More about: Albums of the Year

God damn it, 2019 was good. Not politically, not environmentally, not really in any discernibly positive way at all. But the music! The music made up for it Big Style! We had a jazz overhaul and some amazing new post-punk, some much-needed comebacks and the rise and rise and rise of Lizzo. There was alt-pop from incredible artists old and new, another wave of grime excellence and two whole Foals albums. 

Yes, 2019 was a great finish to the decade, musically-speaking. These are the albums that made it so wonderful. 

Words by: Shannon Cotton, Jessie Atkinson, Elli Chappelhow, Dominic Penna, Matty Pywell, Ciara Bains, Melissa Darragh, Tyler Damara Kelly, Grace Almond, Malvika Padin and Anna Smith

51. JAWS - The Ceiling

A coming of age record, JAWS have broken through the glass ceiling often created by indie, as they propel themselves as a band with a more electronic and atmospheric sound on record. The Ceiling is the Birmingham trio at their most philosophical and enriching, and whilst hints of those jangly guitars that caught our ear in the first place are still present in places, it’s an admirable feat to switch up your sound and execute it with precision like this. (Shannon Cotton)

50. Liz Lawrence - Pity Party

Welcome to the Pity Party, a slice of 2019 real talk, served up by Liz Lawrence’s soothing vocal and soaring instrumentals. Contending with “low key cocaine habits” (‘None Of My Friends’) and settling down with a partner (‘What People Do’), it documents the trials and tribulations of most twenty-somethings striving to find a voice and a purpose in a sometimes hostile social climate. Refreshingly candid songwriting anchors this record as one of our favourites from the year. (Shannon Cotton)

49. The S.L.P. - The S.L.P

Serge Pizzorno released his experimental solo project, The S.L.P. at the tail end of a long hot summer, providing a much-needed breath of fresh air. It answered all of the questions we ever had about what Kasabian’s charismatic guitarist and songwriter would produce if he ever released a solo record. In fact, it wasn’t just our questions that were answered; our appetites for something different to what we already knew about Serge’s creative skills were satisfied too. Featuring collaborations with Slowthai and Little Simz, he gave us a refreshing, interesting, genre-bending solo debut. (Grace Almond)

48. Pip Blom - Boat

What started out as a solo project by Pip Blom herself has evolved into one of the most exciting live indie pop bands in Europe. Naturally, their debut, Boat, was bound to be equally as great. A multitude of themes are sprinkled over the course of the album; ‘Don’t Make It Difficult’ is seductive, ‘Ruby’ discusses identifiable themes and ‘Bedhead’ unwaveringly describes mental exhaustion. Blom’s voice is instantly recognisable. Elements of older fan-favourites like ‘I Think I’m In Love’ are still a big influence, and Boat was Pip Blom’s successful combination of all of the best parts of their sound. (Grace Almond)

47. King Nun - MASS

Full of indie bangers and floor-fillers, King Nun’s MASS is the perfect alternative club night setlist. It’s different to their earlier fuzzy tracks, like ‘Tulip’ and ‘Hung Around’, and it’s exciting to see how the band have updated their sound for the record. Stand-out tracks include ‘Black Tree’, ‘Mascara Runs’, ‘Cowboy’, ‘Bug’ and ‘Intravenous’, all of which perfectly tied the record together, giving its narrative pit stops along the way. MASS is sonically diverse – it flits between joyful indie bops, Britpop and blues. We already knew King Nun had a genuinely interesting and fun back catalogue of music, and MASS is an entire LP full of potential. (Grace Almond)

46. Tyler, The Creator - IGOR

Instantly popular, as soon as IGOR dropped it became the centrepiece for every teenager’s house party playlist. Tyler, The Creator produced something thoughtful and boundary pushing, whilst also being a brilliant break-up album. ‘IGOR’S THEME’ kicks things off and spreads its roots throughout each song. ‘EARFQUAKE’ is a pleading break-up anthem. ‘WHAT’S GOOD’ picks up the pace and ‘ARE WE STILL FRIENDS?’ is a healthy ending to this saga, and to the album. A star-studded line-up include the likes of Solange, Slowthai and Kanye West, but it was Tyler, of course, who was the chief creator, producing and writing the record, inspiring blonde bob wigs and honest explorations of our emotions. (Grace Almond)

