Obscure Sound’s top albums of 2025:

50. Richard Dawson – End of the Middle
49. Echomatica – Echomatica
48. Hotline TNT – Raspberry Moon
47. Big Pleasant – Songs from Big Pleasant
46. Jeff Jakobs – Lorem Ipsum
45. Michael Sanders – fuzzer
44. Cate Le Bon – Michelangelo Dying
43. Silk Daisys – Silk Daisys
42. Post Death Soundtrack – IN ALL MY NIGHTMARES I AM ALONE
41. Y is Nature – Evasion
40. Oklou – choke enough
39. FKA twigs – EUSEXUA
38. Japanese Breakfast – For Melancholy Brunettes (& Sad Women)
37. Caleb L’Etoile – PS
36. Perfume Genius – Glory
35. Stereolab – Instant Holograms on Metal Film
34. Great Horned Owl – Longyear
33. Dave – The Boy Who Played the Harp
32. Von Masse – COIL
31. Quadeca – Vanisher, Horizon Scraper
30. Destroyer – Dan’s Boogie
29. Carl Hauck – Death Farm
28. Waves Crashing – Effection
27. Joey Valence & Brae – HYPERYOUTH
26. Ethel Cain – Willoughby Tucker, I’ll Always Love You
25. Freddie Gibbs & The Alchemist – Alfredo 2
24. Le Concorde – Second Mansions
23. Panda Bear – Sinister Grift
22. clipping. – Dead Channel Sky
21. Ichiko Aoba – Luminescent Creatures
20. Dijon – Baby
19. Big Thief – Double Infinity
18. McKinley Dixon – Magic, Alive!
17. Los Thuthanaka – Los Thuthanaka
16. Suede – Antidepressants
15. Earl Sweatshirt – Live Laugh Love
14. Swans – Birthing
13. The Last Dinner Party – From the Pyre
12. Pulp – More
11. Cameron Winter – Heavy Metal

10. Cass McCombs – Interior Live Oak

9. Nourished by Time – The Passionate Ones

8. Candelabro – Deseo, Carne y Voluntad

7. Tennis – Face Down in the Garden

6. Wednesday – Bleeds

5. TOPS – Bury the Key

4. billy woods – GOLLIWOG

3. Little Simz – Lotus

2. Geese – Getting Killed

1. Oneohtrix Point Never – Tranquilizer

Thanks for continuing to read and support Obscure Sound! Also be sure to check out our playlist recapping our favorite songs from 2025. Looking forward to a great 2026!

The post Best Albums of 2025 appeared first on Obscure Sound: Indie Music Blog.

Obscure Sound’s favorite albums of 2024:

50. Faded – Found Sound
49. Kim Gordon – The Collective
48. Waxahatchee – Tigers Blood
47. Mr Pigeons – Ivory
46. House of Allegro – Evolution
45. Night Tapes – Assisted Memories
44. Conchis – Chapters
43. Elly Kace – if i ask enough could you love me
42. Mach-Hommy – #RICHAXXHAITIAN
41. Holy Wire – The Ending Of An Age
40. Mystery Friends – Utopia
39. Mila Degray – Silver Meteor 98
38. Drug Store Raid – Background Music For Family Arguments
37. Julia Logan – Faraway Nearby
36. Jessica Pratt – Here in the Pitch
35. Laura Marling – Patterns in Repeat
34. Mk.gee – Two Star & The Dream Police
33. Sleeps While Walking – Sleeps While Walking
32. Luna Waves – Comedowns
31. MJ Lenderman – Manning Fireworks
30. Foxing – Foxing
29. Jack White – No Name
28. Aaron Joseph Russo – Calcio
27. Ka – The Thief Next to Jesus
26. Tyler, The Creator – Chromakopia
25. Kamasi Washington – Fearless Movement
24. Zoe Bayani – You Don’t Want Help
23. Vince Staples – Dark Times
22. Woven Talon – Bao Somwa
21. The Smile – Wall of Eyes
20. Armand Hammer – BLK LBL
19. Vampire Weekend – Only God Was Above Us
18. Graffick – Spectra
17. Father John Misty – Mahashmashana
16. Adrianne Lenker – Bright Future
15. Magdalena Bay – Imaginal Disk
14. Sanford: – Extinguished Dreams
13. Kendrick Lamar – GNX
12. Mount Eerie – Night Palace
11. Chelsea Days – Mirror, Mirror

10. Animal Prince – Have Good Dreams

09. The Cure – Songs of a Lost World

08. Carey Clayton – Headless

07. Xiu Xiu – 13″ Frank Beltrame Italian Stiletto With Bison Horn Grips

06. Being Dead – EELS

05. Beth Gibbons – Lives Outgrown

04. Charli XCX – Brat

03. JPEGMAFIA – I Lay Down My Life for You

02. Cindy Lee – Diamond Jubilee

01. Geordie Greep – The New Sound

Thanks for another great year in music!

If interested in more, check out our Best Tracks of 2024 playlist on Spotify.

The post Best Albums of 2024 appeared first on Obscure Sound: Indie Music Blog.

Obscure Sound’s favorite albums of 2023:

50. Tim Hecker – No Highs
49. Slauson Malone 1 – EXCELSIOR
48. Oneohtrix Point Never – Again
47. Nas – Magic 3
46. underscores – Wallsocket
45. slowthai – UGLY
44. Young Fathers – Heavy Heavy
43. Rykarda Parasol – Tuesday Morning
42. Yo La Tengo – This Stupid World
41. DJ Sabrina the Teenage DJ – Destiny
40. Rat Saw God – Wednesday
39. LocalBlac – But Before I Go
38. Amaarae – Fountain Baby
37. Ryuichi Sakamoto – 12
36. feeble little horse – Girl with Fish
35. The Lemon Twigs – Everyone Harmony
34. Softscars – yeule
33. Danny Brown – Quaranta
32. Subway Rat – Captain of the Football Team
31. Freak Heat Waves – Mondo Tempo
30. Late TV – Vanity City
29. Alan Palomo – World of Hassle
28. Cole Blu – Torso
27. Aesop Rock – Integrated Tech Solutions
26. jrdfllrmn – albatross
25. Will Gardner – Remains
24. Jeff Rosenstock – Hellmode
23. billy woods & Kenny Segal – Maps
22. Ana Frango Elétrico – Me chama de gato que eu sou sua
21. Johnny Wilkins – Heartleaf
20. King Krule – Space Heavy
19. Bar Italia – The Twits
18. Blur – The Ballad of Darren
17. Chris Blades – The Wastrel
16. Red Telephone – Hollowing Out
15. Caroline Polachek – Desire, I Want to Turn Into You
14. George Clanton – Ooh Rap I Ya
13. The Clientele – I Am Not There Anymore
12. Kirinji キリンジ – Steppin’ Out
11. Yves Tumor – Praise A Lord Who Chews But Which Does Not Consume

10. Mitski – The Land Is Inhospitable and So Are We

09. Swans – The Beggar

08. Wild Nothing – Hold

07. Sampha – Lahai

06. Waldo Witt – Long Daze, Dark Nights

05. McKinley Dixon – Beloved! Paradise! Jazz!?

04. Sufjan Stevens – Javelin

03. JPEGMAFIA x Danny Brown – Scaring the Hoes

02. Jessie Ware – That! Feels Good!

01. Blonde Redhead – Sit Down for Dinner

Thanks for another great year in music!

