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Our 2019 First Quarter Roundup

thank u, next - Ariana Grande

(Republic)

Ariana Grande has followed up last year’s charming Sweetener with a more consistent, more confident and more moving record; thank u, next. As usual, Ariana’s voice is really something to behold, hitting every note perfectly as she delves into her own heartbreak, loss and guilt following the death of her ex-boyfriend, Mac Miller. Ariana bravely goes into this with no features, which proves to be a powerful decision, as there are no obnoxious Pharrell additions or out-of-date Lil Wayne verses, making for an appropriately personal record. As if to ease us away from the lack of rap features, we are treated to a Wendy Rene sample on ‘Fake Smile’, which will put a real smile on the face of any hip-hop head. The juxtaposition of deep lyrical themes with the positive, playful instrumentation is rather refreshing, and it’s good to see Ariana excited about life and this new chapter in her life. -M

Gallipoli - Beirut

(4AD)

Zach Condon’s Beirut project has buried Balkan folk deep in the hearts of the Western indie fanatics ever since the release of its first three albums. He’s had us enamoured with the sound ever since, and while Beirut’s work has seemingly gotten ever more formulaic and poppy, that folky, worldly manifesto has never really left Condon. Compared to 2015’s No No No, the most recent Beirut project Gallipoli actually sees him taking it in a more varied and independent direction, and you’ll be hard-pushed to find anything objectionable as Beirut traverse their usual pastures of percussive ukulele and various organs and synthesisers. Gallipoli isn’t short of entirely new sounds for the band either and, indeed, it’s hard to see it as anything but a solid record. Condon might not be making the same impact on the musical landscape as he was thirteen years ago but this is his most consistent release in a decade. Gallipoli proves there are indie bands in far worse form than Beirut; an admirably fresh and progressive release for a band who probably don’t particularly need to be either of those things. -E

Assume Form - James Blake

(Polydor)

Even if it isn’t quite the musical landscape-defining, career-best record that James Blake seems inevitably destined to produce, Assume Form goes quite some distance to confirming him as one of this era of popular music’s defining and most influential figures. And that means a lot, considering no one else is really quite like him. There’s a very particular beauty to the combination of Blake’s music style and his love-themed lyricism, and Assume Form sees both assemble for an impressive, career-best effort. More checked for excess than The Colour in Anything but more stylistically developed than Overgrown, the niche Blake has found treads a fine line between hip-hop and sparse, soulful electronica. Assume Form shows what he can do with both, seeing the likes of Travis Scott and Andre 3000, but also Moses Sumney and Rosalía, make impactful and appropriate appearances alongside Blake’s own plainly romantic lyrics. He’s refreshingly obsessive and open but never too doting or unrelatable, and tracks such as ‘Assume Form’, ‘Can’t Believe the Way We Flow’ and ‘I’ll Come Too’ clearly reveal this untethered romantic happiness. Whether you like his newfound bessottedness or not, one can’t deny Blake has carved himself a distinctive aesthetic, to such an extent it’s no wonder his collaboration is so sought-after by hip-hop artists. Even more exciting is that there’s probably much better to come from Blake, and he remains (as he has for the last ten years) one of the most interesting and exciting artists in popular music. -E

Liv - Daniel Blumberg & Hebronix

(Mute)

Apparently a collaboration between Daniel Blumberg and himself (an endeavour I’m still not sure is artistically innovative or a bit pretentious) Liv builds on Blumberg’s 2018 release Minus with impressive amounts of abrasive noise and more chaotic baroque instrumentation. Hebronix is supposed to be Blumberg’s own psych-pop project, predating his releases under his own name, but on Liv it seems like he’s used it to fill out his own sound. His lonely vocals are more like Phil Elverum on the louder Microphones/Mount Eerie records, while the scrawls of anxious feedback that underly the majority of Liv endlessly build to lengthy, haunting finales; entirely validating the record’s lack of drums. The fact that Liv was recorded in only one take is a feat unto itself, never mind the consistency and coherence that it gives the record. Despite seeing releases on the infamous Mute Records, Blumberg continues to be overlooked by pretty much everyone – and as he’s putting out exceptional, genre-bending experimental music like this he deserves far, far more attention than he currently enjoys. -E

Careful - Boy Harsher

(Nude Club)

Despite “minimal wave” having seemingly ran its course, Boy Harsher provide another argument for it being the perfect time to rework the genre. On Careful, inspiration is clearly drawn from the likes of Depeche Mode and New Order, but whereas these bands created colourful, dynamic dance tracks, Boy Harsher do the complete opposite; as if they’ve been booked to DJ a funeral. Ghostly vocals speak of abandonment and loss over layers of cold, pounding synths and minimal drums – fit for any cyberpunk movie. Dotted throughout the record are a handful of quieter, atmospheric moments which add to this cinematic feel; intensifying the anxious, dark nature of the project. This is a synthpop record which truly reflects the times. –M

Trust in the Lifeforce of the Deep Mystery - The Comet is Coming

(Impulse!)