45. Babymetal - Metal Galaxy

With some of the highest fan enthusiasm in music right now, Babymetal were always going to have success with their third album Metal Galaxy. Joyfully, the group - whose live dance sequences are a key part of their act - have delivered a very good album anyway. Fun to the very end, this catchy, hyper-computerised metal LP quietens critics with a few well-chosen tunes made to make you smile. There’s all the finger-bleeding guitar and boisterous drums of the metal-you-know, but with added sweetness and pop, plus elements of music from other countries the group have toured over the last few years. Bollywood x metal pop shouldn’t work. But it does. (Jessie Atkinson)

44. Frank Carter & the Rattlesnakes - End Of Suffering

Tender and poignant, yet abrasive and brash, End Of Suffering feels like a war cry and "overflows with the energy to make you want to stand up to fight.” Sultry guitars pop up when you’re least expecting them (‘Love Games’) and even album opener ‘Why A Butterfly Can’t Love A Spider’ is a touching ode - but there’s still plenty of frenzied guitars and drums, making the record a perfect balance of exploring a new direction whilst executing what Frank Carter & The Rattlesnakes do best. (Shannon Cotton)

43. Rex Orange County - Pony

A master of merging juvenile melodies with sharp-witted lyrics, Rex Orange County’s 2019 offering demonstrated a mature, polished side of the bedroom singer-songwriter. Fusing jubilant electronica and cutting lyrics about young love, Pony flits from tackling fake friends and trying to channel optimism through tougher times, to more emotive odes to his long-term girlfriend. From dulcet moments to lyrics about not “having the balls”, the sporadic nature of the album only adds to Rex’s already-endearing persona. (Anna Smith)

42. (Sandy) Alex G - House of Sugar

Crowded and experimental, this alt-pop gem is a sound bath of epic proportion. At once soothing and dissonant, Alex G’s House of Sugar is a structure difficult to draw your eyes from. Layers and layers of pastry-sweet sonic towers deliver something new in every bite. Enveloping in its complexity, this LP offers the listener a new world to step into - and we do, with relish. (Jessie Atkinson)

41. Shura - forevher

Simple piano and beautiful vocals on ‘that’s me, just a sweet melody’ introduce the sumptuous second full-length project by Manchester electronic artist Shura. It’s an album about falling in love, and as a result, it’s a woozy, sensual trip. A cinematic dopamine-high, Shura gets lost in the love for her girlfriend on forevher, kissing on ‘the stage’, pining on ‘flyin’’ and dizzying herself on the world’s most powerful drug throughout. (Jessie Atkinson)

40. Skepta - Ignorance is Bliss

It was always going to be difficult to follow 2016’s Mercury Award-winning Konnichiwa but this year’s Ignorance is Bliss came close. Looser and more relaxed but still imbued with the expert touch of a pioneer, this LP benefits from the sense that Skepta is partly here just for the fun. Strong from start to finish, Ignorance Is Bliss takes in a spread of influences, dipping into trap, garage and, of course, grime. Confessional lyrics and a well-honed flow make this an assured follow-up to one of the best albums of recent years. Skepta is as relevant as ever. (Jessie Atkinson)

39. Iggy Pop - Free

When he’s not gravelling on the radio, Iggy Pop can be quiet too. He proves it on the opening - and title - song to the latest album in an endless, storied career. Amid the lonely call of a jazz saxophone, Iggy whispers “I wanna be free”, his only vocals until track two. It introduces an album of fascinating tunes that prove the Godfather of Punk is absolutely not resting on his laurels. Spoken word - and even moments that recall the emotive call of Leonard Cohen - show a new side to the frontman. Alongside the rising smoke of gentle jazz, Pop proves that he can write for the now, and for the future. (Jessie Atkinson)

38. Marika Hackman - Any Human Friend

2019 was a monumental year on the topic of empowering and championing women in music. Following on from where Christine and The Queens left off in the previous year, Marika Hackman grabbed the industry by its hypothetical balls and disrupted the patriarchy with the release of Any Human Friend. Her nonchalant delivery over the somewhat taboo subject of female sexuality is quite frankly remarkable. Intricate melodies hide beneath an expansive soundscape which ranges from scratchy kraut-rock guitars, electro-pop synths and lo-fi beats. Doused in a hedonistic view on the plethora of emotions you go through when your carnal desire gets the best of you, Any Human Friend is a liberating conversation about sex which, throughout musical history, has been mostly only told from the perspective of men. (Tyler Damara Kelly)

