Ariana Grande - Christmas Kisses

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Who can resist Ariana shaking her thing in a Christmas onesie, anyway? Not me. Here's to a happy 2015.

Azealia Banks - Broke with Expensive Taste

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After some PR missteps and label shenanigans, Azealia's debut LP finally surfaced in November. It takes you on a weird (in a good way) journey through a spectrum of various sounds and genres - from Caribbean and Spanish flavors to deep house, from pop to hip hop.

She delves into many styles and is fearless when it comes to her versatility as an artist. People can hate on her all they want, but if Azealia Banks continues to put out music like this, she won't have to worry about what her critics say. The standout album of 2014.

Taylor Swift - 1989

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The title of an Amazon review says it all for me: 'Will have to play this 1989 times before I get bored of it. Album of the year!'. Taylor has fully transitioned from country to pop, and is a force to be reckoned with.

She wrote and helped to produce all of the songs here, which makes it feel like you're reading her diary. The songs are insightful and fun. The voice memos on the deluxe ('Blank Space', 'I Wish You Would', 'I Know Places'), in particular, give a nice insight into her songwriting.

Here's Taylor, on what looks to be the same NY ferry I took:

Iggy Azalea - Reclassified

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Iggy Azalea, whose real name I just discovered to be Amethyst Amelia Kelly, is a sweetheart when interviewed. For this reason, I've remained fascinated by how opposing her musical style is. Plus, 'Problem' was my summer anthem and really gained momentum here in the UK.

Reclassified is essentially a repackaging of the debut LP The New Classic. It features five new songs, a selection of tracks from the former release, and is substantially more cohesive than her first attempt.

Azalea was recently nominated for six American Music Awards – the most of anyone - including 'Artist of the Year' and 'Single of the Year'.

Ariana Grande - My Everything

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Ariana Grande is a multi-talented, hard-working young girl, trying to find a place in the entertainment business. Critics compare her to greats like Christina Aguilera and Mariah Carey, I agree such comparison is justified.

Pop stars have a tendency to shed their clean-cut image, and alienate in the process; the positive image that Ariana fostes seems proof of her good intentions. The follow-up to last year's Yours Truly mixes several genres, appealing to many listeners and showcasing her vocal range.

Ed Sheeran - x (Multiply)

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Never an artist to stand still, Ed recorded x at various locations around the globe, drawing on the experiences and influences encountered. He worked with such luminary producers as Rick Rubin (Eminem, Red Hot Chilli Peppers), Pharrell Williams (Daft Punk, N.E.R.D), Benny Blanco (Rhianna, Wiz Khalifa) and Jeff Bhasker (Alicia Keys, Jay-Z).

This new work showcases Ed's growth as an artist, who at 23 exhibits the poise of a seasoned veteran. Ed says: 'I'm really proud of my new album and can't wait for people to hear it ... It's definitely my best work.'

Post-Beatles - The Black Album

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If you're at all a fan of the Beatles, or even contemporary pop music, chances are you've made this mixtape-like album on your own at some point in your life. The Beatles released twelve classic, must-own albums: almost everything from A Hard Day's Night through to Let It Be.

After their break-up in 1970, they also had a rich life of solo albums (admittedly some were patchy). The greatest of them all is probably George Harrison's amazing and undersung double album All Things Must Pass. Ringo Starr's Ringo (which features some great co-writing from Lennon and Harrison) has some classic cuts on it, while Paul McCartney has McCartney, Ram and a few notable albums with Wings.

One of the great things about Richard Linklater's film Boyhood is how it reflects many aspects of life and, in this case, passing down musical taste from generation to generation. The full tracklist is given on Buzzfeed.

Alisha's Attic - The House We Built

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Alisha's Attic were always the outcasts of pop; always just a bit too out-there and kooky to make a real impact on the charts. Ultimately, it was their lack of promotion and subsequent low record sales that sealed their fate and it's a real shame.

The duo's third album is packed with magic and originality, something that is severely lacking in modern music today. It is full of spark, clever observations and beautiful harmonies. A record that immediately picks you up and out of a bad mood and puts you 'on a vibe'.

Over the years it has gradually become my favourite of the girls' releases. This is an album that deserves a place in everyone's collection.

Jhené Aiko - Sail Out

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This is a cool EP to vibe with. 'Stay Ready (What a Life)' featuring Kendrick Lamar is a work of art. Overall this is a good debut for her. The album Souled Out will arrive in September, featuring 'To Love & Die'.

Lana Del Rey - Ultraviolence

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Lana Del Rey appears at her most complicated on her second album, Ultraviolence. On the title song, she sings from the throes of a physically abusive relationship. She repeats the title of 'He Hit Me (And It Felt Like a Kiss)', a song recorded by The Crystals in 1962.

The album wraps desire, violence and sadness into a tight bundle that Del Rey doesn't always seem sure how to unpack. The slinky standout 'Sad Girl' is essentially Del Rey's theme song: 'I'm a bad girl/I'm a sad girl,' she announces, her voice slipping from childlike coo to sedated swoon.