The sophomore offering from The Comet Is Coming is the latest outstanding British jazz record, taking the reins from from Sons of Kemet’s 2017 offering Your Queen is a Reptile (incidentally another project with the involvement of Shabaka Hutchings), with more of an electronic, rock fusion. Fusion of the last twenty years has usually been the result of influence the other way, injected jazz into electronic, funk or rock music; but Trust in the Lifeforce of the Deep Mystery appears to have come the opposite way. Foremostly a jazz record but enhanced and driven by elements of other genres, it’s catchy and passionate spiritual jazz, topped off with harks to Sun Ra and an inventive space-age theme. The Comet is Coming are yet more evidence of the burgeoning, world-leading London jazz scene and this is easily one of the year’s most striking and innovative releases. -E

Czarface Meets Ghostface - Czarface and Ghostface Killah

(Silver Age)

The follow up to the much-anticipated and mostly-forgotten Czarface Meets Metal Face, Czarface Meets Ghostface proves to be an enjoyable return to form for both Czarface and Ghostface Killah. As usual, all beats are produced by The Czar-Keys (7L and Jeremy Page) and are an electrifying mix of updated, gritty boom-bap, and futuristic beats reminiscent of early-morning superhero cartoons. Lyrically, the emcees really entertain, bringing the right amount of corniness needed for a project based around comic book superheroes, but still manage to sound imposing and even threatening when necessary. A specific standout moment is Esoteric’s verse on ‘The King Heard Voices’ in which he moves his way between four different flows with such ease. Comparisons with the collaboration with MF DOOM were always going to be drawn, and, for this album, that is a good thing. I’m not sure it would have been able to stand on its own, but in comparison, it shines. –M  

Remind Me Tomorrow - Sharon Van Etten

(Jagjaguwar)

Sharon Van Etten’s most lyrically and instrumentally developed record yet, Remind Me Tomorrow continues to carry Van Etten’s reputation for impressive songwriting and great capacity for reinvention. Her vocals are emotionally resonant and forthright and, helped by super-producer John Congleton, her instrumental developments clearly exceed that of her previous contemporary folk. Often the instrumentals here are moodier and heavy, even descending into lower-key, electronica-influenced, more Annie Clark-esque sound. Contrasting with that are lead singles ‘Comeback Kid’ and ‘Seventeen’, which have a Springsteen stomp to them, but mostly Remind Me Tomorrow’s tracks are of a more sullen quality. Well written, well produced, well performed, there isn’t much more one can ask of an indie album – and though Van Etten doesn’t pull out anything spectacular out of the bag on Remind Me Tomorrow, it’s one of the year’s strongest releases and a progressive release for her artistically. -E

This Is How You Smile - Helado Negro

(Rvng)

Robert Carlos Lange takes a step back from his usual focus on race and politics to reflect on his life and hone in on his musical soundscapes. Latin folk and atmospheric synths are mixed beautifully to create a cathartic listening experience which Lange guides us through with his gentle vocals, switching back and forth between English and Spanish. Lange’s hauntological influences are evident more than ever on Smile. Beneath the cosy, relaxed instrumentals there are field recordings and unnerving samples which give the nostalgic feel of a Caretaker project, with some of its dejectedness too. The perfect example of this is ‘Fantasma Vaga’, which directly translates to “Ghost Knife” in which Lange describes a supernatural figure over droning synths and sparse steel drums. The triumph of Smile is this ability to overlay and mix these tranquil folk songs, with a hint of discomfort, giving it just the right amount of edge. –M

Crushing - Julia Jacklin

(Polyvinyl)

The 2010’s have become synonymous with female singer-songwriter indie folk; Sharon van Etten, Angel Olsen and Courtney Barnett are just some of the artists who have really championed the genre. It has, however, become rather saturated in the past couple of years, making it that much harder to standout and make a name for oneself. Julia Jacklin has a lot to say, however, and is determined to be heard. Themes of betrayal, loneliness and acceptance are touched upon in a mature and articulate way. Jacklin stands out because she really gets into her subject matter; she intensely scrutinises herself and her surroundings in order to find answers to her questions and solutions to her problems. It is empowering and refreshing to hear an artist not only acknowledging their struggle with humanity and empathy, but so confidently confront and explore it. –M

Love Is - Jungstötter

(PIAS)

Gaining some buzz from his tour with Soap&Skin this spring, Fabian Alstötter’s debut album under the name Jungstötter is a gloomy affair. The name Jungstötter is a mix of his family name and the German word ‘jungstoter’, which translates to ‘young dead’, which perfectly embodies the overall theme of this record. The general slow pace of the album is occasionally disrupted by more intense and chaotic moments, creating some really dynamic and striking tracks. On listening to this record, a barrage of familiar sounds will flood your ears. From the intense baritone ballads of Nick Cave & The Bad Seeds to the androgynous vocals of ANOHNI, there is a wealth of alternative art rock influences dotted throughout. Though, at times, Alstötter does seem reliant on his influences, it is a marvellous debut from the German, obviously keen to form his own signature sound. –M

[X X] - 이달의 소녀 [LOONA]

(BlockBerryCreative)