37. Sharon Van Etten - Remind Me Tomorrow

Sharon Van Etten is indeed one of those people who can do everything well. Thankfully, her output is so breathtaking that we can’t even hate her for it. Van Etten’s comeback record - following a stint as an actor for Netflix show The OA - is a life-affirming piece of indie rock mastery. Van Etten blows through instruments in the ten-track LP, from drum machines to synth through hurricanes of electric guitars. With moments of ambient pop and touches of eighties synth, confessional piano songwriting and Patti Smith-level drama, Van Etten gathers from a vast field of influence, presenting a perfect bouquet of flowers and plants for her efforts. Hit single ‘Seventeen’ is only the beginning. (Jessie Atkinson)

36. Whitney - Forever Turned Around

Gently - oh so gently - Whitney guide us into their softly-lit world. The follow up to the monstrously popular Light Upon The Lake, Forever Turned Around is a gorgeous, light-dappled record that evokes a slow afternoon sitting in the front room in summer, motes of dust curling lazily in shafts of sun. Longing and wistful, this is the kind of record that could easily soundtrack an arthouse film about an unexpected romance in the city. Its delicate cadence, cheerful guitar and handfuls of strings are straight out of a storybook growing with roses and other delicious-smelling flowers. A fantasy world...except this is one you get to live in. (Jessie Atkinson)

35. Two Door Cinema Club - False Alarm

Honing their craft in the decade since their landmark debut, indie mainstays Two Door Cinema Club infused their fourth album with equal amounts of panic and disco. Alex Trimble’s vocals are as strong as ever across their most impressive, holistic work to date. ‘Once’ has a chorus tailor-made for festival fields, while ‘Satellite’ and ‘So Many People’ take things to an altogether funkier territory. Lyrical urgency and pulsating electronics are the order of the day on this sometimes eclectic, often euphoric LP – ultimately the sound of a band refusing to rest on its laurels, and reaping the rewards of this. (Dominic Penna)

34. Amyl and the Sniffers - Amyl and the Sniffers

One year after their debut album, Amyl and the Sniffers created something even more sound-defining in their self-titled record. Loud, caustic and freeing, Amyl and The Sniffers opens with 'Starfire 500', an updated rock n roll track with a long introductory instrumental, leaping into faster paced tracks such as 'GFY', 'Monsoon Rock', 'Control' and 'Some Mutts (Can't Be Muzzled)'. The exciting and fuzzy 'Got You' became its most popular track and it's easy to see why with honest lyrics and a killer melody. Amyl and the Sniffers are here to lead a thriving punk scene, women first. (Grace Almond)

33. Nilüfer Yanya - Miss Universe

A confident debut from an artist who has established herself as an exemplary lyricist that uses evocative guitar tones to guide her narratives. The sound palette ranging from panicked screeches (‘Paralysed’) to clinically induced bouts of euphoria (‘Angels’), Miss Universe is not just ambitious in sound but also in concept. Following a shady company WWAY Health, who operate under the guise of wanting to help you, whilst actually wanting to take control. It is a telling document of how media campaigns and corporations employ impossible, anxiety-inducing standards of perfection to the general public. (Matty Pywell)

32. Bring Me The Horizon - amo

With the release of amo in early January, BMTH made it onto our list before we’d listened to anything else at all. A complete diversion from their previous releases (as ‘heavy metal’ will testify), amo is a thoroughly enjoyable listen with fun and drama running through its veins. Still here with elements of heavy metal and the beating heart of emo, BMTH pivoted to pop on most of album six - to very great effect. A Eurotrash collaboration with Grimes appears, as well as countless moments of thrilling songwriting that sweep you away into the ecstasy of adolescent infatuation. It’s very easy to imagine riding these sonic highs in the mosh pit as a sixteen year-old, and because of that we can do nothing but delight. (Jessie Atkinson)

