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Money Deals. The Independent Books. Voucher Codes. Just Eat. National Trust. Premium Articles. Subscription offers. Subscription sign in. Read latest edition. UK Edition. US Edition. Log in using your social network account. Please enter a valid password. Keep me logged in. Try Independent Premium free for 1 month See the options. You can form your own view. Subscribe now. Shape Created with Sketch. The best albums of so far Show all Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga.


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Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. Roisin O'Connor.


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Already Disappeared is not an easy album. This is a new side of Deerhunter that gives the listener much to contemplate. But beneath its hazy synths and electronics are songs of endurance and inner peace, of settling after a flurry of activity. Addressing a younger version of herself, the year-old sings of the carefree young and their mistrust of those defeated by time. Jazz Monroe. Amo is a way of exploring that, even down to the title itself. This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age — the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good.

Alexandra Pollard. Helen Brown. The perma-brilliant James Blake has flooded his fourth album — Assume Form — with euphoric sepia soul and loved-up doo-wop. His trademark intelligence, honesty and pin-drop production remain intact. The variety and scale of ambition on this album is breathtaking. Fans will be surprised to discover Tracey sings almost as much as he raps, in pleasingly gruff tones.


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  5. The album title of the year gives us an image of Brexit Britain trashed by Old Etonians David Cameron, Boris Johnson and Jacob Rees-Mogg, but the fifth studio work from the punk duo has more than social commentary to offer. Chris Harvey. The tension is stormy: imagine a mid-period Fleetwood Mac song, covered by Cat Power. The album takes in everything from jazz, funk and soul to punk and heavy rock, plus three carefully chosen features.

    Solange Knowles has never been coy about the intent behind her music. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose. And where better to dream than from the comfort of your own digs? Kuba Shand-Baptiste. Mark Beaumont. Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons.

    Dave spends Psychodrama addressing issues caused by the generations who came before him. By the end of the album, he sounds like a figurehead for the hopeful future. At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. Then she growls like an Icelandic volcano preparing to disrupt western civilisation until we sort ourselves out.

    Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse — real name Brian Joseph Burton — during which the pair vowed they would work on something together. Danger Mouse is known for genre-hopping collaborations with artists such as Beck, the Black Keys and CeeLo Green, and he applies that approach here, too: the album is an impressive mix of blissed-out synths, psych-rock guitars and trippy hip-hop beats.

    1. Introduction

    Lux Prima is an accomplished record — proof that two wildly different minds can work seamlessly together. This is an ambitious creation, meticulously crafted and assembled. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm — both of whom have worked with Flying Lotus and Thundercat. To Believe, however, feels more expansive in reach. Elisa Bray. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young.

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    Patrick Smith. Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet.

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    Slide guitars give way to violas, which usher in eerie synths. Organs crop up throughout, evoking both Renaissance music and a fairground attraction. The title track is pure euphoria, as restless synths of a Utah Saints or Orbital rave break into swelling bass and melody. Six months after the release of Oxnard, Anderson. Paak returns with another Dr Dre-produced record, Ventura. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel — recorded around the same time — streamlines.

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    Rather than being an album of Oxnard offshoots, Ventura instead borrows heavily from. Considering how few artists have such command of their craft as. Jack Shepherd. Familiar faces and themes serve as his trademarks. Over all of it, he raps with an easy flow in gruff yet honeyed tones. Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him. No one could accuse Lizzo of holding back. Not when it comes to her voice — which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to — and certainly not when it comes to her message of unabashed self-love.

    When Lizzo played Coachella earlier this week, her set was plagued by technical problems. It seems as likely as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for Fat White Family.

    Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. Wonderfully unsettling. Assisted by producer John Hill, whose previous credits include co-writing Portugal. Social Cues is an album where Shultz bares his soul, and apparently shakes off a few demons in the process.

    lifelcapati.ml SOAK reaches to outsiders once again on her new album. In a way, Grim Town portrays the journey from adolescence into young adulthood — with all the introspection, resignation and wide-eyed forays into love that entails. She was deeply affected by the deaths, and would no doubt have been devastated by recent events in Northern Ireland as well. It sounds like The Cranberries found some kind of closure in this last record.