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He’s put everything into this album. Nina Simone said an artist’s duty, “as far as I’m concerned, is to reflect the times”. Lead single “Religion (U Can Lay Your Hands On Me)” is a slinky shoulder roll of a song, laden with passionate blasphemy: “I wanna consecrate your body, turn the water to wine, I know you’re thinking about kissing, too.” It’s laced, too, with piano – an instrument she’d always been “allergic to” before this record – and opulent orchestral strings. The album’s deathly intrigue is drawn from her own personal traumas, which she successfully spins into something that feels universal. One minute you’re skanking along to the party brass of “Bloodline”; the next floating into the semi-detached, heartbreak of “Ghostin’”, which appears to address Grande’s guilt at being with Davidson while pining for Miller.
Want to bookmark your favourite articles and stories to read or reference later? Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. Do you love me?” It is an exquisite, enigmatic record. There’s a fantastic sense of space, too, spun from diaphanous arrangements such as “The Light”, where she meanders delightfully from a clear, lilting call to a deep vocal rumble. “I appreciate that,” she replied softly. Home has always been at the heart of his music, so he maintains the close-quarters perspective of his 2005 debut Home Sweet Home; the swaggering confidence of that record, though, is replaced by a more thoughtful gravitas. try again, the name must be unique It’s more a reminder of how fleeting yet beautiful life is, and an appeal to make the most of it. On “Environment”, he talks about the conflict between what people see of his apparently glamorous life, and the reality behind the scenes where the blood and sweat is drawn out of him. Our journalists will try to respond by joining the threads when (RO)Already subject to manic shifts in style and tempo, this hour-long LP roams in lounge pants from Deadhead jams to Zombies-catchy hooks, infectiously kitsch prog, highlife samples and – on “Sunflower” – a scat breakdown. However, British TV and radio presenter Maya Jama gets a rather unexpected mention in the track. With such low stakes and barely any emotional intensity, Father of the Bride won’t cement Vampire Weekend’s legacy.
Listening to it feels like accidentally pressing play on two songs at once, and finding the combination strangely inebriating. Wiley has confirmed he and music rival Stormzy have ended their bitter feud. Sometimes, there is one instrument too many, but usually the components crash together well. On tracks such as “Offence” and “Boss” she drips with venom; delivering lines in a low, deadly buzz over killer bass hooks and punk distortion. Khan once again demonstrates a knack for uncanny storytelling. (RO)On his studio debut, YBN shows off his versatility, but not to the point that it distracts from the underlying message of each song. Long live Taylor Swift. Long live Taylor Swift. It’s an insight into his brilliant mind and – such is the sheer variety of the album – a way to inspire one’s own imagination. Taking the left-field folk that made her name and splashing post-psych pop and jittery orchestral flourishes onto the canvas, the New Zealander harbours secrets while beckoning you in. Perhaps it’s the fact that they’re technically outsiders, having grown up on the borders of the city (or in their guitarist Carlos O’Connell’s case, between there and Spain). Elsewhere, they are downright defeatist, laments the inevitable pull back to a recent ex (“Stayaway”) or reflecting on a lover’s similarity to an adulterous father (“Taken”). Taylor Swift is dead. (RO)There’s a deeper sense of personal connection to anchor Julia Jacklin’s lyrical and melodic smarts. (AP)One of the biggest new rap stars to emerge in 2019, AJ Tracey’s variety and the scale of his ambition on this album is breathtaking. This is precisely what Rapsody has done, in the most resonant way possible. (HB)The Chicago-born singer’s ninth album is a furious reaction to the social and political events of 2018 – over 11 breathless tracks, he turns that anger into a howl of resistance. Each track is a standout, none more so than “Ladbroke Grove”, a hat-tip to classic garage in which Tracey switches up his flow to emulate a Nineties MC. Wiley has released a new diss track about Stormzy, describing the rapper as “worse than Ed [Sheeran]” and escalating their feud. (AP)Bill Callahan returns after six years with this homely, career-best album in which he sings of his own contentment. Certain tweets have since been deleted, but of course, nothing’s ever truly gone in the internet age. (RO)On his studio debut, YBN shows off his versatility, but not to the point that it distracts from the underlying message of each song.