31. Black Midi - Schlangenheim

In a world where glossy pop with hundreds of co-writing credits arguably reigns supreme, it’s bitingly refreshing to sink your teeth into something that is the exact antithesis. Armed only with a collection of guitar pedals and an attitude to do everything their own way, Black Midi have confused and delighted in equal measure, and their debut Schlangenheim does not fail to capture the excitement we all felt after watching that first 26 minute skronk of ‘that’ KEXP clip. Yes, they fiddle and fidget around, shouting and whispering incomprehensible utterances, but the magical moments come when Black Midi manage to lock into a repetitive groove that delivers a powerful, driving kick. Put simply, Schlangenheim is the sonic equivalent of a scribbled drawing, as the crayon loops and scratches and jolts. It’s unselfconscious, virtuosic, visceral, and totally epic. (Elli Chappelhow)

30. AJ Tracey - AJ Tracey

2019 has been career-defining for the eponymous AJ Tracey, and he has set the bar very high for himself. The hyper-confident artist buzzes with electricity, hardwired to prove that he cannot be reduced to just making grime music. UK garage permeates this whole album, especially evident on ‘Ladbroke Grove’, with many other tracks indebted to hip-hop’s rich legacy - Tracey is no stranger to hotfooting between genres. This debut perfectly captures a moment in time in London’s thriving music scene and its eclecticism - they will not stand to be defined by one reductive term such as ‘grime’ - why would you stick to one sound, when you can explore multiple? (Elli Chappelhow)

29. Billie Eilish - When We All Fall Asleep, Where Do We Go?

Click, click, slurp…Billie takes out her braces to reveal her fangs, and delivers your crawling nightmares on a chart-ready plate. What a disruptive, self-assured, standout debut from a woman who is still youthful enough to be straightening her teeth. A fresh look at the world through Billie’s fascinating creative vision, Eilish drags you through the depths of hell with horror movie score strings, then her saccharine vocal lifts you up into a slow-burning, heavenly state that’s as pure as the driven snow. Flirting with electronic sounds, skittish trap beats, and chart-ready pop, this album is for those who believe pop music has lost it’s creative integrity. (Elli Chappelhow)

28. Mark Ronson - Late Night Feelings

Once the king of covers, and still a producing powerhouse, Late Night Feelings saw Mark Ronson create a concept record about feeling lonely in the small hours, with a little help from his friends. In our review of the album earlier this year we said, “what Ronson has always been gifted at is pinpointing the magic sounds which have existed in bygone eras of pop music, and replicating them with style in his records,” and this is evident with swooning and heartfelt collaborations with Lykke Li (‘Late Night Feelings’ and ‘2AM’), Miley Cyrus (‘Nothing Breaks Like A Heart’) and Angel Olsen (‘True Blue’). (Shannon Cotton)

27. Blaenavon - Everything That Makes You Happy

One of the most welcome returns of this year, Hampshire trio Blaenavon released Everything That Makes You Happy in October after a weeks notice. Brimming with the intelligent indie soundscapes we’ve come to know and love from the band, lyrically it tackles themes of undying love and openly discusses mental health. It’s an exorcism of emotions and it quite literally is everything that makes us happy. (Shannon Cotton)

26. Pond - Tasmania

Tasmania is the stirring, shimmering record brought to you by Pond in 2019. Psychedelic mover ‘Daisy’ sets up the album nicely, and there are some interesting 80s influences sprinkled over the synthy ‘Hand Mouth Dancer’. Melodically, Tasmania presents a number of upbeat and fun tracks. Diving deeper into the lyrics proves otherwise: the title track includes the lines “I might go shack up in Tasmania before the ozone goes and paradise burns in Australia”, and “Should I be worried ‘bout my kidney or worried ‘bout war’?”. As the world becomes more politically engaged, so do Pond. Their music has moved in a much more serious direction away from the days of tracks like ‘Heroic Shart’. (Grace Almond)

25. Metronomy - Metronomy Forever

Glitchy, sparkling, up high, down low, Metronomy Forever is a far-reaching soundscape that touches here, there and everywhere with its electronic tentacles. Almost mixtape-like in its eclecticism and breadth, this LP manages to undulate freely while remaining under the Metronomy banner. Each song could be a favourite from a playlist you love so much; each interlude a playful joining in with the current trend. There’s a touch of weirdness in there too; in the techno whale sounds on ‘Driving’ and the robot feelings of ‘Insecure’. Batshit. Turbulent. Exhilarating. (Jessie Atkinson) 

