BBT Read the full review. Over metronomic garage-rock, frontman James McGovern sings like a man reading a list of demands out of a high window, but also modulates into sweeping gothic romance. But nobody perfected the approach like Ariana Grande, whose second album in six months (following 2018’s Sweetener) vibrates with immediacy. Southern Sky, Bad Man, SugarHouse and plenty more make this a future cult classic. Slowthai wryly evokes the forgotten parts of the country through snapshots of working-class life: tea and biscuits, hiding drugs, fallouts with a stepfather, EastEnders’ Phil Mitchell. LS Read the full review. While that warmth glows through Shepherd in a Sheepskin Vest, Callahan’s understanding of his inherent masculine violence, and his way with lucid profundity, means his domestic treatise was never cloying. Big Thief. Specificity is the marker of killer pop (the matches in Pet Shop Boys’ So Hard, the shoelaces in Robyn’s Be Mine), a trope that the LA trio Muna wield to intense effect on their second album of gothic synthpop. Ben Beaumont-Thomas Read the full review. Without resembling anything so cliched as a “getting it together in the country” record, her fifth solo album runs on that solitary, spartan existence: sad and lovely piano-led songwriting unfolds in its own unruffled time, but then a post-punk scribble like Mother’s Mother’s Magazines upsets Le Bon’s calm, like a momentary wigout at her dislocation from society. On Boss, she goes in as hard as an aggrieved Wu-Tang member over a raw bluesy beat; on the very next song, Selfish, these spikes are melted into smooth R&B.

Her love for it is infectious. Michael Hann Read the full review. © 2020 Guardian News & Media Limited or its affiliated companies. Whether it’s bossa nova pop, Snail Mail-style slacker grunge or moody synthetic rock in the tradition of the xx, Yanya’s songwriting bar flexes and warps but stays permanently high. In 2019, the culture was lit and the playlists were wild. There are moments when Cave appears to be slowly coming to terms with what has happened: “Sometimes a little bit of faith can go a long, long way,” he sings. First published on Tue 3 Dec 2019 01.00 EST. © 2020 Guardian News & Media Limited or its affiliated companies. In these brawny, meandering folk songs, a butcher spouts anti-immigrant bile, an anxious jogger hears of racial violence, and workers in a warehouse flog themselves half to death; at a more intimate level, there are infidelities and loneliness. It's a song of anguish. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with prior written permission of Condé Nast. LS Read the full review. (Where were you when you first heard Billie Eilish and Lil Nas X?) Lanre Bakare Read the full review. Ammar Kalia Read the full review. Manchester’s WH Lung are on hand to provide it, garlanded with airy vocals and endearingly retro sonics.

The 50 best albums of 2019: the full list, Guardian albums and tracks of 2019: how our writers voted. Our pick of the year’s finest albums … The title, the new age font, the tie-dye colours of the album artwork – they all indicate that Hot Chip are getting in on the very 2019 taste for rave culture. "Not" No song in 2019 felt more searing, more perfect, than "Not." Available for everyone, funded by readers, Our pick of the year’s finest albums brings American dreaming, teenage dynamism, heartbreak, barbed rap, impetuous indie and beautiful soundscapes, Significant orchestral recordings were few, but Berlioz, Offenbach and Schumann were celebrated in style, solo artists impressed and smaller labels triumphed, Aspirational, relatable and effortlessly spectacular, the 17-year-old pop sensation’s debut album didn’t disappoint – duh, Van Etten sees the darkness but is willing to banish it with dark, joyous and grownup songs that flirt with 80s-style sounds, Tyler gives his creative exuberance free rein on an album that incorporates everything from twinkling R&B to soulful balladry, The offbeat, mesmerising songs on this breakup record are both seductively gorgeous and designed to set your teeth on edge, Sex, sensuality and inner strength formed the core of a breakup album that mixed moments of fragility with rousing uplift, The stripped-back songs on this double album – written following the death of Cave’s teenage son – are a striking meditation on grief, loss and hope, The 24-year-old Northampton rapper has become the voice of a generation with witty, striking snapshots of working-class life, The LA singer-songwriter’s switch to stately orchestral pop earned Karen Carpenter comparisons, but her all-American concerns were firmly of our times, Our critics have voted til they can’t no more... and these are their tracks of the year. LS Read the full review. BBT Read the full review. The artwork for Vampire Weekend’s fourth album is pure Windows 97 ClipArt, earnest United Colors of Benetton graphics, CD-era prosperity in its prominent positioning of Sony’s label. All Mirrors. A … Those …