He’s put everything into this album. Nina Simone said an artist’s duty, “as far as I’m concerned, is to reflect the times”. Lead single “Religion (U Can Lay Your Hands On Me)” is a slinky shoulder roll of a song, laden with passionate blasphemy: “I wanna consecrate your body, turn the water to wine, I know you’re thinking about kissing, too.” It’s laced, too, with piano – an instrument she’d always been “allergic to” before this record – and opulent orchestral strings. The album’s deathly intrigue is drawn from her own personal traumas, which she successfully spins into something that feels universal. One minute you’re skanking along to the party brass of “Bloodline”; the next floating into the semi-detached, heartbreak of “Ghostin’”, which appears to address Grande’s guilt at being with Davidson while pining for Miller.
Want to bookmark your favourite articles and stories to read or reference later? Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. Do you love me?” It is an exquisite, enigmatic record. There’s a fantastic sense of space, too, spun from diaphanous arrangements such as “The Light”, where she meanders delightfully from a clear, lilting call to a deep vocal rumble. “I appreciate that,” she replied softly. Home has always been at the heart of his music, so he maintains the close-quarters perspective of his 2005 debut Home Sweet Home; the swaggering confidence of that record, though, is replaced by a more thoughtful gravitas. try again, the name must be unique It’s more a reminder of how fleeting yet beautiful life is, and an appeal to make the most of it. On “Environment”, he talks about the conflict between what people see of his apparently glamorous life, and the reality behind the scenes where the blood and sweat is drawn out of him. Our journalists will try to respond by joining the threads when (RO)Already subject to manic shifts in style and tempo, this hour-long LP roams in lounge pants from Deadhead jams to Zombies-catchy hooks, infectiously kitsch prog, highlife samples and – on “Sunflower” – a scat breakdown. However, British TV and radio presenter Maya Jama gets a rather unexpected mention in the track. With such low stakes and barely any emotional intensity, Father of the Bride won’t cement Vampire Weekend’s legacy.
Listening to it feels like accidentally pressing play on two songs at once, and finding the combination strangely inebriating. Wiley has confirmed he and music rival Stormzy have ended their bitter feud. Sometimes, there is one instrument too many, but usually the components crash together well. On tracks such as “Offence” and “Boss” she drips with venom; delivering lines in a low, deadly buzz over killer bass hooks and punk distortion. Khan once again demonstrates a knack for uncanny storytelling. (RO)On his studio debut, YBN shows off his versatility, but not to the point that it distracts from the underlying message of each song. Long live Taylor Swift. Long live Taylor Swift. It’s an insight into his brilliant mind and – such is the sheer variety of the album – a way to inspire one’s own imagination. Taking the left-field folk that made her name and splashing post-psych pop and jittery orchestral flourishes onto the canvas, the New Zealander harbours secrets while beckoning you in. Perhaps it’s the fact that they’re technically outsiders, having grown up on the borders of the city (or in their guitarist Carlos O’Connell’s case, between there and Spain). Elsewhere, they are downright defeatist, laments the inevitable pull back to a recent ex (“Stayaway”) or reflecting on a lover’s similarity to an adulterous father (“Taken”). Taylor Swift is dead. (RO)There’s a deeper sense of personal connection to anchor Julia Jacklin’s lyrical and melodic smarts. (AP)One of the biggest new rap stars to emerge in 2019, AJ Tracey’s variety and the scale of his ambition on this album is breathtaking. This is precisely what Rapsody has done, in the most resonant way possible. (HB)The Chicago-born singer’s ninth album is a furious reaction to the social and political events of 2018 – over 11 breathless tracks, he turns that anger into a howl of resistance. Each track is a standout, none more so than “Ladbroke Grove”, a hat-tip to classic garage in which Tracey switches up his flow to emulate a Nineties MC. Wiley has released a new diss track about Stormzy, describing the rapper as “worse than Ed [Sheeran]” and escalating their feud. (AP)Bill Callahan returns after six years with this homely, career-best album in which he sings of his own contentment. Certain tweets have since been deleted, but of course, nothing’s ever truly gone in the internet age. (RO)On his studio debut, YBN shows off his versatility, but not to the point that it distracts from the underlying message of each song.