24. Bon Iver - i,i

This album sits proudly underneath Bon Iver’s trademark brand of emotionally charged instrumentation, with his soulful falsetto at the forefront as ever. Swelling washes of beautiful sounds are elevated to new heights with the introduction of synths and electronic sounds that Justin Vernon has begun to introduce into his armoury, ever expanding his sonic palette. Bon Iver’s releases seem to soundtrack the seasons, with i,i possessing a very autumnal feel. There’s a real sense of his work coming full circle, combining all the different experimentations of his past releases into one complete album, showcasing the breadth and depth of his body of work. (Elli Chappelhow)

23. King Gizzard and the Lizard Wizard - Infest The Rats’ Nest

It is difficult to imagine a band that keep themselves as busy as King Gizzard & The Lizard Wizard do. With the release of fifteen albums over the past seven years – two of which have been released this year – it is completely mind-boggling to think that they can still push their creativity further each time. Whilst their sound normally oozes through the realms of psych-rock, Infest The Rats’ Nest sees the Aussie septet looking in contempt at the crumbling ruins of our planet. And what could be a more suitable sound for the apocalypse than the rippling visceral nature of thrash metal? The dizzyingly complex array of guitars and vicissitude of time signatures is astonishing. This was almost certainly one of the least expected albums of the year, which aids it in being one of the best. (Tyler Damara Kelly)

22. Chelsea Wolfe - Birth Of Violence

Birth of Violence came at a transcendental time in Chelsea Wolfe’s life. Feeling the need to take a break from a whirlwind of a touring schedule, the album is a reflection on solitude – exploring the fragility of life, and giving a voice to the quietest, loneliest moments of the human psyche. Wolfe strips herself bare but, in the beguiling way that is her signature, shields parts of herself within the mysticism of her lyrics: “I am the daughter of sorrow, keep looking, you’re gonna find me.” From the haunting spectre of her vocals to the harrowing yearnful notes of the viola, the album is an amorphous experience that is captivating and incredibly moving from the offset. (Tyler Damara Kelly)

21. Brittany Howard - Jaime

Sultry neo-soul and beloved blues-rock soundtrack Howard’s epiphany of overcoming religious guilt, self-acceptance and acknowledging her sexuality on experimental solo album Jaime. A creative explosion of blurred genres and searing lyricism, the former Alabama Shakes frontwoman takes her destiny into her own very capable hands, and has crafted a masterpiece of an album. The wingspan of the sound envelops many genres, ranging from psychedelia, experimental jazz, blues and - of course - a whole lotta soul. It’s eloquent, succinct and striking. (Elli Chappelhow)

20. Foals - Everything Not Saved Will Be Lost Part 2

There was an undeniable shroud of uncertainty around this ambitious album after the rapturous reception of the synth-heavy, funk-indebted Part 1 - will it match the first release in the two-part campaign? What’s clear is that Foals have been intaking a whole lot of protein powder and have bulked up their sound, making it big enough to pump through arena PA systems, powerful enough to shake even the moulded plastic of the ‘nosebleed seats’ at the top of the stadium. The tracks are heavier, stronger; Foals are in it for the long run. Part 2 is the Iron-Man follow up to the 10k jog that was Part 1. It’s swaggering, macho, visceral, with meaty and muscular riffs to sink your teeth into. Only a brief respite comes in the form of the ethereal ‘Into The Surf’, almost like a long-lost cousin to their early ‘Spanish Sahara’. Part 2 churns together noisy arena-rock with agitated indie, in a mosh-pit of heaving and surging bodies. This meat-platter of an album should keep Foals’ pangs of creative hunger at bay, for now… (Elli Chappelhow)

19. M.T. Hadley - Empty

Alt-pop songs for a world in which nothing you do matters, M.T. Hadley has written a record that’s touching despite an overarching nihilistic philosophy. Electronic ingenuity undulates, stops and starts over guitars, keys and dry, intellectual lyrics. Bitchy and pissed off, heartbroken and apathetic, Empty is anything but. This debut LP is an effective reflection of life’s own heart-bursting and tear-jerking moments - sometimes both at once. It’s a fresh, modern, exhilarating album with a hit in every track and an astonishing shining moment in ‘Janet’, the track M.T. Hadley wrote after the passing of his mum. (Jessie Atkinson)

