FKA Twigs — Magdalene

FKA Twigs, AKA Tahliah Debrett Barnett, reaches a pinnacle point in her songwriting on “Magdalene.” Inspired by Mary Magdalene, the biblical “side” character to Jesus, FKA Twigs masters a critical tale of female empowerment entwined with self-doubt on her latest effort. “Magdalene” is enhanced rather than overpowered by a star-studded cast of co-producers, writers and guests like Nicolas Jaar, Skrillex, Jack Antonoff, Future and even Venezuelan synth-pop artist Arca—all adding unique elements to FKA Twigs’ interpretation, at her direction. We can almost hear and understand Mary Magdalene’s true inner battles all those centuries ago through FKA Twig’s own struggles and anguish. The London electro-pop darling has accomplished making the story of a first-century woman—told in a more honest way than ever before—relatable to a culture of self-obssessed, digitally-drained people who are, by the way, more inherently avert to religion. Trained as a back-up dancer, FKA Twigs realizes the importance of painting a complete picture and perfects this on “Magdalene,” learning pole dancing for the performance element of this effort. The album’s tracks contribute to the larger vision but at the same time can stand on their own. “Magdalene” is an all-encompassing, nuanced story that is all parts delicate and strong, bold and reserved, and distressing and uplifting.

Big Thief — Two Hands

If Big Thief’s first 2019 release, “U.F.O.F.,” was a brooding ode to a desolate winter, “Two Hands” is the dawn of spring and the birth of new beginnings. Two albums in one year can at times overwhelm fans, maybe even come off as slightly pretentious on the part of the artist. But “Two Hands” and “U.F.O.F.” are two completely separate thoughts told through two distinct lenses. They seem to have ebbed effortlessly and naturally from the Brooklyn natives, who come off more honest than ever on this latest effort. And if “U.F.O.F.” encapsulates feelings of total loneliness and alienation, “Two Hands” follows with a notion of being found—or at least a moment of radical self-awareness. This process of becoming whole again can be felt through some of the jam breakouts on this album, which also sets it apart from the delicate folk style of “U.F.O.F.”

(Sandy) Alex G — House of Sugar

Alex Giannascoli, better known as (Sandy) Alex G, has always been great at blending different experimental styles of music together in a way that is cohesive and unique. “House of Sugar” is no exception. Giannascoli is authentic and eclectic in his tastes on the effort, creating an odd mixture of instruments and samples that pull from several genres to actually balance the album out and keep it moving forward. (Sandy) Alex G embraces his imperfections and is truly indie in every way that word has been given meaning—creative, ambitious, raw and, of course, entirely him. “House of Sugar” sounds like it was written in a bedroom with an acoustic guitar and then produced by a dark opposite force from the same mind, giving it a layer of mystery. (Sandy) Alex G has become more adventurous and weird on each of his subsequent albums, but never forgets the importance of song construction and melody. At just under 38 minutes, “House of Sugar,” is an easy listen while its complexities warrant multiple repeats.

Lana Del Rey — Norman Fucking Rockwell!

Lana Del Rey shines brightest when she embraces her cool-California-girl-no-more-a-Brooklyn-babe niche, which is where “Norman Fucking Rockwell!,” her fifth LP, thrives. The album is chock-full of swooning melodies that showcase her delicate voice and the arrangements are built to give her signature sound the space it needs to breath. “Norman Fucking Rockwell!” starts with songs that are exactly where she excels—stripped down to piano, strings and her haunting voice. Lana Del Rey takes risks on her latest album in covering Sublime’s beloved “Doin’ Time” and incorporating an extended jam on the end of “Venice Bitch,” which keep the album fresh. Still, “Norman Fucking Rockwell!” is not without its flaws, namely in that it feels sluggish and repetitive at times. Lana Del Rey has created an image of an L.A. fantasy that she pulls off with elegance and confidence, but she should also be careful about becoming a caricature of herself and losing too much of her cynical Brooklyn roots. “Norman Fucking Rockwell!” will still fit nicely into Lana Del Rey’s already impressive catalog.

