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Best new music releases 2019

The Red Headed Stranger and the Boss broke hearts , revealing their anxieties as each meditated on legacy and mortality, and FKA twigs warped heartache and depression into the most glinting sounds of tomorrow imaginable. LP smashed through the public consciousness. Extreme lyrical confession is the mode du jour, and the real winners are us, the listeners. These are the best albums of Nearly a decade into her dizzying career—one full of futuristic sounds, dreamy vocals, and physics-defying dancing—British born artist Tahliah Barnett arrived with her finest work yet as FKA twigs in It's incredible to see Earl Sweatshirt completely reject popular hip hop music. After his breakthrough solo album, Doris, it seemed that he was primed to be the next big star in the genre. But, throughout this decade, he's spurned that possibly trajectory more and more, as his music becomes more strange, more experimental, and increasingly more unique. His latest collage of creativity comes in the form of Feet of Clay , a 7-song album that clocks in at less than 15 minutes. It's a fascinating, and brief, collection of music.
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Anchored by sturdy, stunningly pretty folk-rock backings, Adrianne Lenker, her voice tremulous but tenacious, makes existential musings amid verdant nature. The Californian troubadour, who has steadily wound his way through the fringes of Americana and indie for over 15 years, delivers another romantic, faintly psychedelic masterpiece.
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Last year was a banner year for big-name artists dropping big-name releases. By strong contrast, was more of a transitional changing of the guard year, allowing space for new faces, like Billie Eilish and Lizzo, to make big splashes and for seasoned veterans, like Wilco and Solange, to create bigger, fresher waves. Buffalo brothers Westside Gunn and Conway the Machine and longtime associate Benny the Butcher are Griselda, a rap crew whose hard-nosed punch lines, effortless flows, and intricate storytelling brought them to the attention of our patron saint of internal rhyme, Eminem. Their Shady Records debut W. Gothic sounds from producers Daringer and Beat Butcha set the scene for grimy stories about the stresses and spoils of hustling. The beats bang, and the quotables run fast and hot, like a river of blood. In four albums, Kentucky troubadour Sturgill Simpson evolved from a rising country star to a critically acclaimed singer-songwriter to a kind of Nashville outlaw to a rock star making records about the stresses of making records. The members of the country quartet the Highwomen come from different walks of life. Maren Morris is a budding star who could cross over anytime she wants. Natalie Hemby is a storied Nashville hit-maker who has recently begun to sing her songs herself.
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Raucous punk? Near-perfect indie singer-songwriter stuff? Politicised veteran ska? Hoo boy, are you in luck. James Blake. The feted producer, having previously submerged his identity in glitchy electronica and production credits for other artists, returned with a bold, bright album that stripped back the layers, offering unfiltered insights into his thoughts on mental health and a new relationship. And that Andre feature was great, too. Gone is the hazy, south London night bus ambience of Blake gone by. In its place is a newfound sharpness. Bring Me The Horizon.

Anchored by sturdy, stunningly pretty folk-rock backings, Adrianne Lenker, her voice tremulous but tenacious, makes existential musings amid verdant nature.

The Californian troubadour, who has steadily wound his way through the fringes of Americana and indie for over 15 years, delivers another romantic, faintly psychedelic masterpiece. Tip of the Sphere is his ninth studio album of ever-expansive Americana, one where his myth properly matures. With as much an affinity with hip-hop and progressive rock as jazz, the trio of reeds player Shabaka Hutchings, synth player Dan Leavers and drummer Max Hallett make one of the most cosmic statements of the current British jazz revival.

It may also be the best. An overlooked masterpiece of modern soul, the Indiana quintet are shamelessly retro in their style: all pert brass and crooning close harmonies. But when the songwriting is this perfect, who cares about originality? The gothic teen queen came through with some characteristically unsettling productions on her debut album, but equally showed an unexpected love of show tunes that posited her as a Gen-Z Fiona Apple.

She sings in a discomfitingly close gasp, like an ASMR actor having a panic attack. The purposeful folk star Rhiannon Giddens teams with the Italian multi-instrumentalist for an album that explores how sounds and rhythms from Africa and the Arabic world connect with traditional music from Europe and America.

The New York-based cellist transcended her status as a collaborator with artists including Solange and Blood Orange on her stirring debut: disco reverie Poor Fake is a particular highlight. In fact, it sounds magnificent. A supergroup comprising North American roots musicians Rhiannon Giddens, Leyla McCalla, Allison Russell and Amythyst Kiah: together, these banjo-wielding heroines confronted the historic and continued abuse of African American women with authority and intimacy.

One of the most plainly beautiful releases from the experimental Norwegian vocalist — using a retrofitted pump organ, plaintive ballads sit alongside whimsical flights of fancy. The one saving grace of Brexit Britain being so utterly toxic is that Sleaford Mods still have something to write about: they remain the great contemporary poets of a nation that is much worse than it thinks it is.

It prefers to critique this troubled isle through the minutiae of daily life, which is perhaps even more effective and damning. Another wretched yet amused state-of-the-nation address delivered in a broad, leering Midlands accent, Slowthai draws on sounds that have long chimed with the disaffected in the UK: grime, garage, punk and trip-hop. At 71, jazz pianist Aki Takase is more sprightly and inventive than people half her age: Thema Prima bursts with energy, with blurts of sassy big band, screwball improv and classy balladeering.

Returning after a six-year break, Vampire Weekend — now Ezra Koenig and a heap of collaborators — remain smart but never smart-arse. Addressing the environment, Jewishness and love, this is classic American songwriting reaches back to classic country and Paul Simon while facing forward.

The London guitarist hardly needed the between-song skits about contemporary anxieties to make her point on her rapturous and compellingly uneasy debut, laced with rare, bona fide indie anthems In Your Head and ripcord yelp shocks Heavyweight Champion of the Year.

Tue 4 Jun Big Thief — UFOF Anchored by sturdy, stunningly pretty folk-rock backings, Adrianne Lenker, her voice tremulous but tenacious, makes existential musings amid verdant nature.



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