18. Cage The Elephant - Social Cues

Cage The Elephant have come along way, and the release of their album, Social Cues, charts their evolution perfectly. The 13-strong record explores a range of darker themes, especially in response to Matt Shultz’s divorce. The album blends post-punk, psychedelic rock and blues, showcasing the band’s creative range. ‘House Of Glass’ is a post-punk seductive banger, and ‘What I’m Becoming’ and ‘War Is Over’ create a smoky feel. With a cracking feature from Beck (a clear indicator of the success they’ve seen over the past 10+ years), Cage The Elephant stormed into 2019 with an update to their sound. (Grace Almond)

17. Nick Cave and the Bad Seeds - Ghosteen

Ghosteen is a lesson on living with grief. The first album recorded since Nick Cave lost his son, Arthur, in 2015, it shows how he has evolved as a recording artist, and proves that Nick Cave and the Bad Seeds’ music still has the power to connect with people. ‘Waiting For You’ is heart wrenching. ‘Bright Horses’ moves from metaphors and poetry to a stark awakening. The title track is a 12-minute saga. The entire album is one of shimmering, triumphant beauty. To listen to Ghosteen and not be moved would be impossible. It is completely unvarnished, with Cave’s emotions laid bare for the entire world to see. (Grace Almond)

16. Kano - Hoodies All Summer

Nicknamed the Godfather of Grime, with Hoodies All Summer, Kano proved he was certainly deserving of that title. Exploring a range of social and political issues arising in deprived communities across the UK, with particular focus on the contentious issue of knife crime, he presented something genre-defining and memorable. 'Free Years Later' sets up the elements of the album nicely and 'Trouble' is a heart-wrenching story of a victim of knife crime. Other stand-out tracks included 'Class of Deja' and 'Pan-Fried', two bangers you'd find it difficult not to dance to. Despite the serious themes, he was able to create something genuinely fun, with features from the likes of D Double E and Kojo Funds. (Grace Almond)

15. Maggie Rogers - Heard It In A Past Life

From the sun-kissed opening ‘Give A Little’ to foggy, hypnotic tunes like ‘Say It’ and ‘Alaska’, Maggie Rogers perfectly summed up an infatuated haze we’ve all experienced on her stunning debut album, Heard it In A Past Life. Other notable tracks included ‘On + Off’ and ‘Retrograde’. It’s a record seeped in earthy tones and stomping percussion, with lyrics that showcased Rogers’ vulnerability and honesty. There are clear influences from other incredible female artists, such as Florence Welch and Stevie Nicks, but Rogers held on to an identifiable sound. Natural, relatable and enchanting, Rogers gave us something meaningful to listen to. (Grace Almond)

14. Sam Fender - Hypersonic Missiles

“I have no answers, only questions,” intones Sam Fender at the start of his first full-length record. Taking in the male suicide health epidemic (‘Dead Boys’), rundown hometowns (‘Leave Fast’) and the rancid, polarised state of our politics (‘White Privilege’), the way Fender unpicks modern life while avoiding preachiness proves refreshing. Strokes-style belter ‘Will We Talk?’ and the swaggeringly accomplished ‘That Sound’ cut through the angst on an ambitious album, which is better off for its lyrical and musical variety. At a time when many singer-songwriters are sub-Sheeran clones, heartfelt polemics and saxophone solos never sounded so good. (Dominic Penna)

13. Slowthai - Nothing Great About Britain

Brave. Unwavering. Fearless. Slowthai is the protagonist in his vision of Britain as one of a state that has failed its people. He is completely unapologetic and unafraid on his debut album, Nothing Great About Britain, and takes you through a nuanced exploration of his upbringing in Northampton. Mixing elements of punk and grime to achieve what could easily be described as political lyricism at its finest, Slowthai threw punches with incendiary tracks such as 'Doorman', 'Inglorious' and 'Nothing Great About Britain', with reflective verses on others, including 'Gorgeous', 'Toaster' and ‘Missing’. (Grace Almond)