Tool — Fear Inoculum

It has been 13 long years since prog-metal legend Tool released any new studio material. For so long, new music was rumored, teased, constructed, edited and torn down, which had fans and critics alike wondering if “Fear Inoculum” would live up to the hype when it finally debuted. What Tool produced was a well-polished and thoughtful album, put out by a band still at their peak of writing and arranging composition. “Fear Inoculum” does require patience, and what we got was a more mature version of Tool that highlights their best elements. The album slowly unfolds, blending unique styles, time signatures and purposeful dynamics over the almost 90-min. journey. On this album, we find vocalist Maynard Keenan taking a backseat to allow the band’s beautiful orchestrations to instead lead. Every song has its place on this psychedelic opus, while every member has their time to shine and showcase their incredible talents. Virtuoso drummer Danny Carey is in the spotlight through the entire album, as he should be, but most notably on “Chocolate Chip Trip.” The album does struggle to produce singles, or at least what would be the more recognizable tracks, but it’s more of a masterpiece meant to be played in it’s entirety than a compilation of one-hit wonders anyway—as is the case with their previous works. Tool has remained true to its legacy and shows no signs of sacrificing their musical integrity; lets just hope we don’t have to wait another nearly 15 years for another new album.

Purple Mountains — Purple Mountains

Icon David Berman resurfaces after a decade-long break from music with one of this year’s true masterpieces, “Purple Mountains.” This latest venture from songwriting genius Berman truly captures honest feelings of deep depression, loneliness and self-loathing told from a cynical friend with a good sense of humor—setting an immediate tone for the album. After the album opener, “That’s Just the Way I Feel,” Purple Mountains weaves in and out of genres and themes with perfect precision to always keep a fresh, unique and eclectic sound. A month after the album’s release, and just days before his tour was set to start, Berman sadly took his own life in Brooklyn, New York, after suffering from depression for most of his life. The pieces of his troubled mind have all been laid out to beautiful orchestrations and memorable melodies for us to observe in Berman’s final chapter. It can no longer be separated from his tragedy. It is less of a cry for help and more of a musical goodbye told from someone who is not angry but exhausted with the seemingly daunting tasks of life. Lyrics like “the end of all wanting is all I’ve been wanting,” “all my happiness is gone” and “the light of my life is going out tonight” are sung with lightheartedness that could be mistaken for positivity without the desperate meaning behind the lyrics. Purple Mountains sounds hauntingly familiar, taking from the best of indie and alt-country. Although filled with strings, horns, backing vocals and catchy sing-a-longs, at the heart of it all is a very personal acoustic album. Purple Mountains peaks on “Nights That Won’t Happen” before coming full-circle with “Maybe I’m the Only One For Me,” ending on a more positive realization of acceptance. Previous to Purple Mountains, Berman, alongside Stephen Malkmus of Pavement, put out some of the best independently-written albums of the ’90s and early aughts with their outfit, Silver Jews. Although the project of Purple Mountains was only a brief encounter it was an insightful one that will always be remembered.