Their ranting live shows gathered hype like a crowd round a bullhorn, and this debut album delivers – and then some. BBT Read the full review. BBT Read the full review. Where their second 2019 album Two Hands (see No 37, below) has a torn-paper edge to it, the first, UFOF, is pristine – but it essays a world that is far from perfect.

LS Read the full review.

LS. But the sheer zest for life in these bombastic, ultra-quotable self-empowerment tracks – as well as the pure-pop hooks – gives them intensity even on record. It’s adventurous, beautifully crafted, devoid of filler, packed not just with hooks but finely wrought sonic details.

Pang details a rebirth – the end of a marriage, a new start, a new creative partnership with producer Danny L Harle – and its avant-garde mix of airy synthesis and human tactility glistens with wonder.

Unburdened by modish musical trends – no guests, no genre crossovers – it was a feat of immersive beauty, the kind of record you might put on an old-fashioned stereo, dim the lights and sit through in one indulgent sitting, the better to appreciate its three-dimensional production washing over your skin like a gong bath. Those sounds are more than just another layer of Americana cosplay: her obsession with American archetypes, once dismissed as superficial, has matured into an acute understanding of how they are created and frustration at what they conceal. A subtly defiant assertion that Del Rey is here for the long haul, no matter what. LS Read the full review. Some breakup albums wallow, but this one carries itself with the strength and tenacity of its namesake. Charli XCX’s long-awaited third album proper firmly puts to bed asinine questions about whether she is a mainstream pop star or a left-field one: here is someone not just punching above their weight but operating in an entirely different cosmos, unconcerned about putting goofy nostalgia (1999) next to deeply queer bass workouts (Click), trance-tinged, cocksure flexes (Next Level Charli) alongside cage-rattling anxiety anthems (Gone). As with Sleater-Kinney’s album, there was so much noise around Lover that it was hard to parse the record itself on release. Tracks either abruptly snap off like an unfinished thought or dissolve into the silent distance. Polachek explores and is often overcome by this new reality, reflecting her sense of discovery in choruses that loop like Escher staircases (Door) and vocal runs so startling (Ocean of Tears) they seem to suggest the invention of entirely new emotions. This is a strutting, utterly badass glam rock record, shot through with a gimlet-eyed outlaw nihilism – and comes with its own accompanying Kurosawa-inspired anime. Alabama Shakes hardly cleaved to one genre, but frontwoman Brittany Howard shows just how astonishingly broad and instinctive her talent is here. It’s a moment of fragility, but one that’s undercut by what has come before it – FKA twigs has proved that she is more than enough, someone who can sing, write, produce and pole-dance, all of it brilliantly. The Brooklyn band’s second album of the year is earthier than UFOF, the glowing collection that arrived in spring. With every twist, Simz is already on top of the beat. “They’re waiting and hoping I’m not enough,” she sings on Cellophane in the album’s final moments, contemplating the fallout from the end of her relationship. While artists like Billie Eilish and Polachek have pushed pop into the future this year, King Princess joins Lana Del Rey in showing that there’s potential in classicism yet. Producers Danger Mouse and Inflo make his retro soul sharp enough to strike a match on, giving it an edge to match Brittany Howard’s equally expansive Jaime (see No 32 below). Ramshackle hip-hop, spoken word, gospel, neo and not-so-neo soul, raunchy funk, spiritual jazz and whatever glorious noise 13th Century Metal is, it’s all given extra heft by Howard’s poignant reflections on love and identity.

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