In weird ways, Yeule’s softscars works as a satisfying slice of artful pop for the Anthropocene that oozes catastrophe and captures a real cultural moment.
On Hit Parade, Róisín Murphy takes her sound – a swirling cacophony of electropop, synthpop, and nu-disco – and looks to soul to elevate her music.
Drawing from disco, funk, and R&B, Little Dragon’s Slugs of Love is genre-crossing music, achieving an artful balance of danceable tunes and reflective moods.
Jayda G’s Guy is an admirable and occasionally affecting project that balances both personal vulnerabilities with uplifting and life-affirming music.
Young Fathers declare their awareness of what’s going on but take it a step further. Heavy Heavy urges the audience to do the heavy lifting and “have fun”.
The bold sophomore album from the London experimentalists is a singular work rife with ambitious songwriting and sincere, sharply-observed emotions.
Bonobo’s Fragments represents a rare step back from one of the 21st century’s leading electronic luminaries. It doesn’t bring enough new ideas.
Anz’s All Hours is one of the most exciting debuts of the year from one of the most thrilling new voices in club music. It’s music for the all-nighters.
Before I Die has a fashionably unfinished quality, something that works in electronic producer Park Hye Jin’s favor. Park makes for an ideal musical antihero.
Jordan Rakei has a gorgeous voice that’s soulful and thrilling, and his latest album What We Call Life is easily one of the best of the year.
Legendary bass-worshipper, the Bug crafts 14 earth-shaking tracks reflecting the volatility of our current socio-political landscape for his latest album, Fire.
Following six turbulent years, Australia’s Hiatus Kaiyote return with their third LP of neo-soul virtuosity, Mood Valiant. It’s effortlessly likable and rich with heart and soul.