Loona’s reissued EP is a modern and fashionable set of pop tunes pretty typical of K-pop but with some characteristics Western listeners might find in the work of Grimes or, to a lesser extent, other electro-pop artists like SOPHIE and Charli XCX. Considering there are twelve members of Loona, [X X] is a watertight release, even if it stylistically varies a bit between tracks. Opener ‘X X’ combines electronic chillwave with dubstep in an interesting way, followed by the very modern album highlight ‘Butterfly’; and while many of the rest of the tracks aren’t particularly memorable, they certainly aren’t dull – ‘Colors’ even seems overtly influenced by American R’n’B. With all its similarities to Western pop, it’s easy to see [X X] as a record that could be a gateway into Korean pop music for Western listeners; with the added bonus of being of slightly more substance than your usual idol group. -E

Elephantine - Maurice Louca

(Northern Spy)

A by-product of the Arab Spring in 2011 was the development of a flourishing music scene in Egypt. Cairo-born composer and performer, Maurice Louca, is one of the most exciting names to have risen from this scene. On his third project, Elephantine, Louca explores native Egyptian jazz, surrounding them in the avant-garde. On the track ‘One More for the Gutter’, outbursts of free jazz are complemented by the intensity of guitar-led post-rock. Whilst the finale, ‘Al Khawaga’ is a powerful, repetitive groove littered with swinging horns and hectic drum fills. Elephantine is an inventive exploration, covering immense musical ground throughout its six compositions. –M

Malibu Ken - Malibu Ken

(Rhymesayers)

Aesop Rock has always kept a low profile and doesn’t seem too fussed about reaching the mainstreams. This collaboration with Tobacco of Black Moth Super Rainbow fame certainly doesn’t’ change that as his infamously lengthy and challenging bars have finally found a match. Tobacco’s own brand of neo-psychedelia and indietronica is so out of skew with traditional hip-hop beats that it gives Aesop an edge which he has certainly been missing in the past couple of years. Aesop revisits old themes and is as introspective and philosophical as ever, and opener, ‘Corn Maze’, and ‘Suicide Big Gulp’ showcase some of the best flows of his career. Tobacco’s production is faultless throughout the entire ten tracks, which is good to hear after last year’s lacklustre BMSR effort. Aesop Rock’s dry, esoteric style finds a new home in Tobacco’s weird world of psychedelia. –M

Girl With Basket of Fruit - Xiu Xiu

(Polyvinyl)

Even for Xiu Xiu, Girl With Basket of Fruit is a wild release. Post-pop, post-industrial, post-punk and post-everything, there’s nothing comfortable or light about it – especially compared to the Arcade Fire-cum-lunatic style of 2017’s Forget. So much of this record is unsettled and eerie, isolating and unpredictable. There’s bits of Swans (Thor Harris showing through), some Einstürzende Neubauten, some Suicide, some drone, some Baroque. There’s no belittling Xiu Xiu’s ability to entirely manipulate mood, and here demonstrates again the emotive uniqueness of Jamie Stewart’s exulting, uber-dramatic vocals as well as a new, unsettling sound that includes a pretty vast array of instruments from upright bass to electronic percussion. I’ll be listening to this for years before getting anywhere close to actually dissecting and understanding what Xiu Xiu are doing here, but that’s what makes it so compelling. There’s nothing else like it, an album of intriguingly formless music that’s worth hearing just to for the experience of being so entirely, helplessly intrigued. ­-E

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Album Review: ‘Why Hasn’t Everything Already Disappeared?’ by Deerhunter

(4AD)

It feels like Deerhunter have been around a lot longer than their actual eighteen years. This is due, in a large part, to how the band have been a consistently effective ground-breaking force in indie rock. Spinning from noise and shoegaze on Microcastle and Weird Era Cont. to luscious, empty slowcore on Monomania and Halcyon Digest; their 2015 record Fading Frontier attempted to merge all these traits under the umbrella of a more accessible pop-rock aesthetic. Fading Frontier was arguably as good a record as Bradford Cox and crew have ever made (bar the untouchable Halycon), an emphatic and confident show of exactly why they’re such an important band. However, their latest, Why Hasn’t Everything Already Disappeared, while not being an entire disappointment, doesn’t prove as compelling as any of their previous releases, never mind merely Fading Frontier.

Its faults lay not only in its consistency and comparatively short length but in how it doesn’t particularly push Deerhunter anywhere they haven’t been before. Why Hasn’t Everything takes a lot of their more pop-rock cuts and fleshes them out over their own disc, dispersed between oddly incandescent, immobile numbers that make little-to-no impression over any number of listens. There’s nothing as punchy, bold, or with potential to divide fans like ‘Snakeskin’, and instead tracks that are pretty but plain dominate – the likes of ‘Death in Midsummer’, ‘Element’ and ‘Futurism’ feel hollow despite their catchy melodies. As nice as instrumental passages such as ‘Greenpoint Gothic’ and the back end of ‘Tarnung’ are, they don’t feel necessary on a record that only just breaches thirty-five minutes, and likewise one can question the necessity of tedious interludes (most notably‘Détournement’) and the dire decision to interrupt a short album with lethargic tracks.