If interested in more, check out our Best Tracks of 2023 playlist on Spotify.

The post Best Albums of 2023 appeared first on Obscure Sound: Indie Music Blog.

50. Dizzy! – Grounded
49. Daphni – Cherry
48. Angel Olsen – Big Time
47. Björk – Fossora
46. Viben – Intro to Scuba, Pt. 1
45. Duster – Together
44. Hatchie – Giving the World Away
43. Ancient Spaceships – Another Dimension
42. Marci – Marci
41. Bladee & Ecco2k – Crest
40. David Jacobson and the Space Wizards – ‘II’
39. Tomorrow’s Child – Beach Ghosts
38. Earl Sweatshirt – SICK!
37. Owen Duff – bed
36. Elvis Costello – The Boy Named If
35. Wilco – Cruel Country
34. Candy Cigarettes – Horse Lungs
33. Katmaz – Tell Me How Great You Are
32. River Westin – The Honeymoon Suite
31. Animal Collective – Time Skiffs
30. Tetra Collective – Something Real
29. Perfume Genius – Ugly Season
28. Bubble Tea and Cigarettes – There’s Nothing But Pleasure
27. Little Simz – NO THANK YOU
26. Burs – Holding Patterns
25. Nas – King’s Disease III
24. Michelles – The Empty Promises of Rock and Roll
23. Junior Boys – Waiting Game
22. Homesickness – Blood Rush, Tempest Oceans
21. Vince Staples – RAMONA PARK BROKE MY HEART

20. Lizzy Dutton – Amnesia

19. The Bergamot – Far Out

18. Welcome Strawberry – Welcome Strawberry

17. Danger Mouse & Black Thought – Cheat Codes

16. Arctic Monkeys – The Car

15. Destroyer – LABYRINTHITIS

14. SZA – SOS

13. Sondre Lerche – Avatars of Love

12. full catholic – every dream at once

11. Black Country, New Road – Ants From Up There

10. Sudan Archives – Natural Brown Prom Queen

09. billy woods – Aethiopes

08. Alvvays – Blue Rev

07. ruru – Glorious Miscellanea

06. The Smile – A Light for Attracting Attention

05. Big Thief – Dragon New Warm Mountain I Believe in You

04. Beach House – Once Twice Melody

03. Weyes Blood – And in the Darkness, Hearts Aglow

02. Kendrick Lamar – Mr. Morale & The Big Steppers

01. black midi – Hellfire

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#50 to #41    ///    #40 to #31    ///    #30 to #21    ///    #20 to #11    ///    #10 to #1

10. Freddie Gibbs + Madlib – Bandana

Five years after 2014’s Piñata, Freddie Gibbs and Madlib return with another rap gem. Gibbs’ technically awe-inspiring flow and Madlib’s mesmerizing beats are a force throughout. With the album apparently using a bunch of leftover beats that Madlib offered to Kanye (who only chose one, “No More Parties in LA”), it’s a gift that these were passed onto Gibbs. It’s difficult to imagine anyone else matching the solemn tone and precise flow achieved on many of these tracks. “Half Manne Half Cocaine” shows a spacey beat and striking mid-point transition, emphasizing the release’s dynamic song structures, a talent also particularly present on the atmospheric “Flat Tummy Tea.” “Palmolive” features a soaring vocal sample and vintage soul vibe, which Gibbs, Killer Mike, and Pusha T utilize as a backbone to their excellent flows. Meanwhile, “Crime Pays” rides on glistening soul samples and crisp production, sounding like a truly classic hip-hop track unearthed from the vault. Bandana, in general, has the feel of a hip-hop touching stone.

9. Nick Cave and the Bad Seeds – Ghosteen

Since the passing of Nick Cave’s teenage son in 2015, the artist has explored the depths of tragedy — touching on death in a way few are capable. 2016’s beautifully devastating Skeleton Tree transported listeners to a dark, murky place, with Cave’s reverberating voice and solemn recollections serving as a guiding light. Very much so, Ghosteen is a natural continuation, also touting an understated and retrospective feel — best experienced when in a contemplative, relatively morose mood. “Night Raid” certainly achieves a nocturnal tone in its distant synths and segmented vocal cues, with lyrical content reflecting new life — and a hope for new love. Few moments are more devastating than the core of “Waiting for You,” when Cave cries out “‘Cause I’m just waiting for you.” The slight crack in his voice plays with striking emotional genuineness. Other highlights include the Scott Walker-esque ‘Fireflies” and the ominous closer “Hollywood.” Ghosteen is another gripping exploration of death and grief from one of the most talented songwriters alive.

8. Avey Tare – Cows on Hourglass Pond

Cows on Hourglass Pond contains several of Avey Tare’s most immediate, hooky songs — all while retaining the creative, psych-friendly soundscapes and vocal fluctuations of his previous works. Avey’s 2017 album Eucalyptus showed a renewed fondness for acoustic guitar infusions, continued here with great results. The brilliant “Remember Mayan” is one example, with acoustic strums and synth-bass leading a super catchy melody. The textured guitar additions in the track’s back-end are particularly resonating, as is the final vocal bit; this is definitely one of my favorite tracks of the year. Elsewhere, “Saturdays (Again)” is a lovely slice of psych-friendly bliss, its bouncy guitar-laden melody vibing beautifully with laid-back vocals. Fans of Avey’s vocal yelps/yips are bound to enjoy “K.C. Yours” and its swelling passion, too. Cows on Hourglass Pond shows familiar elements of Avey Tare’s production modes, while presenting some very melodic and hooky songs.