It's true that much of Ultraviolence, like Born to Die, rams the same sonic guidepost over and over. But Del Rey allows herself to be coaxed into one striking departure, for the single 'West Coast' – a deep groove that kicks her from chanteuse into frontwoman for a few glorious moments.

Kyla La Grange - Cut Your Teeth

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I saw (and met) Kyla at a small gig upstairs in Rise Records around the release of her 2012 debut album Ashes. Two years later, Kyla's second studio album and major debut takes a different direction, hinting at real staying power. It comes preceded by lead single and album title track, 'Cut Your Teeth'.

Teaming up with electro producer and remixer extraordinaire Jakwob for the majority of the record, his credibility with all matters programming evidently provided La Grange with the platform to realise her new musical vision in a fruitful way. See, for example, 'The Knife'.

Mistakenly described as 'brighter' by the accompanying press release, Cut Your Teeth chooses instead to keep its cards close to its chest, at least upon the first meet. The record demands you court it over time in order to even be invited to appreciate the extent of its splendour.

It's also worth checking out her recent cover of 'Wrecking Ball'. Kyla transforms the song from guilty pleasure to subtle indie masterpiece.

Janet Jackson - All for You

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While I was aware of the album around the time of its release, I only listened to it fully this week. Whoa! It has everything you'd expect from a Janet Jackson album - eclecticism, introspective lyrics, big pop dance numbers, Jimmy Jam and Terry Lewis.

This is a feel-good album full of funky (and very sensual) pop, with gentle production that sounds fresh and true to form. I would recommend 'When We Oooo', 'China Love' and 'Doesn't Really Matter'.

Foxes - Glorious

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A very consistent album that is more enjoyable with each listen. The song that really struck me, and made me want to discover more, is 'White Coats', for its dooming chorus driven by heavy reverbed piano; similar to Depeche Mode's Violator and Songs of Faith and Devotion.

Another great track is the opener 'Talking to Ghosts', which samples Propaganda's 'Dr. Mabuse', serving as an indication of the music that influences Foxes. Also notable is the acoustic album version of 'Clarity', easily an improvement on the release with Zedd.

The only track missing is 'Warrior', from an EP of the same name. In this age of digital music, I added it to the deluxe tracklisting.

Chali 2na - Fish Outta Water

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Fish Outta Water is the debut album by Jurassic 5 front-member Chali 2na. The album guests include Talib Kweli, Anthony Hamilton, Beenie Man, Elzhi, and the brothers Damian and Stephen Marley.

The rhymes are tight as is the level of musicianship displayed. 2na is as true of an artist as there is, even for those that are not fans of hip-hop.

Recommended track: 'So Crazy'.

Ou Est Le Swimming Pool - The Golden Year

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It's impossible to review this London band's debut without acknowledging the recent suicide of frontman Charles Haddon, and yet The Golden Year deserves more than respectful platitudes. In the current climate, their mildly raved-up take on early-80s synth-pop is hardly unprecedented.

But it's the tunes that count: epic but soulful and benefiting from Haddon's ability to cut through the glacially cool electronics with a raw, guileless vulnerability. 'Jackson's Last Stand' and 'Outside', in particular, achieve an exquisite balance between euphoria and melancholy.

Nivea - Nivea

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A few months ago I purchased Nivea's sophomore album Complicated by chance on the high street. The album left a positive impression on me, and I remembered her soulful voice on the R. Kelly collaboration 'Laundromat' (the video is also pretty great).

Nivea experiments with different genres of music, from R&B to pop. The theme of the majority of songs is love and relationships. There are tracks to make you dance, convey feelings, or work through issues with an ungrateful companion: all with an Aaliyah-style edge.

Kate Bush - Hounds of Love

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Amidst recent announcements to play 15 then 22 London concert dates, ticket-purchasing drama (that I am happy to report went in my favour) and NoKateBush trending: the week is easily Kate's.

Hounds of Love consists of two broad suites. The first half was top heavy with propulsive pop tracks ('Running Up That Hill', 'Cloudbusting', 'Mother Stands for Comfort'), which had in common a bold use of the Fairlight drum sampler and a lyrical bent that found Bush dissecting physical and family relationships with a new directness.

Whilst that run of songs were some of Bush's strongest to date, it was the conceptual second side (The Ninth Wave) that saw her brilliantly meshing together her most high art, avant-garde tendencies with her unique pop sensibilities.

The songs were strung together over the loose narrative of a girl drowning at sea. As Bush tells it: 'The idea is that they’ve been on a ship and they’ve been washed over the side so they’re alone in this water. And I find that horrific imagery, the thought of being completely alone in all this water.'



Tracks like 'Under Ice' and 'Waking the Witch' were truly horrifying, Gothic soundscapes which greedily bubbled with disturbed voices, desperate noises and inescapable violence.

These battle with the good forces in songs like 'Jig of Life' or the out-of-body, lonely grief of 'Watching You Without Me'. The depth of what was on play here was like observing layers of oil colours on a beautiful painting or uncovering the deeper meanings at play in a devilishly clever cinematic masterpiece.

