Lolo Zouaï has created a frequently beautiful and satisfyingly three dimensional pop record and High Highs to Low Lows is an unexpected delight.
By releasing half a record, has MARINA (formerly Marina and the Diamonds) blemished her otherwise strong track record?
WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? is one of the most thoughtfully creative and self-possessed albums of the year.
Self Esteem’s Compliments Please is a positive indication that creative, labour-of-love alternatives to production line pop is still very much alive and well in 2019.
Good at Falling cracks open the door and successfully allows The Japanese House to make an impressive and compelling connection.
Ladytron is one of Ladytron’s most essential records and one that builds on their surprisingly long tenure as one of the most influential electronic bands of the last 20 years.
Don’t Feed the Pop Monster is Broods’ most classically pop album so far and also their best. If it isn’t a hit then don’t blame them and instead look take a harder look at the current state of pop culture as it continues to merrily eat itself.
In New Breed, Dawn Richard has become the master of her idiosyncratic sound, a true one-off who creates what she loves.
Remind Me Tomorrow is Sharon Van Etten as she is right now with a new page turned and brilliantly, fearlessly looking forward.
Not a top 10 as such, John Preston gives you the 10 films of 2018 you may have missed but should watch immediately.