7. James Blake – Assume Form

For the most part, James Blake’s Assume Form departs from the artist’s dark atmospheric crevices — touting tracks like the heart-tugging ballad “I’ll Come Too” and infectious hip-hop turn “Where’s the Catch?” featuring André 3000. The former’s chorus, featuring ghostly vocals and strings that lead to “but I’m not on my own tonight,” conclusion, is striking. Elsewhere, the lushly entrancing “Barefoot in the Park” meshes multi-lingual vocals with trickling serenity, while “Can’t Believe the Way We Flow” touts a shimmering, optimistic electronic loop with warming vocals. Essentially, Assume Form is a collection of tracks from James Blake that appears as his most vibrant and optimistic to date, showing a sense of maturity with some cheer. While Assume Form may not appeal as much with Blake fans who prefer his more patiently developing, darker efforts, Assume Form shares an abundance of highly melodic, resonating songs.

6. Trudy and the Romance – Sandman

Chock full of aesthetic rock nostalgia and devastatingly catchy melodies, Sandman is a surefire success from Trudy and the Romance. “The Original Doo-Wop Spacemen” captures a number of the Liverpool act’s strengths — notably, a striking quivering lead that meshes beautifully with backing vocal harmonizing (“Mr. Sandman open up your eyes,”), as well as a timeless suaveness that treasures melodic hooks in addition to aesthetic. Aesthetically, they recall The Last Shadow Puppets’ merging of classic rock with glam and modern pop sentiments. “Doghouse” is another highlight — the “put me in the doghouse,” hook shining with classic pop effervescence. Opener “My Baby’s Gone Away” starts with galloping guitars and menacing brass, with creeping vocals leading into a joyously raucous chorus. Charismatic rock is on display, dripping with nostalgia and unforgettable hooks on Trudy and the Romance’s superb album Sandman.

5. (Sandy) Alex G – House of Sugar

Over the span of nine albums, (Sandy) Alex G has propelled from Bandcamp buzz to a Domino Records deal. Impressing initially with more lo-fi rock and folk, the Pennsylvania-based artist has expanded his sound in recent years with more textural and electronic-added finesse, especially throughout his three Domino Records albums. His third on the label, House of Sugar is (Sandy) Alex G’s densest and most tonally eclectic to date. Featuring one of the year’s best tracks in the captivating “Gretel,” House of Sugar is a testament to the artist’s admirable stylistic experimentation, while retaining the scope of lo-fi intimacy and familiarity. Back to “Gretel” — this is a track that embodies the strengths of (Sandy) Alex G, a wonderfully produced spectacle evolving from swelling key-tinged shimmering to deeply ruminating rock with a southern twang. From the infectious vocal manipulation in the bouncy “Near” to the chugging barnyard folk of “Southern Sky,” the variety offered throughout House of Sugar is lovely — with enthralling melodies and an intimately engaging charm remaining constants throughout.

4. Purple Mountains – Purple Mountains

David Berman’s public musical contributions since Silver Jews’ final album, 2008’s Lookout Mountain, Lookout Sea, were minimal. An appearance on The Avalanches’ 2016 album Wildflower suggested further activity, alongside rumblings of Berman trying to record with several collaborators, like Dan Bejar and Stephen Malkmus. These collaborations never quite came to fruition, so the existence of Purple Mountains’ self-titled album is alone something to celebrate. Also worth celebrating is the sheer quality. Before Berman’s tragic death this past August, fans and new listeners alike were treated to an album of Berman relaying his best attributes, namely witty lyrical contents and rousing alt-rock arrangements. Listening to this release is a constant reminder of a talent and human being lost, though Berman’s audible expression of morose and depression via his art is beneficial to any human experience. Highlights are numerous. The dual-vocal performance and brassy highlights on highlight “Margaritas at the Mall” is striking, as is the organ/brass/pedal steel on the excellent “Snow Is Falling in Manhattan.” Purple Mountains is a special album that serves as an artifact of Berman’s tremendous talent.

3. Angel Olsen – All Mirrors

Angel Olsen’s first few albums made her striking vocal and songwriting talents obvious. All Mirrors intertwines familiar points of impression with a mode of production that fits ever so perfectly. Specifically, the heavier emphasis on orchestral elements — ranging from dark Gothic appeal to bright pop-forward effervescence — combines with Olsen’s soaring vocals and lyrical talents for a stirring album, the artist’s best to date. All Mirrors succeeds from the get-go with the one-two punch of “Lark” and the self-titled track. “Lark” gradually expands its string-based presence in alignment with escalating rousing vocals, producing an organic-sounding anthem punctuated by the enduring “dream on,” vocal repetition at its conclusion.

Meanwhile, “All Mirrors” explores Olsen’s more Gothic demeanor, with synth pads joining strings for a darkly impacting result. The booming bass, string adornments, and stirring vocal hitting @ 02:53 ranks among the year’s best musical moments. The album impresses well beyond the first two tracks, with stylistic pursuits including the soft folk-pop of “Spring,” the swelling dark ambiance of Impasse,” and the alignment of bass-heavy booming and string flourishes on the ELO-esque “What It Is.” All Mirrors is a delight throughout, serving up a confident aesthetic within excellent, orchestral-infused production.

2. Weyes Blood – Titanic Rising

It’s difficult to begin an album better than “A Lot’s Gonna Change.” New listeners to Weyes Blood, the project of Natalie Mering, are immediately treated to the artist’s unmistakable vocal talent, exhilarating melodic developments, and timeless aesthetic wonder. A weeping synth gives way to a sole piano and Mering’s vocal presence, growing from emotive contemplation to soaring heights. The shimmering strings emerge alongside the percussive build-in, with the orchestral-folk aesthetic to follow being utterly engrossing. The production from Mering and Jonathan Rado is a marvel throughout, and especially on the first two tracks.

“Andromeda” swaps acoustic-forward folk verses with a tugging, string-forward chorus that projects a twangy, southern appeal. The album’s emotional centerpiece, “Movies” is another standout — with spacey arps complementing a haunting vocal lead and very affecting lyrics, conveying a desire for a life equivalent to a movie’s simplicity and happy, predetermined ending: “Put me in a movie and everyone will know me / You’ll be the star you know you are / The movies I watched when I was a kid / The hopes and the dreams / Don’t give credit to the real things / I love the movies.” 2014’s The Innocents and 2016’s Front Row Seat to Earth were both fantastic displays from Weyes Blood, though Titanic Rising emerges as something uniquely resonating.