As easy as it is to criticism much of Why Hasn’t Everything, the record still has its strong tracks. The nonchalant bounciness of ‘What Happens to People?’ is infectious, and moments like the joyful horns under the post-chorus of ‘No One’s Sleeping’ are as surprising as they are gratifying. Furthermore, though ‘Plains’ might feel like something we’ve heard from Deerhunter numerous times before, it’s still a track with more depth than much of the rest; and closer ‘Nocturne’ seems to be a more poppy sequel to ‘He Would Have Laughed’, which can only be a good thing.

As disappointing as it is that Why Hasn’t Everything is Deerhunter’s first real misstep, it’s also rather impressive that it’s taken them this long. Furthermore, it isn’t as if this new record is testing in its entirety – there’s still plenty of tracks on here reminiscent not only of Deerhunter’s old work but of their philosophy as an artistically evolutionary band.- E

Pick: ‘Nocturne’

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Album Review: ‘Remind Me Tomorrow’ by Sharon Van Etten

(Jagjaguwar)

Like the album artwork, Remind Me Tomorrow is chaotic and messy, full of bright colours, vulnerable moments and nostalgic themes. In the five years since her last record, Van Etten has acted, scored a film, gone back to school, and had a child. This period of change is reflected in her music as she ventures away from the melancholic indie folk that has become her trademark sound, and boldly embraces the world of synth-pop. Her guitar takes a back seat as throbbing synth bass lines, spacey drones and ambient textures take over.

In order to achieve this new sound, Van Etten turns to prolific producer, John Congleton, known for his work with art-pop superstar, St. Vincent, and on the crushingly hypnotic Swans record, To Be Kind. Congleton does a great job picking out synth melodies that compliment Van Etten’s powerful vocal delivery, making this daring leap into unknown terroity that bit easier. The vast space in the mix, especially on tracks like ‘Jupiter 4’, allows Van Etten ethereal delivery to really standout, as it should, and not get lost within these new sounds. ‘Comeback Kid’, ‘You Shadow’ and ‘Hands’ are more examples of how exciting this duo can be. A more alternative rock influence shines through, with an evocative mix of electric guitar and synth drones which make for a well-crafted exploration through this new sound for Van Etten.

On previous records, there is a distinct bittersweet sentimentalism in Van Etten’s lyrics, as she bravely bares her emotional psyche. Remind Me Tomorrow is just as introspective, but it is a much more positive record, as she reflects on the years after Are We There, and makes evident how much she has grown. The nuance and benevolence that makes Van Etten’s love songs so unique are just as prevalent, even in this new style. On ‘You Shadow’, instead of just dismissing a lover who is trying too hard to earn her love, she advises them to “Use loving words and be gentle and kind. Open your mind and it’s easy to find where I am”. The album closes with a beautiful dedication to her young son, an optimistic look towards the future – something very rarely heard on a Sharon Van Etten album.

The album can, however, feel a bit safe and indistinct at times. I mentioned above some standout tracks which perfectly encapsulated the exploration needed on a record like this, but not all tracks are as inventive. Following the brilliant ‘Jupiter 4’ is ‘Seventeen’, a very predictable, middle of the road track; “Sharron Van Springsteen” as one YouTuber commented. On this track and a couple of others, Van Etten’s lyrics become less direct, and less inspiring; “I used to feel free, was it just a dream”. The production holds up these songs, but even it has moments of excessively gaudy textures, and slightly overdone vocal effects.

That being said, Remind Me Tomorrow is an exciting exploration of new terrain for Sharon Van Etten. The folk virtuoso quickly adapts to her new synth surroundings in an assuring and effortless manner. M

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Our Favourite Albums of 2018

2012-2017 - Against All Logic 

(Other People)

Whether Nicolas Jaar meant this to be an understated release or not, the deeply soulful samples, thunderous lo-fi aesthetic and immaculately timed and detailed track phasing of 2012-2017 make it one of the year’s most impressionistic and innovative electronic releases. Not pretending to be any more than a collection of house tracks, 2012-2017’s cohesion lies in its consistency of quality, as well as its lo-fi style. Jaar’s taste for extended, developmental dance songs is addictive and as fit for easy, danceable listening as it is for intense scrutiny. Every track begs repeated listens and rewards through revealing yet more hidden elements. It goes to show just how technically gifted Jaar is that an offhand collection of tracks can be so thoroughly excellent and make more of an impact than his more dedicated peers. -E

Dead Magic - Anna Von Hausswolff

(City Slang)

Dead Magic is Anna Von Hausswolff’s fourth full-length record in which she delves into the dark abyss in a purifying explosion of distressed emotion. A sinister ambience is maintained throughout, even during the more beautiful and uplifting moments – which are typically conveyed through Anna’s rich harmonies alongside powerful, yet unnerving, electronic drones. It is these moments that make Dark Magic what it is. Instead of wallowing in a pit of despair and desolation, Anna offers a way out, stressing that there is beauty even in the darkest of places. It is an exquisitely refined project which blends dark musical themes with emotive vocals to create a sonic soundscape that will leave you completely mesmerized. -M

7 - Beach House 

(Sub Pop)

