mess nor robot, sisters Chloe x Halle have chosen a different route, from YouTube sensations to Beyoncé protégées to grown women. –Alphonse Pierre, On Microphones in 2020, Phil Elverum revived his earliest moniker to ponder his formative years across a single, wistful, 45-minute song. For each tart complaint (“I hate your mom”) or fatalist disclosure (“I’ve been playing dead my whole life”) is a glimmering prophecy that one day things might be just fine, even if that day comes at the very end of civilization. Of course, Justin Vernon’s elastic howl will always be the catalyst that transforms Bon Iver from just another experimental indie rock project to a quasi-religious cult of emotion, but on i,i, he sounds like he’s simply flowing through a slipstream, his load lightened. She is silly and silky and occasionally swaggering, not in spite of her tumultuous recent past but because of it. The result was her truest, wildest record to date—the kind of album that borders on literature in its ability to convey nuances of the human condition. It is a privilege to spend a half hour in the singular slice of South Florida that Curry paints in his forthright verses. 1. Songwriter and bandleader Meg Remy reckons with alienation and injustice, drawing on a palette of pop, rock, and experimental sounds to convey the anxiety of the era. Later, on “Venice Bitch,” she’s “fresh out of fucks forever,” like so many of us aspire to be. At a time when it feels like no patch of ground is immune from either flood or fire, Two Hands draws a circle and creates a refuge there. Frontperson Alli Logout’s jagged vocals dissect poverty, love, and commodified dissent, making The Passion Of the rare contemporary punk album that is actually as revolutionary as it sets out to be. “You girls mean business,” he bellows to two “fleet-footed guides from the underworld” on the swaggering “False Prophet.” “And I do too.” –Andy Cush, In a year of isolation and unattainable intimacies, Perfume Genius’ Mike Hadreas is our poet laureate of constant longing. [see also 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011 ] Frank Ocean — Blond. When she first crash-landed into the public consciousness in 2011, breathily cooing about video games and blue jeans, the artist formerly known as Lizzy Grant was engulfed in heated debates over her authenticity, whether or not she was in control of her creative output, and whether she deserved her success at all. But Spawn isn’t a computer simulation made to appear human, like other recent CGI novelties. Amaarae: The Angel You Don’t Know 18. –Philip Sherburne, Brittany Howard named her debut solo album after her older sister, who died when Brittany was eight years old. Sometimes those two things complement each other nicely; sometimes they don’t. –Michelle Kim, In February, electronic experimentalist Arca dropped @@@@@, a 62-minute song framed as a pirate-radio broadcast from a post-singularity future that begins with whispers of a “diva constructed.” KiCk i, released four months later, is the Barcelona-based musician’s more straightforward take on diva-hood. 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