1. Tyler, The Creator – IGOR

2017’s Flower Boy was a major leap for Tyler, The Creator — a left-field turn embracing more radiant, psych-friendly hooks on a variety of tracks, such as the brilliant “911/Mr. Lonely.” Although more pop-conscious, tracks like “Who Dat Boy” still retained a sense of Tyler’s earlier, more raucous sound, making Flower Boy a stellar release though one whose stylistic focus tended to vary — catching Tyler at an enjoyable point, though one that nonetheless felt like an in-between. On IGOR, there’s a loving embrace for the brighter, hook-friendly sound that pulsated on Flower Boy, resulting in Tyler’s most focused and enjoyable release to date.

Lacking any semblance of filler, IGOR captivates right away and never lets go. Opener “Igor’s Them” is vibrantly addictive. Melodic, soulful vocals mesh with buzzing synths and active rhythms, leading to a final-minute hook where minimalist piano moments conjoin cohesively with the buzzing synth play. Several pop-minded tracks follow this nicely establishing opener. “Earfquake” and “I Think” both show Tyler’s focused hook-centric allure these days, the latter impressing with a serene interlude just past the two-minute mark — one of many abrupt though seemingly cohesive stylistic switch-ups on the album. These are tracks with very clear hooks and soulful, vibrant production — retaining a pop-forward focus while avoiding the pitfalls of structural repetition.

The second half of IGOR is phenomenal, showcasing an emotive and often trippy variety of sounds that succeed immensely. Easily one of the year’s best tracks, “A Boy Is a Gun” jump-starts this second half with brilliance. Masterfully produced “don’t shoot me down,” vocal cues align with the nostalgic soul sound, propelled by orchestral components and keys. Tyler’s confident hip-hop vocal flow is precise and addictive, easing listeners into a second half where hip-hop elements are more prevalent, while staying within a psych-pop mode of production. “A Boy Is a Gun” is a stunner, solidifying itself as guitars and trickling piano establish a gripping feel as Tyler cautions not to advance — though certainly with the chamber-pop yearning of “Puppet” to come next, you won’t be able to stay away.

Two-part tracks is something Tyler has impressed with in the past, notably with “911/Mr. Lonely,” so it’s hardly a surprise that IGOR’s own “Gone, Gone / Thank You” impresses on a similar level. The “rain or shine,” chorus in the first section is melodically addictive, followed by some diversely excellent rhythmic flows. Namely, Tyler’s “there’s poison in that gumbo,” verse is joined by chilled-out keys and atmospheric samples, resulting in the album’s most hypnotic section. The track’s conclusion features exhilarating vocal backings and spacey synth arps, thanking a former love for their time, while also acknowledging “I will never want to fall in love again.” “Gone, Gone / Thank You” is a testament to the album’s fantastic production, while sounds aesthetically focused within a flowing abundance of stylistically eclectic ideas.

#50 to #41    ///    #40 to #31    ///    #30 to #21    ///    #20 to #11    ///    #10 to #1

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#50 to #41    ///    #40 to #31    ///    #30 to #21    ///    #20 to #11    ///    #10 to #1

20. The Comet Is Coming – Trust in the Lifeforce of the Deep Mystery

The Comet Is Coming’s Trust in the Lifeforce of the Deep Mystery tends to transport listeners, summoning an otherworldly and exotic feel throughout its stirring jazz infusions. Among the album’s most accessible efforts, “Summon the Fire” features blistering sax and a buzzing, hypnotic synth-bass to start. The brass elements continue throughout, squealing with intensity over consistent percussion and swelling spacey synths. The track is one that resonates and sticks with you, for both its melodic fervor and sax-heavy uniqueness. “Super Zodiac” is a natural brethren, this time featuring brisker sax and synths. Meanwhile, the more rhythmically focused “Timewave Zero” places emphasis on the intricately evolving percussion. Consuming brass, intricate rhythms, and atmospheric synths lead the charge throughout, with various tracks successfully swapping instrumental emphasis and tonal dimensions. The Comet Is Coming continue to build serious buzz for good reason.

19. The Caretaker – Everywhere at the End of Time – Stage 6

What starts as an album depicting nostalgic, romantic ballroom dances steadily evolves into a horrific listen. Chronicling the developing tendencies of dementia, Everywhere at the End of Time is an achievement in the dark ambient genre, capturing an aspect of life that is deeply uncomfortable though familiar for many families. Specifically, the audible capturing of a memory slowly deteriorating, from blissful memories of first loves and achievements into a horrific void of conscious anxiety, makes Everywhere at the End of Time among the most unsettling albums you will ever hear. James Leyland Kirby, aka The Caretaker, has been steadily releasing the album in stages since 2016, with 2019 marking the final installments. The release is brilliant on multiple layers, from the poetically striking song titles to the gradual development from The Shining-inspired ballroom haunts to an audible representation of a black void. Now that the entirety of Everywhere at the End of Time is out, the experience is calling.

18. Cigarette – Light Blues

Light Blues is a fantastic release from Washington, DC act Cigarette. This is a project that, throughout this album, emphasizes their ability to weave emotional lyrics and vocal performances with gently expanding melodies, full of dreamy guitar tones and simmering rhythms. From the soaring vocal second-half of “Soil & Green” to the overall entrancing feel of “Mood,” Light Blues is an album full of gorgeous moments. “Mood” specifically is a gem, moving with an ethereal vocal presence that casts a mesmerizing lull. Per the band, the track “touches on the feeling of wishing. Wishing something didn’t happen.” The track is about a close friend of the band’s, who passed away in a motorcycle accident. In terms of moody rock albums, Light Blues easily ranks among 2019’s best.

17. Big Thief – U.F.O.F.

The first of two Big Thief albums released in 2019, U.F.O.F. kick-started the band’s big year. A confident showing of the band’s transfixing vein of folk, the album touts a very autumnal feel, with a track like the opener “Contact” presenting a haunting sound reminiscent of Elliott Smith. Adrianne Lenker’s vocals prove that less can be more, exuding a commanding vocal presence even while retaining a serene comfort. The self-titled track shows a masterful command of vocal alignment, with the trickling acoustics meshing cohesively with Lenker’s trickling vocals. U.F.O.F. isn’t breaking new ground stylistically, though certainly excels in a consuming rock-tinged folk vein that emphasizes consuming, hypnotic songwriting and a faultless vocal lead. U.F.O.F. is the type of album that you leave on, and it goes by in a flash — thanks to such accessible, comforting charm.