Bon Iver — I, I

With its fourth LP, “I, I,” another solid effort in an overall strong discography, Bon Iver has now reached that pinnacle point in a lengthy career in which the band has managed not yet to disappoint its fans. Having not faltered in this critical period—a feat not achieved by too many bands that typically either stray too far away from their origins or become stale by not innovating enough by the fourth album—further pushes the Wisconsin folk darlings, founded by singer-songwriter Justin Vernon in 2006, into an iconic status. “I, I” is a hard-won ode to fall that neatly rounds out Bon Iver’s total body of work. It captures bits of all of Bon Iver’s previous LPs—the minimalistic but haunting beauty of “For Emma, Forever Ago” (2007), which the band has said represents winter; the majestic turbulence of “Bon Iver, Bon Iver” (2011), meant to embody spring; and the manic fervor of “22, A Million” (2016), the band’s most electronic effort to date, for the careless, wild summer. Melancholic songs like “Sh*Diah” and frenetic tracks like “Hey, Ma,” the single off the album, leave the listener with traces of “Bon Iver, Bon Iver” and “22, A Million,” respectively, while still embodying a sound unique to “I, I” all their own. The closing track, “RABi,” satisfyingly wraps up the album with the simplistic tone of “For Emma, Forever Ago.” It’s clear Vernon tapped into his eclectic pool of talented friends to lend their hands on this album with featured guests including James Blake, Bruce Hornsby and producer Wheezy—who has worked with hip-hop artists like Migos, 21 Savage and Future, and whose sway is key on more synthesized tracks such as “We.” The only knock on the album would be that it does trail off at times, typically during transitional tracks like “Jelmore,” but the band does a good job in quickly picking the beat back up, so as never to lose the listener entirely. Still, Bon Iver has always been a band that demands patience, and without those lulls, the album would have trouble breathing.

Thom Yorke — Anima

Thom Yorke has certainly had his hands full over the past few years. Whether fronting Radiohead, collaborating with Atoms For Peace, writing scores for horror movies or unloading his own material, Yorke always easily finds his footing on whatever endeavor he embarks. While lagging behind the infallible Radiohead, his solo efforts always create moments of brilliance but never to the extent that we see on his latest album, “Anima.” Working with Radiohead producer Nigel Godrich for over 20 years including on “Anima” has helped the eccentric genius articulate his vision. The quality and consistency of “Anima” is the brightest and most honest we’ve heard from Thom Yorke, outside of Radiohead. On opener “Traffic,” we hear Yorke’s warm tones pulse through drum loops and piercing out is an Arabic melody that could easily be mistaken for a M.I.A. track. Throughout the album, we can hear the influence of electronic favorite “Tomorrow’s Modern Boxes,” his previous solo album; the haunting beauty of his soundtrack for “Suspiria”; and the orchestration of Radiohead’s “A Moon Shaped Pool.” “Anima” is an all encompassing tribute to everything that has come before but pushes toward a hopeful future for the 50-year-old England native. “Dawn Chorus” easily rivals any Radiohead ballad and is some of Yorke’s best work to date. The repetitive black-and-white visual art that escorts “Anima” echoes its mood effortlessly. The Netflix short by the same name directed by Paul Thomas Anderson is a beautiful addition to the album by being a vague interpretation filled with fantastic choreography and cinematography that we’ve come to expect from the award-winning Hollywood director. Whenever we feel that we’ve heard the best of Thom Yorke, he comes back and surprises us with something drastically different but equally as charming as his previous works.

King Gizzard & the Lizard Wizard — Fishing For Fishies

On the Australian rockers’ latest album, “Fishing for Fishies,” the group reaches a maturity, of sorts, in their nonsensical discography. On King Gizzard & the Lizard Wizard’s 14th effort since the band’s debut album, “12 Bar Bruise” in 2012, the group takes more of a big band approach, tapping into the influence of jam legends before them like The Grateful Dead and Phish. The prominent harmonicas on songs like “Boogieman Sam” and “The Cruel Millennial” and bluesy guitar and high-energy drum parts on “Plastic Boogie” give “Fishing for Fishies” a southern feel, one that wooks can certainly vibe with. The album hits its peak on “Real’s Not Real,” a satirical take on modern society in which people would rather put on rose-tinted glasses than face the crises going on around them. While “Fishing For Fishies” is probably King Gizzard & the Lizard Wizard’s least psychedelic effort to date, the band still let its freak flag fly at times. On the second to last track on the album, “Acarine,” listeners are given a brief psychedelic send-off before the group grooves back into the jam on “Cyboogie.” “Fishing For Fishies” makes for another delightfully, imaginative effort from King Gizzard & the Lizard Wizard—as we’ve all grown accustomed to hearing from the Aussies.