In winter 1987, Kate said: 'Some of the most beautiful music ever was written for God, for a loved one, in a state of grief, sorrow, suppression.

'Music is a strange and beautiful thing. It means a great deal to me. I love listening to and making music. I am very lucky to be able to be involved with music - I hope I always will be.'

Hounds of Love is entirely graspable in its pitch of human emotions and depth of feeling, transporting the listener to a different place. Seeing Kate perform has always been a dreamlike fancy for me. I am beyond thrilled that it's become a reality certainty.

Chvrches - The Bones of What You Believe

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The Bones of What You Believe, the debut album from Scottish pop trio Chvrches, is inarguably synth pop at its finest. Draped in coruscating, swooping, staccato synths, this is an album that captures a spectrum of emotions in a genre that is often associated with carefree revel – all the while without sounding the least disjointed.

The singles that circulated blogs everywhere, 'Lies', 'Gun', 'Recover' and 'The Mother We Share', represent a lot of what Chvrches has to offer. You really can't fault well-crafted pop albums for sticking to the genre; every song on this is a pretty perfectly crafted pop song.

Blue Sky Black Death - Late Night Cinema

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On their fourth full-length and first completely instrumental album, the production duo of Kingston and Young God employ a variety of sounds to craft an orchestral masterpiece. (Think Beethoven with a sampler and drum machine.)

The six-minute opening track, 'The Era When We Sang', opens with rapid keys, atmospheric percussion, and a soulful vocal sample before a breakdown of soft strings, pianos, and a light flourish of horns takes over. It sets the pace for what follows: a dark yet beautiful soundscape with heavy classical overtones and lush drops that commands listeners' attention, navigating us through various moods.

As one Amazon reviewer states: To put it bluntly, do not underestimate the power and genius of this album. It is literally and actually imperative listening. I find this album (and A Heap of Broken Images and Slow Burning Lights too) to be sublime enough on my computer, but when it's just you and this album on your iPod it really comes to the fore.

Lights - Siberia Acoustic

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As a long-standing fan, I can't believe I slept on this release for almost a year. Siberia Acoustic strips off the synths and eradicates the electro, but leaves the simple structural beauty in tact.

2011's Siberia was pretty rad in its own right, but Siberia Acoustic manages to take it to an entire new level. Whilst tracks like 'Toes' may lose their playful element in the loss of synth, the door is opened up to a world of possibility in both power and vulnerability.

'Suspension' is given a whole new dimension simply in its slower pace, removing the slightly futuristic edge in favour of more innocent tones. Similarly, 'Peace Sign' is given an entirely new layer in its contributions from the lovely Coeur de Pirate, as she tumbles out a tirade of French; such quirks simply adding to the illusion of romance and intrigue that seem ever-present on an acoustic record such as this.

On previous records, some might say a certain vocal quality has been lost or perhaps disguised when compared, say, to her live performances. There's none of that here - Lights truly comes into her own.

Tweet - Simply Tweet

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One of the main things that's always made Tweet a distinctive presence in R&B is that, unlike many other female vocalists, she makes no attempt to sing as forcefully as possible.

So it's surprising that for this EP, Tweet chose to cover a song by a lady who has perhaps the biggest, boldest voice of all time: Aretha Franklin. Impressively, Tweet's version of 'Day Dreaming' compares favourably to the original; her subtle, emotive vocal style perfectly fits the romantic lyrics, and the production values are ahead of those of the '70s version.

Tweet also shines brilliantly on the closing track, a heartbreak song called 'Enough'. On the tune, she calmly lays out her case for calling it quits and manages to come across as weary, but resigned to the fact that the relationship must end.

It's going a little far to say the EP was worth the huge (eight year) wait. But it certainly satisfies the itch to hear new material from her.

Kate Bush - Never for Ever

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It's no secret that my ultimate, all-time favourite vocalist is Kate Bush. If there is a mood or occasion she cannot cater for, I am yet to find it.

All tracks stand out, my current top five being: 'Babooshka', 'Breathing', 'Army Dreamers', 'Violin', 'Egypt' - especially the wailing part.

'Egypt' acts as a bridge between her early, piano-based work and the artistic leaps forward on The Dreaming and Hounds of Love. This was Kate testing the waters as a producer, before she just went for it.

Alanis Morissette - Flavors of Entanglement

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The beauty of the album is that, despite having many things going on all at once, the songs have a base of simplicity. They are catchy while having a certain depth to them too. The guitars are present for older listeners and fans, but they are washed in all kinds of synthesized fun.

Stand out tracks include 'Citizen of the Planet', 'Straitjacket', 'Not as We', 'Tapes', 'Orchid' and 'Limbo No More'. The bonus disc, in particular, contains some of the best work on the album.

Tweet - Southern Hummingbird

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I have always loved this album. I really connected with it years ago but, for reasons unknown, it took me some time to return to it.

'Oops', while brilliant, is one of the weaker tracks in the context of 'Motel', 'Always Will' and 'Smoking Cigarettes'. The main drawback being the listener, inevitably, ponders smoking cigarettes at night!