16. Little Simz – Grey Area

English rapper Little Simz’ third album is a proper breakthrough. From the start, Grey Area impresses with striking production, as buzzing bass, orchestral creeping, and precise vocals comprise stellar opener “Offence.” The next track, “Boss,” features a more free-flowing vocal presence amidst a murkier, bass-heavy beat. These first two tracks assure early that both Little Simz’ vocal flow and the accompanying beats/production are not to be doubted. Confident lyrical content, daring anyone who doubts, flows throughout with an enjoyably tenacious bite. From cinematic sweeps like “Venom” — where second-half vocals thoroughly impress — to the dazzling one-two opening punch, Grey Area pushes Little Simz to impressive heights.

15. Dave – Psychodrama

The intense, affecting Psychodrama conceptually plays like a therapy session. The voice of a therapist divides the release into three acts — Environment, Relationships, and Social Compass. Inspired by the therapy sessions that Dave’s older brother experienced while in prison, Psychodrama tactfully juggles a successful concept with tracks that hit hard, melodically and rhythmically. Listeners’ gradual introduction to Dave has come via a string of successful singles since 2016; Psychodrama represents a proper meeting session. “Streatham” rides on a hypnotic beat and excellent flow as lyrics convey a south London upbringing, unleashing a stellar hook around 02:05 that amps up the beat and vocal presence. Efforts like “Lesley” and “Purple Heart” show a more soulful, R&B-leaning side — the latter excelling with a briskly infectious appeal. Another highlight, “Screwface Capital” casts a haunting glow with a distant vocal sample and eerie piano. Psychodrama grips with its lyrical intimacy — exploring aspects of racial identity, poverty, and depression — within the three album’s acts. Furthermore, its production is diversely effective.

14. Jamila Woods – Legacy! Legacy!

Legacy! Legacy! is a stirring R&B album from Jamila Woods. Joined mostly by fellow Chicago-based musicians, the release features a spacey electro-soul aroma on multiple tracks, such as on highlight “GIOVANNI” and the atmospheric “MILES.” In another spectrum, “MUDDY” works around a swanky guitar, with the vocal presence exuding a welcome charisma. Great melodic shifts are also abound, such as the scaled-back guitar jazziness around 01:30 of “BASQUIAT.” The tracks on Legacy! Legacy! show entrancing production and memorable melodies, complete with consistently striking vocal performances — ranging from soulful R&B to punchier charisma. Poetic, insightful commentary on identity intertwine with this excellent production for an album that’s consistently engaging.

13. FKA twigs – Magdalene

On her EPs and LP1, FKA twigs’ Tahliah Barnett has shown a knack for emotive tracks with escalating textural beauty. In addition to continually engrossing songwriting, Barnett’s classically trained voice is utilized with graceful precision throughout the moving album Magdalene. Opener “thousand eyes” is blissful and elegant, lulling with striking vocal tonal escalation and striking instrumentation that swells with buzzing mystique. The excellent “sad day” is exemplary of the artist’s vocal range and ability to grow with each song structure. The “make a wish,” repetition in the verses plays with delicate allure, with electro-minded percussion past the one-minute mark kick-starting a climax — where wordless vocal backing effects intertwined with a versatile lead. The song sends chills. It’s also difficult not to mention “mirrored heart,” particularly its beautiful contrast from darker verses and a yearning, effervescent hook. The track is a nice representation of the album’s ability to seamlessly balance dark soundscapes with hook-friendly melodic effervescence.

12. JPEGMAFIA – All My Heroes Are Cornballs

Bursting with creativity and varied song structures, All My Heroes Are Cornballs is an addictive, fascinating release from JPEGMAFIA. Led by a particularly strong first half, the album presents versatile and vibrant beats alongside diverse vocal deliveries. “Jesus Forgive Me, I Am a Thot” is an excellent opener well representative of what to anticipate. Vocals ascend into a raucous fury just before the one-minute mark, then leading into a very melodic hook more in the pop vein. Furious hip-hop and pop infectiousness collide with consuming cohesion here. “Grimy Waifu” swaps from spacey synths and contemplative acoustics, with various vocal effects contributing well to the soundscape. The track’s serene nature provides an effectively contrasting lead-in to the superb “PTSD,” which hearkens to 2018’s Veteran and JPEGMAFIA’s furious vocal flows. All My Heroes Are Cornballs affirms JPEGMAFIA’s as one of the most creative minds in hip-hop today.

11. Cate Le Bon – Reward

Cate Le Bon shows a firmly focused sound throughout Reward, a great encapsulation of the artist’s crisp art-pop arsenal. Tracks like “Home to You” are led by gliding keys and a spirited, soaring vocals — projecting a melodic appeal that’s instantaneous. Even the tracks that aren’t as melodically bright tend to stick in their own ways. “Here It Comes Again” works with mostly nonchalant vocals and clanking guitars, establishing a hypnotic aesthetic that bridges the gap nicely between the bouncier “Mother’s Mother’s Magazines” and the brass-laden “Sad Nudes.” Along with “Home to You,” “Daylight Matters” is another immediate winner — with twangy guitars and swelling brass meshing with vibrant vocals. Featuring an assortment of bright art-pop gems and contemplative soundscapes, Reward certainly gives the listener reasons to return many times.

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30. Eagle Eyed Tiger – On the Run

The lushly engaging “Still Not There” traverses from aquatic, synth-heavy bliss into serenely effective guitar-laden additions. The track is among several highlights on the stellar new album On the Run, from New York-based producer Eagle Eyed Tiger. The artist has a knack for blending live instrumentation with electronics, resulting in a sweeping sound with atmospheric mystique, though one that retains a natural glow with its guitar-based additions. Other highlights on the album include the YMO-esque “Metropolis” and the driving groove of “Hotline.”

29. Hot Chip – A Bath Full of Ecstasy

Despite working with outside producers in Philippe Zdar and Rodaidh McDonald), A Bath Full of Ecstasy shows the Hot Chip fans know and love. The band’s familiarly bursting vein of synth-pop is on full display, best shown on pulsing bouts of infectiousness, such as “Echo” — and the gracefully catchy luxuriousness of the self-titled track. Hot Chip has ascended in recent years beyond the indie-sphere, working with the likes of Katy Perry (album track “Spell” was originally written for her). Their knack for accessible, shimmering songwriting makes this no surprise, though it’s comforting that with their own material, the synth-pop arsenal and knack for witty hooks remain largely unchanged.