Flying Lotus — Flamagra

Further down the rabbit hole we go on “Flamagra,” the sixth full-length release by Steven Ellison, better known as Flying Lotus. The Los Angeles producer has once again taken us into his carnival funhouse of a mind. Full of surprises and twists, Flying Lotus takes listeners through a guided psychedelic experience that is laced with jazz, art and electronics. Flying Lotus has always precisely handpicked the guests that land on his most pivotal tracks. On previous efforts, he’s enlisted the support of heavyweights like Thom Yorke and Kendrick Lamar. “Flamagra” is no different, scoring the expertise of collaborators funkadelic mastermind George Clinton; director David Lynch; rappers Denzel Curry and Shabazz Palaces; indie darlings Little Dragon and Toro y Moi; soul-singer Solange; and virtuoso bassist Thundercat. On the album’s trippiest track, “Yellow Belly,” Tierra Whack helps replicate a full hallucinogenic state that is both uncomfortable and illuminatingly necessary. The visual art that accompanies “Flamagra” also perfectly captures its feel. Spanning 27 songs and clocking in at over hour, the album can feel overwhelmingly long at times but Flying Lotus reaches a distinct, niche audience that embraces the full scope of his weirdness, and the attention span it takes to consume it all. It’s a feat most psychedelic bands strive for and fail at. Flying Lotus has been refining his skills to create more consistent albums that push the boundaries of the genre. The only question is: how deep does that rabbit hole go, Ellison?

Faye Webster — Atlanta Millionaires Club

On her third LP, “Atlanta Millionaires Club,” Faye Webster perfectly embodies the innocence and romanticism of the early 1960s while bringing something so fresh, almost a modern-day skepticism, to distinguish the effort from a period so grounded in naivety. Webster achieves a more solemn form of the Beach Boys. Her songs, and really her whole album, tell a detailed narrative, one of a young girl falling hard into a summer romance to find it is unrequited. On “Right Side of My Neck,” she coos softly. “You looked back at me once / but I looked back two times / the right side of my neck / still smells like you,” unveiling a childlike honesty and vulnerability. Webster details a fraught uncertainty about the intense feelings she is having toward this character on “Kingston,” singing “He said Baby, / (that’s what he called me) / ‘I love you’ / Every single word you say makes me feel some type of way / It’s the thought of you that likely scares me / but it takes my breath away.” While beautifully cohesive almost entirely through, the album does taper off a bit toward the third quarter, becoming a bit slow. And “Flowers (Feat. Father)” comes out of left field, offering an out-of-place upbeat pop element to the subtle southern twang of the rest of the album. The ending track aims to pull it all back together but, at that point, we’ve all trailed off.

The National — I Am Easy to Find

The National, hailing from the early aughts, have mastered the art of gloomy indie alt-rock. Matt Berninger’s signature baritone voice has always gelled well with the delicate arrangement of guitars and pianos accompanied by driving syncopated drums—it creates an unmistakable sound. Their music is augmented with lyrics that resonate for anyone struggling with anxiety, insecurity, addiction and depression and for anyone with an appreciation for dark sarcasm and cynicism. From breakthrough album Boxer to Trackmark’s number one album of 2013, Trouble Will Find Me, The National have perfected the art that speaks to a well-dressed confused generation that sinks its troubles with a large glass of Merlot and a turntable. Challenging themselves to break the mold with their last two efforts, Sleep Well Beast and I Am Easy to Find, The National have reinvented their sound to make sure they are not recreating their past albums which is stimulating but constraining. The stunning guest female vocalists on I Am Easy to Find including Sharon Van Etten, Gail Ann Dorsey and the Brooklyn Youth Chorus, to name a few, add another layer to their sound. Still, something is missing from the album. It seems that the desperation in their music is lacking the urgency they are so well known for. I Am Easy to Find feels rushed, lengthy and full of B-sides that work better as singular songs rather than an album (which, by the way, clocks in over an hour). Songs like “You had Your Soul With You”, “Quiet Light,” “The Pull of You,” “Hey Rosey” and “Light Years” fit elegantly into their beautiful catalog but the album, although ambitious, falls short of the great heights they have once reached.

