Like a sky laced with pastel cirrus, it is effervescent and awe-inspiring. The tenderness of Jam and Lewis, west coast hip-hop at its sugariest and the innocence of Japanese city pop are fractured by shivering dubstep and even the exuberant chatter of UK garage. When she sings, the effect is of catching someone unwittingly mumbling along to Janet Jackson through their headphones her quicksilver vocal intimacy allows for flirtation and hurt to flicker through like electrical surges. It is testament to the allure of her sweet club-pop visions that Jessy Lanza’s breakout stemmed from her most insular work yet.
LS 44 Jessy Lanza – All the TimeĪwe-inspiring … Jessy Lanza. The often very funny Gomez excels at nimble vocal kiss-offs, which she layers into satisfyingly percussive patterns: the chorus of People You Know seems to fold in on itself like origami you’d expect Vulnerable to burst into gaudy EDM, but it pares back to Gomez caressing every syllable of the word, as if putting her own seams on show.
Aside from the wrecking ballad Lose You to Love Me, it’s confidently unruffled, taking the Talking Heads-aided oddness of her 2017 single Bad Liar as her template. 45 Selena Gomez – RareĬonsidering the dramatic origins of her third album – lupus, a kidney transplant, splitting from Justin Bieber and the Weeknd, rehab for her mental health – Gomez could justifiably have released an hour of equally high-intensity bloodletting, but Rare abides by the maxim “when it’s hot, write it cold”.
The second of these 20-plus-minute pieces, Lovelock, turns anxious and distracted, before Further closes the set out with one of their most purely gorgeous compositions, a lush rainmaking groove anchored around a two-note organ motif. The bustle of pre-Covid life seems to be evoked by Tony Buck’s drumming in the latest release by the veteran Australian avant-jazz trio, particularly on the opening track Bloom, which clatters and rustles with ferrety industry. Taylor shows how sex itself is communication, adding up to one of the hottest, most emotionally astute albums of the year. There are frequent pleas for better communication and reciprocity, likely to comfort anyone gaslighted into thinking, “Is it just me?” But when the connection works, it really works, as evinced by the numerous rapturous slow jams. 47 Teyana Taylor – The AlbumĪcross 23 tracks, the American R&B star builds a deep, rounded portrait of the highs and lows of a romantic relationship. Like Beabadoobee, Clairo and other recent breakthroughs, Soccer Mommy actually makes full-bodied, melodically strong indie rock – at times you can draw lines towards Real Estate or Deerhunter, but the drowsy yet determined vocals are inimitably hers. The recent craze for bedroom pop had a further boost this year as so many of us were increasingly confined to our bedrooms, although there’s a sneaking suspicion this term can undersell the ambition of these (often female) artists. 48 Soccer Mommy – Color Theoryĭetermined … Soccer Mommy. Humanity, for example, is “a room of pit ponies / Drowning forever in a sea of love”. His lyrics are surrealism of the kind André Breton originally intended for the movement back in 1924, “an absolute reality, a super-reality”: bizarre imagery that nevertheless feels true to life, and in thrall to it. Soft rock’s poet laureate returned with one of his strongest sets yet, with the coldwave chill that arrived on Ken (2017) now getting right into his bones. Producers William Hutson and Jonathan Snipes use “electronic voice phenomenon” ghost recordings, corroded signals and electroshock bursts of bass and noise to keep you constantly choosing fight or flight.
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This is horrorcore hip-hop, but deadly serious rather than cartoonish, an apocalyptic world filled with blood, petrol, drugs and rust where “core snap like yolk, floor crack like joke / More cat eye opens, sky racked like coat”. Rapper Daveed Diggs is best known for playing Jefferson and Lafayette in Hamilton, surveying the violent chaos at the outset of the US – here, he seems to survey the same thing at its end.
This list is drawn from votes by Guardian music critics – each critic votes for their top 20 albums, with points allocated for each placing, and those points tallied to create this order.
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