28. KAZU – Adult Baby

Fans of Blonde Redhead’s dreamy, engrossing sound will be smitten with Adult Baby, the new album from Kazu Makino. As Blonde Redhead’s lead vocalist, Makino has ample credentials weaving ethereal vocals through lush soundscapes complete with guitars and synths. Adult Baby places more emphasis on synth-laden construction than some Blonde Redhead efforts, enhanced with richly evolving rhythms that swap from barrenness to high involvement, often within a single track, like “Unsure in Waves.” Among my favorite album cuts is the self-titled track, expressing a sort of Parisian-lost-in-a-dream feel, lifted by strings-heavy charm. Adult Baby is a sweepingly hypnotic success from KAZU.

27. Michael Kiwanuka – Kiwanuka

Michael Kiwanuka has emerged as a popular name in recent years. Quality material, a couple Mercury Prize nominations, and penning the theme song of HBO’s hit series Big Little Lies shot Kiwanuka into deserved recognition. As such, his 2019 self-titled album was well-anticipated, with listeners charmed by his soulful infusing of retro-soul, singer/songwriter, and alternative tendencies. Rather than succumb to industry pressure for commercialization, Kiwanuka admirably explores several more left-field turns. The instrumental “Another Human Being” reminds of Ryuichi Sakamoto’s haunting cinematic-friendly fervor, with atmosphere a driving force throughout the whole release. Following that track, with effective contrast, is the majestic production “Living in Denial” — channeling a haunting, charismatic vein of soul with psych-folk fixings. Kiwanuka is the confirmation of an artist that’s here to stay, if it wasn’t obvious already.

26. Rosing – Rosing [EP]

“Beige Oblivion” is nicely illustrative of Rosing’s gorgeous sound throughout their self-titled debut EP, one of the year’s most memorable debuts. Producing a chilling blend of dream-pop, post-rock, shoegaze, and rock elements, the Los Angeles-based act show a masterful approach to their aesthetic — from the haunting vocal presence to the enthralling guitar tones. The EP — which was self-recorded, produced, and released independently — succeeds throughout. “Beige Oblivion” rides on a Rhodes piano, lap steel guitar, and these ghostly vocals, showcasing a striking track that is likely to hook listeners into the rest of this strongly recommended EP.

25. Erin Anne – Tough Love

Los Angeles-based artist Erin Anne’s debut album Tough Love manages to wholly impress, merging ‘80s pop aesthetic with singer/songwriter endearments. “Bedroom Track (Carrie)” is a stirring highlight. The “I know she’s out there somewhere,” yearning over climactic guitar distortion and playful ’80s synths plays with emotionally captivating appeal, reminiscent of Mitski. The album itself meshes an ’80s pop aesthetic with pop and punk elements, with Erin Anne (Fitzpatrick) arranging and producing the release herself, in addition to co-production/engineering and percussion talents from Alex Rogers of Family Hahas/A Place To Wash My Hands/Tambourines. The track’s final minute — where “kill me,” is repeated over whirring guitars and synths, before an acoustical comedown — is especially powerful. Check this one out.

24. W.H. Lung – Incidental Music

W.H. Lung’s debut album Incidental Music is excellently produced, with sharp synths, melodic guitars, and fervent vocals often contributing to dazzling hooks. Guitars and synths join for a hypnotic, nostalgic melody on opening track “Simpatico People,” with vocals not emerging until close to three minutes in. The opener establishes the developing, melodic guitar-infused synth-pop sound throughout, fond of both trickling synth arps and moody jangling guitars. “Bring It Up” is in the more anthemic rock vein, the track title being referenced in catchy fashion by the dual vocal punch. Meanwhile, “Inspiration!” pursues a post-punk, guitar-fronted demeanor that departs from the synth-fronted nature of the first two tracks. As is evident by the first three tracks alone, Incidental Music ventures into various facets of ‘70s and ‘80s synth/guitar pop hybrids, doing so successfully each time.

23. Glass Beach – The First Glass Beach Album

Brimming with clever ideas and traversing through tonally diverse realms, Glass Beach make a mark on their first album. Nicely representative of the album’s eclectic dynamics is the track “neon glow.” Punk-friendly guitar distortion aligns with spirited synths for an infectious vibe. Much of the first two minutes is anthemic rock bliss, somewhere between twee, emo, and alternative. The track’s second half features solemn brass and ruminating percussion, with glistening guitars gently entering the fold as the emotive vocals re-emerge. The track is a testament to the group’s structural ambitions on most tracks throughout this release. Other highlights include frantic rocker “bedroom community” and the jangly lo-fi charm of “calico.”

22. L’Resorts – L’Resorts

Formed by Vincent Kircher (Jaill) and Martha Cannon (Lady Cannon) — and evolving into a seven-piece group including original Jaill drummer, Austin Dutmer, and several other regulars from the Milwaukee music scene — L’Resorts show savvy melodic songwriting and a firmly consuming aesthetic throughout the self-titled album. Aesthetically, there’s a likeness to Camera Obscura and Velvet Underground at various points, with charmingly melodic dual vocal leads and twinkling hooks, especially evident on album highlight “Highs and Lows.” The heart-tugging “Baby Don’t” is another highlight, opening the album with melodically addictive appeal, as both vocalists weave around catchy guitars and xylophone gliding.

21. The Chemical Brothers – No Geography

The Chemical Brothers’ best album in a decade, No Geography finds the electronic music veterans in a place of comfortable familiarity, reflective aesthetically of 1999’s Surrender. In essence, No Geography sports a very cohesive, well-produced sound. The sound is crisp yet nostalgic, the bass lines concisely effective and the synth tones veering serene, though also showing variety and moments of erupting climaxes. This is particularly evident on centerpiece “The Universe Sent Me.” Glistening synth arps and brooding guitars complement a repeating vocal loop, leading to a stadium-sized bout of synth-laden effervescence as the three-minute mark approaches. The self-titled track, and album in general, is also a testament to The Chemical Brothers’ continued ability to cohesively juggle ambient-friendly lushness with frantic rhythmic-led infectiousness.

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40. Flying Potion – Flying Potion

Chicago artist Flying Potion’s self-titled debut album shows captivating appeal. A constant throughout is emphasis on pedal steel guitar techniques, with the twangy presence providing a melodic backbone to Flying Potion’s very melodic and atmospheric songwriting. The innovative pedal steel techniques combine with the quality songwriting to result in an album with ample replay value. Among the album’s highlights, “Constrictor” is a fantastic track with psychedelic leanings. The twangy guitars lead into a string-laden hook around the one-minute mark, with the lead vocals pursuing a more rousing energy punctuated by psych-friendly vocal reflections. Flying Potion is a twangy debut that’s very easy to get lost within.