12. Matt Maltese - Krystal 

Krystal is a gory, spill-your-guts post-mortem of a relationship, the intense yearning for a lost limb. Agonisingly candid and sincere, Maltese returns to the sound that grabbed us by the heartstrings on 2015’s ‘Even If It’s A Lie’. After a brief dip into bigger production in an LA studio, Matt has decided to strip it all back and restore his wry sense of ‘self’ - it’s almost as if you’re inside his bedroom, plonked on his piano: you’re witnessing his booze-sodden self reflection, and hearing his heart break. ‘Krystal’ is the perfect soundtrack to you sploshing red wine on your lap while having a self-pity cig out the window, yet although there is a wash of melancholy, there’s still a sense of humour to balance out all the introspection: “Long baths, podcasts, I’m crying when I’m smashed, Haha, welcome to grieving”. Krystal is beautiful and personal: although the sounds are a little more subdued, they quietly shimmer and glisten, like a slow moving river. (Elli Chappelhow)

11. Collard - Unholy

Honeyed and smutty, this debut album is a heady achievement for newcomer Collard. Delicious tastes of carnal electric guitar pepper soaring, retrofuturistic soundscapes on which Collard’s startling falsetto soars. The gleaming, 1970s-cum-2070s sound of this record put the listener right there in the Studio 54 of the future; on the shag pile rug on Prince’s floor in front of a fireplace; looking out over a city of shining skyscrapers. Must-listens include Kojey Radical collaboration ‘Ground Control’ and the orgasmic unravelling of record closer ‘Blood Red’. (Jessie Atkinson)

10. Lana Del Rey - Norman Fucking Rockwell!

Brazen lyrics layered over classic rock soundscapes, Lana Del Rey’s fifth album Norman Fucking Rockwell! is the artist at her best. Exploring complicated feelings while staying true to her pop classic heart, Norman Fucking Rockwell is a swirl of psychedelics in ‘Venice Bitch’, a heart-breaking ballad in ‘Mariners Apartment Complex’ and a wreckage of romantic fantasies in ‘Bartender’ and ‘Love Song’. The album was a long-awaited, much-talked about release as the back-to-back singles gave so much to look forward to. And Lana didn’t disappoint, delivering what can be considered her finest piece of work, as she builds complex, glittering worlds through her music and then breaks them down without fear, thrilling us and elegantly pulling us in. (Malvika Padin)

9. FKA Twigs - Magdalene

Whilst physical and emotional torment may lie at the heart of the triumphant follow up to Twigs’ 2014 debut LP1 let it be known that Magdalene is by no means a sad story. It is an awakening of the divine self, a reclaiming of her femininity and a bold expression of the underlying amorous nature that bleeds throughout all of her work. Littered with the idiosyncratic signatures of distorted vocals and highly produced beats that are dispersed between tender piano moments, a sense of discovering your place in the world is explored and reflected in the many counterparts of instrumentation that make up the songs. By channelling the strength of Mary Magdalene, FKA Twigs has proven why she is one of the most important artists of the decade. (Tyler Damara Kelly)

8. Tool - Fear Inoculum

It’s a light in the darkness when Tool release an album, and Fear Inoculum is their first in thirteen years. Though it’s their only release in an entire decade, this LP - which landed in the summer - more than made up for lost time. Enormous soundscapes crawl with guitars, incisive vocals and the sense that these songs are exploding out of the medium they’re being played on. From the opening notes of the title track, Fear Inoculum spreads its wings and flies spectacularly in its listeners path, disruptive and magnificent. (Jessie Atkinson)

7. Fontaines D.C. - Dogrel

As powerful as it is poetic, the highly anticipated debut album from Irish punks Fontaine’s D.C. brings us angst and intensity, with a cool finesse and sense of lyricism which sets them far beyond their peers. Working alongside producer extraordinaire Dan Carey of Speedy Wunderground, the band have created stunningly authentic work, bursting with raw emotion and honest reflections on the world around them. A beautifully well-rounded album, Dogrel remains Irish to the very core, bringing the soul of Dublin City to the masses. (Melissa Darragh)

6. Lizzo - Cuz I Love You

Becoming a name on everyone’s lips and throwing her name into the hat as a definite contender for “Queen of Contemporary Pop”, rapper and singer Lizzo’s Cuz I Love You demanded that you give her the attention she deserves with its near-perfect production. On the uplifting and unapologetic offering, Houston-based Lizzo, born Melissa Jefferson, takes listeners through 11 tracks of incredible confidence on ‘Juice’ and ‘Soulmate’, anthemic feminism in ‘Like A Girl’, soulful admissions of her fears in title track ‘Cuz I Love You’, and much more.  By the end of it you’re left with a picture of a woman - insecure yet empowering, imperfect yet perfect – and with that Lizzo’s Cuz I Love You is a yardstick for pop records to come. (Malvika Padin)