Mac DeMarco — Here Comes The Cowboy

Everyone’s favorite hero, Mac DeMarco, is back sporting a ten-gallon hat, a sideways smile and a collection of songs for us to hum along to with his latest LP, Here Comes The Cowboy. Not as focused as his breakthrough album, Salad Days, Here Comes the Cowboy still includes all the elements we’ve come to love. On “Preoccupied,” we hear those glassy signature guitars swooping into every melody. On “Little Dogs March,” we get his goofiness. “Choo Choo” lays down the funk. And “K” is honest and heartfelt. There are great songs spread across the 46-min. meditation but the album sounds more like a mixtape rather than a cohesive statement. It seems like he wrote a bunch of songs that were worthy of not being forgotten but not necessarily strong enough to broaden his psychedelic summer discography. For fans of Demarco’s earlier work, Here Comes the Cowboy surely adds key songs to his unique, relaxed and dreamy catalog but will unlikely sway people who were unsure of him to begin win.

Big Thief — U.F.O.F.

With U.F.OF., Big Thief has established themselves as a force to be reckoned with in the modern alternative scene. The Brooklyn natives nailed it on their third studio album. It has all the perfect elements of a rock album deeply rooted in folk. It’s minimalistic, isolationist, raw and honest with hints of hopefulness as we wrap up what has felt like a very long 2010s decade. With desolate lyrics like “As she wonders freely through the forest” on the sixth track, “Orange,” and soft, western tones, it’s hard to believe Big Thief is comprised of New York city dwellers and not Washington state naturalists. Frontwoman, vocalist and guitarist Adrianne Lenker is an absolute gem. Her voice accompanied by guitarist and backup vocalist Buck Meek form a hauntingly beautiful ode that is mesmerizing. On “Jenni,” Lenker fills the air with all the innocent hopefulness of falling in love for the first time. On songs like “Betsy,” she seems to capture the feeling of being about to set out on a transformative journey that you alone will take. While U.F.O.F. is a wonderful folk album, it’s probably not for everyone, especially if you’re more into heavy beats or jam vibes. It is certainly slow but it’s a thoughtful LP that warrants a full attentive listen.

The Comet is Coming — Trust in the Lifeforce of the Deep Mystery

Jazz has stayed relevant through the decades by fusing genres to create sub-genres like swing, Latinx, avant-garde, free-form and acid jazz since it was originally popularized in the 1920s. The Comet is Coming takes jazz to the next evolution by combining unworldly jazz with psychedelic layers, electronic undertones, smoky saxophone and percussion builds to create a unique and delightful listening experience. The three-piece band sharpens its skills on its latest LP, Trust in the Lifeforce of the Deep Mystery, to create atmospheric music with purpose—placing all the wrong notes in all the right places. It’s a cinematic adventure to the mystical unknown. On the album opener, Because The End is Really the Beginning, we hear this band’s patience. On Summon the Fire we hear the urgency. On Blood of the Past we witness an explosion. This recent jazz resurgence has brought masterpieces including To Pimp a Butterfly, You’re Dead!, Heaven and Hell, Drunk, A Humdrum Star, A Seat at the Table and now Trust in the Lifeforce of the Deep Mystery can be added to that list. It’s Afropunk, it’s nu jazz, it’s bold and it’s now.