39. Danny Brown – uknowhatimsayin¿

Danny Brown continues his artistic growth on new album uknowhatimsayin¿, following up 2016’s highly acclaimed Atrocity Exhibition. “Dirty Laundry” is an excellent single, with a patient yet infectious lyrical flow and bursts of psych-friendly chamber-pop allure. “3 Tearz” is another highlight, a chugging piece of confidence also featuring Run the Jewels. The track’s “would you kill for me?” hook bridges both Run the Jewels members, leading into a dazzling organ-laden conclusion. Also notable is the powerful “Negro Spiritual,” echoing Brown’s trademark fast-flowing delivery of yesteryear, which is present here throughout the album though more restrained.

38. Stars in Coma – Every Evening, Sunset Crooks its Thumb Across the River

André Brorsson fuses hook-filled pop songwriting with touching of psychedelia and rock, with his Stars in Coma project being one I greatly anticipate any release from. New album Every Evening, Sunset Crooks its Thumb Across the River is a great introduction to the Swedish artist. In particular, lead single “Destroying the Love” is a relentlessly catchy pop effort that soars with exuberance. A guitar-forward verse arrives after the whirring introduction, which is an immediate push of contagious energy that reminds of Todd Rundgren’s poppiest or, more contemporaneously, Foxygen. “Destroying the Love” is a very melodic effort, on an album with an abundance of them.

37. Deepest Bison – Ghost Planet

Ghost Planet is a very enjoyable album from Minneapolis-based recording project Deepest Bison. The artist shows a fondness for hypnotic textures, steeped in folk-friendly acoustics and occasional doses of synths. (Sandy) Alex G is a nice point of comparison, with “Rider” also exuding a sort of George Harrison-esque character in its stirring guitar presence. The vibrant acoustics combined with a suave lead and ghostly backing vocals, with striking backing effects — at the two-minute mark in particular — conjure a strong emotional pull. “Rider” is a gorgeously constructed track from Deepest Bison, embodying the consuming sound throughout the artist’s atmospheric album Ghost Planet.

36. Thom Yorke – ANIMA

ANIMA, Thom Yorke’s most accomplished solo output to date, sports richly textured production and intriguing melodies. Icy, synth-heavy soundscapes with evolving rhythms lead the arsenal, with interesting production quirks helping to make for an enjoyably distinguished character from track to track. “Twist” masterfully weaves vocal sampling within intensely reverberating rhythms, leading to Yorke’s sharp vocal presence cutting through the icy synth-laden flickering. The patiently evolving “Dawn Chorus” gradually builds heavenly, illuminated tones via soaring synth pads alongside Yorke’s nonchalant vocals. These two tracks succeed on similar strengths, namely atmospheric awe and lyrical yearning, while playing quite differently. Fit for listening during powerless winter storms, ANIMA is a stirring listen from the Radiohead frontman.

35. Fennesz – Agora

Christian Fennesz sacrificed some of his usual intricacy on Agora, opting to record the album in his residence instead of the studio. Nonetheless, Agora represents some of the artist’s most consuming ambient craft-work. “In My Room” resembles a sunrise slowly enveloping the land, with a sprawling synth rising in presence. “Rainfall” touts a buzzing sense of anticipation, while the self-titled track appears as a lush depiction of post-rainfall mist. Closer “We Trigger the Sun” flaunts a glowing, spacey appeal alongside clanking rhythms that resemble space junk, clanging around. Agora is a blissfully atmospheric journey that takes listeners from morning on Earth to traversing dark, spacey depths.

34. Goodie Bag – Blue Girls [EP]

Goodie Bag are a dream-pop act from Nashville, also infusing aspects of surf. Their debut EP Blue Girls features a variety of engrossing tracks. Among them is “Saffron,” a demonstration of the band’s dreamy, deeply melodic qualities. Glistening keys accompany the soulful vocals to start, with guitars re-emerging just prior to the one-minute mark as the vocals reach a sweltering point — the “in a daze,” repetition playing with soulful, gripping allure. It’s very easy to get consumed in “Saffron,” along with the five other tracks on this EP. Also worth mentioning from the band is the fantastic track “The Lonely Postman,” released earlier this year and fondly reminiscent of TOPS.

33. Waldo Witt – Randall

Previously known under the name Table Tennis Dreamer, Waldo Witt shows a stirring pop sound with a nostalgic grip throughout striking album Randall. The release reveals both emotive ballads and infectious synth-pop gems. “Crystal Ball” is among the colorful, upbeat pop efforts, glistening with effervescent synths and a bustling bass line, complete with a harmonious vocal lead. A gliding array of synths lead a fun, melodic bridge during the final minute. The beautiful, emotive “Carteret” is more exemplary of Waldo Witt’s atmospheric songwriting and stirring vocal presence, emitting a more textured, yearning sound with “Carteret.” Aesthetically, I’m reminded of the deeply immersive sound Prefab Sprout explored on Jordan: The Comeback (1990). Glistening synths push in around 01:12, leading into a deeply effective chorus with an anthemic vocal pull. “Carteret” is excellently produced, dripping with emotions and nostalgia.

32. Small Wood House – Runner

Cleveland-based band Small Wood House have built a sturdy reputation via acclaimed live performances, opening for acts such as Mitski, Colleen Green, and (Sandy) Alex G. They put out their debut full-length, Runner, on December 6th — and certainly the band’s live-based potential comes to full fruition here. Runner shows a creative frenzy of dreamy pop and psych-friendly rock sounds. Among the highlights is “T.V.,” where stirring vocals intermingle with playful keys and consuming guitar textures — an aesthetic reminder of Sunset Rubdown and Spencer Krug. “T.V.” is a mesmerizing success, alongside other gems like the murky organ-laden success “Familiar Hollow” and jangly guitar-based track “Sleeper.” Runner is among the most creative debuts of 2019.

31. Big Thief – Two Hands

Big Thief released two great albums this year, about five months apart. Two Hands was the latter of the two. There is not a major distinction between this and the preceding U.F.O.F., in terms of stylistic approach, though Two Hands tends to show a more varied sound. From the get-go, in the transformation from opening ballad “Rock and Sing” to rousing passionate rocker “Forgotten Eyes,” the band’s wide-reaching strengths are evident. The latter track is particularly resonating with its “Everybody needs a home and deserves protection‚ hmm-mm,” hook. Other highlights include the striking “Not,” where vocalist Adrianne Lenker shows spine-chilling emotion and range, and folk-laden beauty “Replaced.”