Simplicity has always been Beach House’s charm and on 7, not only do they manage to revert back to the gorgeous, organic simplicity of Teen Dream and Bloom, but they do so while immensely expanding the breadth of their sound. 7 is only fingertips away from the untouchable timelessness of those two aforementioned records, and is one of Victoria Legrand and Alex Scally’s most ambitious artistic leaps and successful reinventions. This is an affirming record, demonstrating the duo alive-and-well, working with a still-evolving sound; and as easily as capable of producing indie-pop hits (‘Lemon Glow’, ‘Drunk in L.A.’) as they are of thoughtful, tender ballads (‘Black Car’, ‘Last Ride’). 7 has its fair share of career highs, cementing Beach House’s reputation as one of the finest indie acts of this decade. -E

Twin Fantasy - Car Seat Headrest 

(Matador) 

Will Toledo is perhaps the most inventive, boundary-pushing artist in modern indie rock; so when he turned his hand to remaking his own 2012 Bandcamp release Twin Fantasy, the result was always going be interesting. With two ten-minute-plus songs, extensive spoken-word passages, and a distinctly self-aware tone, nothing of the charm of the original was forsaken. A hi-fi recording, reportedly utilising seven musicians and a hell of a lot of retrospective adjustment to the source material, 2018’s Twin Fantasy is everything you felt the original had the potential to be, and more. Instead of a messy, chaotic cacophony, here Toledo’s project is revealed as an intensely personal, momentous opera of indie rock, with Toledo as a proclamatory main protagonist, an idol of teenage angst and confusion. Twin Fantasy is epic and indulgent, flawed and truly excellent. Indie rock hasn’t seen anything as promising as Car Seat Headrest since its heyday in the 90s, and this band are still yet to disappoint. -E

You Won’t Get What You Want - Daughters 

(Ipecac Recordings)

Bleak, harrowing and violent – three words that are often tossed around to describe bands loitering around the darker offshoots of noise rock; yet Daughters’ You Won’t Get What You Want accentuates those descriptors in their fullest definition. Like an atrocity one can’t seem to look away from, the Rhode Island band take the same uncompromising swathes of noise from their 2010 self-titled record but warp and extend it. Swallowing the rest is a manufactured, engrossing silence of negative space that underlies everything from the pulsating waves of distortion to Alexis S.F. Marshall’s vocals; from the clattering, dictatorial drumming to the smatterings of dramatic piano. Daughters’ thoroughly austere ethos has no release; You Won’t Get What You Want is uncompromising in its walls of thick, violent sound and thorough in its sheer immersivity. This is music unlike anything else released this year, and a revival statement for a genre that’s been largely stale for years. -E

Ordinary Corrupt Human Love - Deafheaven

(-ANTI)

With their fourth release, Deafheaven give their critics the middle finger with an uncompromising statement of intent and self-determination. 2015’s New Bermuda hinted that the band had taken the critique of 2013’s Sunbather by metal purists to heart, as they went for a darker, more aggressive sound. With Human Love, however, we see Deafheaven position themselves in-between these two contrasting sounds, as they get the best of both. The hard-hitting aggression of tracks like ‘Honeycomb’ and ‘Yellow Canary’ will satisfy the most committed metal heads, whilst the hazy shoegaze of the shorter tracks, ‘Near’ and ‘Night People’, will enchant the Sunbather converts. As always, the juxtaposition of George Clarke’s piercing screeches paired with the beautifully aggressive guitar hooks of Kerry McCoy is something to behold. With the addition, this time of a heavily post-rock influence, the progression to an explosive climax has never been so poignant on a Deafheaven project. The LA outfit have switched up their sound flawlessly, finding the perfect balance of style and aggression in a masterwork of emotion and intensity. -M

Year of the Snitch - Death Grips

(Third Worlds)

How do they do it? This is Death Grips’ sixth studio album in as many years, and each one has been as exhilarating and unique as the next. Year of the Snitch is perhaps their most out-there project to date, and that’s saying something. This time out the trio go for a more experimental rock approach. The familiar elements of industrial hip-hop are of course still there, but they are dominated by heavy synths and guitar riffs to create a soundscape that is both unfamiliar, yet somehow typical of Death Grips. That, for me, is the beauty of Death Grips; no matter what direction they take their sound, they completely own it. Year of the Snitch is not going to dethrone Exmilitary or The Money Store, but it’s also not a runner up; it’s in a different world altogether.  A typically unapologetic adventure through pop music from the Sacramento trio. -M

Knock Knock – DJ Koze

(Pampa Records)

knock knock is a house album that manages to escape the rather utilitarian nature of the genre, and is instead an artful and diverse project from the German. Koze is clearly a master of his class, as he effortlessly floats between hip-hop, soul, disco, house, and even folk, to create a project that is not merely a compilation of bangers, but a versatile playground of sounds, similar to that of [i]Wildflower[/i] by The Avalanches. The features on here are just as puzzling as the multitude of genres, with the likes of Bon Iver and Roison Murphey making appearences, but, of course, Koze manages to slot them in effortlessly. At 19 tracks, one would expect this album to feel like it had overstayed its welcome, but thanks to the wealth of ideas, it is a perfectly judged, captivating record. -M