Jenny Lewis — On the Line

Jenny Lewis, the critically-acclaimed singer-songwriter of Rilo Kiley fame, has aged like fine wine—refined, elegant and with just the right hints of sweet and bitter. Jenny Lewis’ latest solo effort, On the Line, brings back all of her best elements: descriptive storytelling, unforgettable melodies and a perfect balance of rock, pop and folk. It’s charming, psychedelic and grounded. Lewis has managed to channel her subconscious, working it into her song writing. You can her influences nestled within: everything from 1970s icons Elton John and Stevie Nicks, to the 1990s’ Mazzy Star and Nirvana. Friendships with fellow artists Conor Oberst, Ben GIbbard and Ryan Adams are woven deep in her songwriting DNA. Combined with her influences, friendships and own life experiences, is a signature laid-back west coast persona, making for an honest and authentic LP. On the Line is told from a more mature perspective that, while jaded, still hopeful and very much Jenny Lewis. While paving the way for rising artists like Mitski and Phoebe Bridgers, Lewis has certainly proved that she has not relinquished her relevance. On the album’s more vulnerable track “Taffy,” Lewis sings “I could not leave it alone I want to please you. My dress was see-through as I looked through your phone. I am such a coward, how could you send her flowers?” It’s interesting to hear this perspective from the once-younger-“other”-woman Lewis from her Rilo Kiley days. It seems someone is sending her lover letters in the mail twice a week. On the album’s closing track, “Rabbit Hole,” Lewis appears to be accepting of her decisions, while willingly making the same mistakes over and over again. If she’s headed back down the rabbit, we’ll follow.

Little Simz — Grey Area

Despite Grey Area being her third LP, the latest effort from Little Simz has placed this 25-year-old English rapper (whose real name is Simbiatu “Simbi” Abisola Abiola Ajikawo) on the map. Already garnering rave reviews, Grey Area is the perfect blend of new and old. Like Kendrick Lamar infusing a new-age style of jazz into his rap, Little Simz has leaned on influence from 1990s hip-hop like the Fugees while bringing a fresh perspective to the genre. Grey Area carries a familiar tone while still being completely unexpected. It’s no wonder why Lamar has praised Little Simz—hip-hop hasn’t sounded so promising since he emerged. Another key trait of Little Simz is her confidence that emanates from feminist lyrics such as “Mum looks at me like where’s the daughter I was raising? / She was gone long time, she was way too gracious / Always knew I’d be in this position where I’m killing it” on “Tainted.” This is one artist that has a lot to say and we’re listening.

Beirut — Gaillipoli

Beirut returns with another vibrant collection of unique songs that refine the group’s sound. On the band’s fifth album, Gallipoli, Zach Condon and co. are back with all of your favorite elements; horns, ukelele, charming vocals and hauntingly optimistic melodies. Beirut has historically aimed to incorporate traditional world music components to foster their own exclusive sound and their latest album is no exception. Gallipoli is a more polished version of their previous works but does not venture into any unknown terrain. The 2019 effort is not ground-breaking by any means nor does it rival Beirut’s greatest hits. Still, it makes for a truly beautiful LP.

Girlpool — What Chaos Is Imaginary

On Girlpool’s third LP, What Chaos Is Imaginary, the duo expands their musical palette into more experimental territory in an ambitious move to define themselves. Before this, the Los Angeles natives have been known for their simple folky sing-alongs that could easily find their way into any coming-of-age soundtrack. These straight-forward harmonic anthems have been exchanged for a more spacious lo-fi venture that is both rewarding and limiting. Girlpool sounds like a different band than the one we came to love back in 2014. The guitar is more obscure and creative and the band has a more collaborative sound but there is still something missing. The refrains lack the old hooks that kept the listener interested and wanting more. The deepening of Cleo Tucker’s voice gives the group an interesting grungy element, changing primarily the dynamic of their harmonies. Girlpool’s new direction has the gang maturing and evolving, but finding their right balance will be essential to their future success.

Deerhunter – Why Hasn’t Everything Already Disappeared?