5. Michael Kiwanuka - KIWANUKA

Declared as “a work of stunning range and depth, it is by far Michael Kiwanuka’s finest work to date” by us earlier this year, Michael Kiwanuka’s third LP, KIWANUKA, caused a storm in 2019 - and rightfully so. Navigating mazes of love and violence, contemplating spirituality and battling realms of worldly anxiety, the record offers beautifully honest reflections on both the simplicity and chaoticism of experience. Throughout the 14 tracks, Kiwanuka’s warmly gritty voice, instinctively soulful, proves itself effortlessly capable of delivering delicacy and power alike. Instrumentation rises and mellows in revolving turn; an intuitively crafted melancholic backdrop. With this album, plus multiple stand out live shows throughout the year, Michael Kiwanuka reaffirmed himself as one of Britain’s most important current musicians. (Ciara Bains)

4. Dave - Psychodrama

Psychodrama is undoubtedly one of the most significant albums to emerge from this generation of British contemporary music. As such, the album that won the Mercury must be rewarded with the full attention it demands - and deserves. Dave masterfully weaves a powerful narrative in a quasi-concept album style, inviting the listener into his therapy session through sampling a conversation with his therapist, and delving deep into his past with recordings from his incarcerated brother, bringing the topic of loss and struggle to the forefront with unembellished reality. The album, a complex cross-examination of race, identity, politics and self-expression is both nuanced and direct, and is a crucial body of work in the times we face currently. The sounds are largely barefaced, sombre and minimal, to really shine the spotlight on the thought-provoking lyrics, elevated by features from J Hus, Burna Boy and Ruelle. Standing strong against institutionalised racism and social injustice, Dave grips the microphone to amplify the vital voice of a generation. (Elli Chappelhow)

3. Foals - Everything Not Saved Will Be Lost Part 1

The entrée to Foals’ 2019 project, releasing an album in two parts over the course of the year. The band seizing the zeitgeist of the climate emergency to craft an album that pointed towards a dystopian world ravaged by environmental disaster and a lack of action. This was the first time the band had self-produced an album and featured their biggest emphasis on synth yet. ‘White Onions’ and ‘In Degrees’ a couple of the band’s most intense back catalogue entries, the latter being an amalgamation of drum and bass, dance and house, mimicking the eclectic wonder of a carnival. (Matty Pywell)

2. Little Simz - GREY Area

Emerging out of a place of confusion, as arguably the strongest art does, is the form of GREY Area. After the heavy fog of uncertainty and scepticism has shrouded her twenties, Simbi Ajikawo now searches and yearns for clarity, which she has found on GREY Area. Stripping her sound back to its essence, Simz finds her groove, and it’s ultra-slick. She divulges personal narratives alongside astute social commentary and lyrics packed with bravado, with no track on this album sounding similar. By expertly switching out the samples in favour of live instruments, Simz has elevated this album a rung higher than her previous material. The strings soar, the bass rumbles and grooves, and the drums snap with tangibility. With valuable contributions from the likes of Michael Kiwanuka, Little Dragon and Cleo Sol, Simz’s narrative never slacks, never lets up - she’s assertive to the max, and is here to snatch what is hers - everything. (Elli Chappelhow)

1. The Murder Capital - When I Have Fears

Exploring the tender dichotomies between life and death, light and dark, everything and nothing, When I Have Fears is a eulogy, a sermon, a mantra. Lyrically it contends with the most delicate of subject matters and often takes aim with the most brooding, propelling and abrasive instrumentals (‘For Everything’ and ‘More Is Less’). Stripped back though, the impact is still as powerful. ‘On Twisted Ground’ confronts the passing of a close friend. Vocalist James McGovern repeats the line, “you could’ve watched it all,” and it’s not just heart-wrenching, it’s earth shattering. The Murder Capital’s passion is as raw and unbridled as the music they make, and it seeps through, collecting in every crevice of When I Have Fears. (Shannon Cotton)

Are we missing something? Tell us who you think should be included in our tracks of the year over on Twitter or Facebook. 

More about: Albums of the Year