Some Rap Songs – Earl Sweatshirt

(Tan Cressida)

Earl’s transformation from the “hot and bothered astronaut” we were introduced to eight years ago, into the mature, yet despondent 24-year-old he is today has been and interesting and difficult experience to observe. His fourth full length album picks up where his latest EP, Solace, left off, as he continues to improve his craft, whilst simultaneously sees his mental health decline. Just like his earlier releases, the Madvilliany and Donuts influences are obvious, but this time take the form of production and song structure. Verses begin and end abruptly, choruses are essentially non-existant, and most of the beats consist of just a roughly looped sample. The result is that it feels as if we’re getting a peak into Earl’s musical sketchbook. Nothing feels finished or even polished, which gives the project a raw and intimate feel. Earl’s lyrics add to this feeling as he explores his state of mind by discussing his struggles with depression and the passing of his late father, displaying a maturity beyond his years. Some Rap Songs is a delicate and honest project from a talented and troubled artist, focused on the improvement of his art. -M

God’s Favorite Customer - Father John Misty 

(Bella Union/Sub Pop)

Attuning his touch to more tender, less ironic pastures suits Josh Tillman to the tee. God’s Favorite Customer is a significant scaling-down from the grandeur of last year’s Pure Comedy, but the novelty of hearing Tillman’s actual emotions proves an adequate substitute. The metaphysical is, as always, a dominant, recurring theme, but the engrossing topics of failed relationships, suicidal thoughts and substance abuse combine for a stirring sort of listen that long-time listeners of his haven’t really had the opportunity to divulge in. As much as records need pacing, careers do too - whereas on I Love You, Honeybear and Pure Comedy Tillman is feeling sorry for us as a society and suffering with us along the way, God’s Favorite Customer sees him looking inward and finding a certain personal relatability. He’s a man who makes mistakes, and not so much the hip-swinging, foot-stomping unstoppable rock star he’s always seemed to be. Unmistakeably pitch-perfect vocals, supported by his usual excessively stellar songwriting and lush arrangements of horns, strings and so on, all make for yet another impeccable record from a man who can seemingly do no wrong. –E

Beyondless - Iceage 

(Matador)

There’s a certain magnitude to the overall sound of Beyondless that takes your ears off; the culmination of four records of growth for Iceage from which they’ve emerged masterful, tasteful manipulators of their own terrifically refined chaos. The Danish art punk quartet edge closer to almost entirely orchestral noise rock (‘The Day the Music Dies), while also never straying too far from pop (‘Pain Killer’, ‘Catch It’). More a refinement of the style initiated on Plowing into the Fields of Love than its own bold stylistic turn, Beyondless reveals Iceage as a much-needed successor to the angrier days of the Bad Seeds. Gritty and throttling but eloquent too, their particular brand of post-punk isn’t just vastly noisy and technically excellent, but distinctive, promising and unlike anything else in the current scene. –E

Joy as an Act of Resistance - Idles 

(Partisan)

Not one for the Tory snowflakes. Forty-odd minutes of Joe Talbot unrestrainedly slapping down the hypocrisy in the British right wing, taking pleasure in exposing the ridiculousness of all things bigoted, from Brexit to anti-immigrant sentiment, toxic masculinity to class hierarchy and general snobbery. It’s a piledriving critical punk commentary on Britain’s 2018, but more than just Brutalism updated for this year’s current affairs. Joy has some impressive musical developments, from more ambitious slow cuts like ‘Colossus’ to more emotional instrumentals, such as the heart-breaking ‘June’. Talbot isn’t the most subtle of political commentators but that’s precisely his point; and instrumentally Idles make sure every track is immaculately and brutishly performed, with nods to various strands of British punk dotted throughout. All the perks of Brutalism plus clear improvement, Joy is one of the finest punk records of the decade, from one of this year’s most essential bands. -E

POST- - Jeff Rosenstock

(Polyvinyl)

Jeff Rosenstock follows up his 2016 record, WORRY., with a similarly hostile and exhilarating showcase of pop-punk as it should be done. On POST-, Jeff’s dense style really shines through as the fierce melodic punk music is paired with cynical and somewhat depressing lyrics to create a perplexing, yet rousing juxtaposition. The lyrics are as catchy as they are striking, with many notable chants that will get stuck in your head for days. “ET TU USA, ET TU, ET TU USA!” It is unfortunate for Jeff that the success of WORRY. has somewhat degraded the standing of the record with most critics. POST- should not be overlooked as it is still an incredibly fun album, full of memorable chants and defiant sentiments. -M

Aviary – Julia Holter

(Domino)

With such a change of direction from her previous effort, Julia Holter’s fifth full length release, Aviary, rejects traditional pop song structures, and offers us a work of art which is as beautiful as it is mad. It is perhaps the most uncompromising album released this year, with no regard for its accessibility or its reach. There are four-minute bagpipe spectaculars, howling choral compositions and moments of arduous free jazz. It is, indeed, a difficult listen at times, but we are rewarded with moments of sheer beauty. This is exactly the point Julia wants to make. She wants to portray the mayhem and hysteria of modern life, describing Aviary as “the cacophony of the mind in a melting world”, but also gives us an important message of hope and the resolve to look for an answer. That is why this album is so important; it is a vessel for empathy that invites disparate people to join in her euphoria.-M