Deerhunter’s Why Hasn’t Everything Already Disappeared? is a critical take on today’s charged-up culture in a refreshing, matter-of-fact way. It’s not in any way hostile like the times it lambastes; it’s just true. While the album is consistent and enjoyable through and through, that’s something we’ve come to expect from these neo-psychedelia rockers. Deerhunter is forever destined for a Coachella slot in a tent, midday. That’s great but this album doesn’t do anything to break the mold they’ve, albeit created for themselves, seem content remaining. This is another applaudable album in Deerhunter’s discography.

Better Community Oblivion Center – Better Oblivion Community Center

Making every sad, artsy kid’s hypothetical dream collaboration come true, Conor Oberst and Phoebe Bridgers took the stage on The Late Show with Stephen Colbert, debuting a song they had written together followed by a surprise full-length album, Better Oblivion Community Center, and their new effort by the same name. Can one of the best rising artists mesh well with the legendary songwriter who has been hailed as the modern-day Bob Dylan and vice versa? We got a teaser of what this all could potentially be on Bridgers’ debut album Stranger in the Alps when the Mystic Valley Band’s frontman was heard on one of the later tracks, Would you Rather. Most supergroups leave more to be desired with only hints of why we love each individual sprinkled haphazardly thoughout. Better Oblivion Community Center is no such group; it is a true collaboration in which Oberst and Bridgers wrote the album entirely in unison, sharing equal writing credits. They propel each other and build on one another’s strengths; Oberst’s vivid imagery and vast vocabulary match eloquently with Bridgers’ honest, matter-of-fact lyricism. Both are very deliberate with their word choices and they seem to flow so naturally. Oberst’s voice provides Better Oblivion Community Center with grit while Bridgers’ gives it the heavenly softness it needs to become a folk-pop album that rocks. From the first song on the album, and the first they wrote together, Didn’t Know What I Was In For, it’s evident that this project is its own. Contributions from Yeah Yeah Yeahs guitarist Nick Zinner, Autolux Carla Azar and members of Dawes show that Mr. Oberst at least has not strayed far from the good ol’ days of Bright Eyes when he would record with his friends at home. This album stretches through different styles sacrificing some consistency but it makes up for it with refreshing and familiar elements just the same.

Sharon Van Etten ­– Remind Me Tomorrow

Sharon Van Etten is both hopeful and hopeless on Remind Me Tomorrow. We can feel her desperation on dark, euphoric songs like Malibu and we can still dance to more approachable, catchy tunes like Comeback Kid. Van Etten takes her discography to the level we knew she was capable of if she just let go a bit. She comes alive on Remind Me Tomorrow, not unlike an inner Karen O she seems to be channeling. She’s self-assured and that’s all the assurance we need to recognize she is an experimental pop mainstay. Remind Me Tomorrow is Van Etten reinventing herself without limitations. If you’ve been curious about diving into Sharon Van Etten’s catalog but for some reason haven’t yet, this is the album to get you started.

James Blake – Assume Form

With a fresh sense of hopefulness, James Blake dazzles on his fourth LP, Assume Form, to bring in the new year. Assume Form does just what the title suggests with Blake taking cues from his past works while still building on something new in a space that this British artist created himself at the start of the decade. Now entering his 30s, Blake’s music sounds more mature, refined and confident. This album has a much lighter feeling than its predecessor, The Colour in Anything. Assume Form seems to put the color into his music with unforgettable melodies, deliberate dynamics and elegant orchestrations that bring this album to life and make it a smooth and easy listen all the way through. Sacrificing singles for a complete work where every song earns its place was the right move for this electronic musician. This star-studded album features Moses Sumney, Travis Scott, Rosalia and Andre 3000, who put their best feet forward to add to Blake’s brilliance. The flawless production on Assume Form makes for a truly great album to tack onto Blake’s already impressive catalog. If this album is any indication of how 2019 is going to be, James Blake set the bar high for a great year.