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50. Ruby Empress – Sinbolism

Sinbolism is a stellar album from Ruby Empress, an act from Gothenburg, Sweden. Spanning from lush psych-folk efforts like “Closure” from peppy pop infectiousness in the vein of “See No Evil,” addictive melodies and consuming soundscapes are on display throughout. On highlight “See No Evil,” jangly guitars become accompanied by a charismatic, concise vocal lead, which just prior to the chorus is paired with a wordless backing vocal melody. As the track title repeats, there’s a hypnotic level of engagement that takes place, solidifying the effort as one with ample replay value. Sinbolism contains a variety of memorable tracks from this promising act.

49. Holden Laurence – Rewire

As evident on previously featured “A Whisper and She Takes Me,” Cleveland native Holden Laurence is highly adept at crafting jangly, ’80s soundscapes with strong melodic appeal — led by soaring vocals, jangly guitars, and lush synths. Those talents are on display throughout full-length album Rewire, featuring highlights like “Shadows of Old Love,” touting a memorably yearning quality. Rewire solidifies Holden Laurence as an artist to follow.

48. Eugenia Post Meridiem – In Her Bones

In Her Bones is the captivating debut album from Italian four-piece Eugenia Post Meridiem. Among the album’s nine tracks is debut single “Low Tide.” Beginning with sparse guitars, the track is quick to show the powerful vocal quiver of lead vocalist Eugenia. As percussion begins to mount around the 45-second mark, there’s a sense of growing passion, with the melodic guitar line at the one-minute mark precisely leading into a gorgeous vocal melody that sports a gorgeous, folk-laden quiver. Showing ample mood, vocal passion, and mellow though captivating melodic allure, “Low Tide” and the entirety of In Her Bones is a winner of a debut.

47. The Mute Group – Sinister Hand

Nashville act The Mute Group deliver an emotional, soaring sound throughout their album Sinister Hand. Album standout “Rodney O” grows from acoustic-led verses into a chorus with twinkling, haunting expansiveness. The vocals remain an idiosyncratic force throughout, especially at 01:13 when they assume a quivering elegance above the twinkling key additions. These vocals assume a distorted tone in the verses following, before unleashing an onslaught of emotion over bouncy keys that lead to a reprisal of the chorus. “Rodney O” is a moving success from a very impressive new album, the track nicely representative of the powerful sound to anticipate.

46. Black Midi – Schlagenheim

Buzz-generating London-based quartet Black Midi emphasize a textural sound throughout debut album Schlagenheim, reminding of lovably oddball post-punk acts in the vein of Wire and The Fall — especially on “Speedway,” which develops with hypnotic guitar-based darkness. Tracks like “Near DT, MI” shows a murky rock sound reminiscent of Slint and other jagged alt-rock staples, building to a raucously gripping vocal exultation in the final minute. Schlagenheim shows a bounty of creative energy and swelling potential from this young, talented act.

45. Tim Hecker – Anoyo

Tim Hecker’s 2018 album Konoyo was a hauntingly beautiful merging of gagaku performance and unsettling electronica. Vibrant Japanese classical elements infused with textural drone for a uniquely consuming experience. Anoyo is the comparably stellar follow-up, a more contemplative and patiently developing listen that harnesses feelings of dystopia-set emptiness, though with glimmers of effervescent hope. Although more tonally laid-back than Konoyo, Anoyo channels a chilling sort of spaciousness via the enveloping synth pads and classical instrumentation infusions. Hecker continues to show himself as a master of atmospheric construction.

44. Jenny Hval – The Practice of Love

Jenny Hval’s albums have made frequent appearances on our year-end lists throughout the years, maintaining a consistent quality despite often differing thematically and aesthetically. One constant throughout the releases is the presence of ambitious topics like intimacy, creation, and social unraveling, explored throughout Hval’s artistic lyricism. Musical directions fluctuate, with The Practice of Love touting a lush yet developing electro feel, reflective tonally of ‘90s trance. Lyrically, Hval strikes with ponderings regarding the existential state, as well as the absence of motherhood. With various guest vocalists ranging from Félicia Atkinson on the serene “Thumbsucker” to Laura Jean’s presence on the swelling electro-pop of “Accident,” the songs breathe with enveloping electronic soundscapes and meaningful lyrical power.

43. Bliss Nova – Going Places

Going Places is a lovably melodic synth-pop album from Bliss Nova. The album’s self-titled track is a showcase of the Toledo-based duo’s lush pop sound, alongside a vocal yearning for a brisker pace in life. An effervescent bridge just prior to the two-minute mark exudes an enchanting quality, as the track comes to a close. This final minute or so in particular cements the act’s ability to craft melodies that stick, utterly, in one’s head. Additional highlights include opener “On to Something,” strutting a funk-laden rhythmic confidence and ‘80s flair, and “Hafta,” an effervescent electro-pop groover.

42. Jambinai – ONDA

If you’re seeking a soothing listen with a consistent tonal presence throughout, ONDA is not recommended. Instead, South Korean group Jambinai craft a constantly evolving, structurally alive post-rock sound, never content to sit complacently. The band’s third album, ONDA shows a knack for initially sparse instrumentation, exuding a delicately unveiling soundscape. Oftentimes, these swell into anxious, anthemic, and all-out frenzied moments that succeed with creative fury. Multiple tracks impress. The escalation of “Small Consolation” sounds like a bagpipe parade from hell, while still somehow more melodic than a bagpipe parade on planet Earth. “Sun. Tears. Red” integrates ominous vocals and weeping strings with dramatic effect.

41. Xiu Xiu – Girl with Basket of Fruit

Hardly a surprise, more unsettling yet oddly compelling material comes courtesy of Xiu Xiu. Girl with Basket of Fruit is full of murky rhythms, erratic vocal deliveries, and squeamish lyrical content. Xiu Xiu continues to deliver moments of melodically infectiousness within chaos — such as the pulsing rhythms around the two-minute mark of “Pumpkin Attack on Mommy and Daddy.” Also present are achingly intimate efforts like “Normal Love,” where Jamie Stewart’s tortured croon and piano play with ghostly alignment. “The Wrong Thing” succeeds with similarly emotive, intimate charm. Girl with Basket of Fruit, while unsettling, is also chock full of the creative idiosyncrasies many have come to anticipate from Xiu Xiu. While a polarizing album, it’s also likely to be one of your most interesting listening experiences of the year.

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