Kids See Ghosts - Kids See Ghosts 

(G.O.O.D. Music/Def Jam)

Kids See Ghosts is a rare, rare breed of album that manages to take two artists and exact them both at the pinnacle of each of their abilities. Take Kanye West, at his most creatively unsettled, apparently cramming as many production ideas as he can into twenty-four minutes. Add Kid Cudi, and his apparently perfect range of singing, humming, harmonising and hook-crafting. Kids See Ghosts not only has them both at their creative peaks, but at their most lyrically relevant. West’s verses are incredible, eloquent and playful, reminding listeners exactly why he’s more than just a talented producer. He’s less confrontational and hubristic, while Cudi offers sensitive and deeply personal verses on his own journey through mental health problems. This is easily both artists’ best work this decade, an endlessly relistenable treasure-trove of a record that feels like more than just a genuine accomplishment, but justification that neither of these artists deserve any less reverence than they were deserving of in the first place. -E

I’m All Ears - Let’s Eat Grandma 

(Transgressive Records)

British teenage duo Let’s Eat Grandma’s debut is enthralling, accomplished, experimental stuff. Channelling a broad range 80s synth pop idols such as Soft Cell and George Michael, but also taking obvious influences from modern pop artists like SOPHIE and The xx (not to mention Pink Floyd on ‘Calm and Collected’); Jenny Hollingworth and Rosa Walton’s ambitious songwriting, endearing lyrics and knack for poppy hooks aren’t just immaculately written and arranged, but make for some of 2018’s most addictive tracks. Virtually every track feeling like a single; the emotionally heavy ‘I Will Be Waiting’ or the jumpy ‘It’s Not Just Me’ are just as easily radio-friendly as the slow cut ‘Ava’, or the Oil Of Every Pearl’s Un-Insides run-off ‘Hot Pink’. Add to the mix the two long cuts, ‘Cool and Collected’ and ‘Donnie Darko’, and I’m All Ears gives a broad definition of the duo’s ambitions and talents, indicating their fondness for extended instrumental phases and ability for writing well-structured, impressively mature tracks. -E

Now Only - Mount Eerie 

(P.W. Elverum and Sun)

Now Only, as a companion to last year’s A Crow Looked At Me, feels just as poignant a documentation of the process of one man’s grief as that record did. Slightly brighter and more reminiscent than purely devastated, Now Only shows improvements in Phil’s mental health not only through its themes and lyrics, but in how it expands instrumentally and structurally far beyond Crow, further toward the territory of the Mount Eerie work of old. Phil still has an unerring ability to chillingly plunge his listener back down to Earth with the utterance of a single, understated line, always having the reality of death looming over his vocals, no matter how wistful and optimistic they may seem. Phil can (like Kozelek, Malkmus, and few others before him) sing regardless of rhyme or pace, transcending lines and effortlessly fitting instrumental structures that occasionally err towards his work on Wind’s Poem or Clear Moon. Now Only is anything but another A Crow Looked At Me, an intense, documentary listen that demonstrates musical recovery as a metaphor for personal progress, that will (along with its companion live album, After) surely go down as one of the most profound artistic commentaries on death in popular music. -E

All Melody – Nils Frahm

(Erased Tapes)

Nils Frahm’s All Melody is a real masterclass in progressive electronica. Following the atmospheric opener, ‘Sunson’ really kicks things off; a nine-minute rhythm-driven epic, with the pulsating hits of the bass marimba intertwined with pan-flutes and delicate synth melodies. From here we get an assortment of climactic electronic tracks, intense choral compositions and beautiful piano pieces, which somehow manages to maintain an impressive sense of cohesion and flow despite the disparities of sound. All Melody remains calm and meditative throughout, with a melancholic mood, but you never lose interest; each track is as captivating as the next. The attention to detail and texture, really make this album what it is; the nuances and subtleties give it the depth that an album with such ambition needs to stay interesting and emotionally compelling. A remarkably well rounded and unique album, incorporating qualities of techno, ambient and classical music to a devastating effect. -M

Wide Awaaaake! – Parquet Courts

(Rough Trade)

Wide Awaaaaake! is a fantastic leap forward for Parquet Courts. The record is produced by Danger Mouse, a match that doesn’t necessarily make much sense on paper. However, the Grammy award winning producer allows Parquet Courts to run free, only adding his signature touches when completely appropriate. The result is that Wide Awaaaaake! is the groups most diverse record to date, with a wonderful sonic range from aggressive indie-punk to afro-groves reminiscent of Remain in Light. And the songwriting on this record is amazing. Savage and Brown hit gold with a dynamic blend of their classic art-punk rages and a more contemporary commentary. These lyrics are politically charged and socially conscious, yet done with such taste and style that nearly all pretension is avoided. Wide Awaaaaake! is a success on all accounts; Parquet Courts have experimented with their sound just enough to create something that sounds familiar but also entirely different. -M

DAYTONA – Pusha T

(G.O.O.D Music)

I think we’ve all been waiting for this for a very long time. Since Clipse broke up in 2010 and Pusha T started his solo career, there have been glimpses of brilliance, but his full-length projects have never truly delivered. Daytona, however is the perfect mix of his cocaine kingpin persona, political art rap, and gritty, challenging beats. All of these factors are typical of a Pusha project, but, under the direction of Kanye, there is a real sense of cohesion and focus which has been missing throughout Pusha’s solo career. The ending, Infrared is a particular highlight, as Pusha addresses the unscrupulous history of mainstream hip-hop, whilst also cementing his integrity within the genre; he truly is the ‘rapper’s rapper’. At a mere 21 minutes, this album will be one of the shortest in terms of run time you will hear all year, but it makes for an airtight listen, with no fillers – just straight bangers. -M

Compro – Skee Mask

(Ilian Tape)

On Compro, Skee Mask takes us on a trancelike adventure into the heart of the arctic tundra and out the other side. The opener ‘Cerroverb’ sets the scene as reversed samples are paired alongside occasional bass flickers to create a cold, dreamy atmosphere. From here on in there is a subtle exploration through 90’s dance music, with influences including trip-hop, jungle, and everything in between. Through his keen ear for a melody, and ability to bring his drums to life, Skee Mask reminds us how devastatingly sensual the fundamentals of dance music can be. Compro is a masterwork of simplicity and perfectly timed progression. The subtle changes to the texture and the slow build-up of the breakbeats throughout results in a vastly nuanced record capable of mixing these cold ambient scores with the energetic breaks and techno beats. -M

Oil of Every Pearl’s Un-Insides - SOPHIE 

(MSMSMSM/Future Classic/Transgressive)

SOPHIE’s full length debut is as beautiful, beguiling and absurd as expected. Humorous and sincerely insane, Oil of Every Pearl’s Un-Insides ranges from achingly, tentatively soft to thunderously, tectonically loud, from dystopic drone to tongue-in-cheek BDSM references. It’s extravagant and knows it, and we wouldn’t have expected any less from the debut of one of contemporary electronic music’s most promising and revolutionary pioneers. Everything about Oil of Every Pearl’s Un-Insides is postmodern and glorious, displaying an excellence down both ends of the intensity spectrum; from the enveloping atmosphere of opener ‘It’s Okay to Cry’ to bombacity of EDM banger ‘Immaterial’. It feels exploratory of the capabilities of electronic music, seemingly including a take on Top40 pop, glitch, ambient and many, many other styles. A deliberately confusing listen, this is easily one of the most interesting albums of the year and one that I hope becomes a blueprint for others to copy in the years to come. –E

Superorganism - Superorganism 

(Domino)

No one quite knows exactly what a “Superorganism” is (in musical terms), but if it’s some kind of eclectic creature churning out broad, slightly-left field and all-fun pop tracks, then this London-based, multi-continental eight-piece bedroom-pop collective fit the description pretty well. Don’t think too much when listening to Superorganism and it’s a joyous and bouncy, accessible indie pop album brimming with catchy choruses and ear-worming melodies. Listen deeper, and it’s jumpy and rich, glitchy and noisy; laden with quirky “found-sounds” like car horns and screeches, and playfully complex and layered. Playful, fresh and fun, the octet’s debut proves that mainstream pop doesn’t have to be mundane and formulaic, and that there’s a potential future in interesting, inventive pop music. -E

Konoyo – Tim Hecker

(Kranky)

Following the somewhat disappointing Love Streams, Tim Hecker is back on top, as he turns to Japan for inspiration – in particular the ancient courtly music known as [i]gagaku[/i]. The archetypal flutes, drums and strings of this traditional genre are contorted and manipulated, and eventually swept away into the cold and eerie electronic drones typical of Tim’s previous work. What emerges are vast soundscapes that are both minimal and monumental. Tim knows exactly what he is going for and is in complete control, able to fuse points of extreme simplicity and intense noise together so seamlessly. Konoyo is one of the most immersive listening experience you will have all year, and certainly puts itself forward as contender for ambient album of the decade. -M

Cocoa Sugar - Young Fathers 

(Ninja Tune)

There aren’t many sounds in modern R’n’B as soothing as the three Scottish voices of Young Fathers, pining in tandem with their signature hypnotic, larger-than-life harmonies. Cocoa Sugar brings together the trio’s expansive, hymnal vocals and impassioned performances over instrumentals constructed of bass-heavy beats and minimalist melodic injections; crafting dense tunes with emotional weight and political potency. There’s an ardent politicism running throughout tracks like ‘In My View’, ‘Toy’ and ‘Border Girl’, as well as an undeniably British perspective that makes Cocoa Sugar relatable, relevant and important. On top of all that, it’s also impressively experimental; Young Fathers’ freedom from traditional song structures, accompanied by their distinctively alternative beat style, feels abstract and purposeful and unlike anyone else. This is their finest release yet, a brilliant demonstration of their stylistic breadth as well as their ability to work politics into their very particular niche of R’n’B. -E