In 2016, Alex Turner received a piano for his 30th birthday and started playing seriously for the first time in over 20 years. Songs for Arctic Monkeys’ sixth album eventually emerged—a collection of brooding, cosmic lounge-pop that’s typical of the band only in its disdain for playing it safe. Here, light-years from their previous riff-driven adventures, melodies unspool slowly but stick faster with every listen. A watering hole on the moon provides the conceptual framework for Turner to muse on life, pop culture, and technology with heavy-lidded introspection. “I need to spend less time stood around in bars/Waffling on to strangers about martial arts,” he sighs on “She Looks Like Fun.” He shouldn’t be hasty: Wherever he finds inspiration, it takes his band to daring new places.
Cardi B’s “Bodak Yellow,” the most chantable song of 2017, introduced the Bronx MC’s lively around-the-way-girl persona to the world. Her debut album, *Invasion of Privacy*, reveals more of Cardi\'s layers, the MC leaning forcefully into her many influences. “I Like It,” featuring Bad Bunny and J Balvin, is a nod to her Afro-Caribbean roots, while “Bickenhead” reimagines Project Pat’s battle-of-the-sexes classic “Chickenhead” as a hustler’s anthem. There are lyrical winks at NYC culture (“Flexing on b\*tches as hard as I can/Eating halal, driving a Lam”), but Cardi also hits on universal moments, like going back and forth with a lover (“Ring”) and reckoning with infidelity (“Thru Your Phone”).
Released in 2018, J. Cole’s fifth studio album came together in just two weeks, after Cole shared the stage with fellow voice-of-a-generation rapper Kendrick Lamar during his *DAMN.* tour, and decided he was ready for another anthemic body of work. The result, *KOD*, is riddled with social messages and symbolism, starting with the title itself, which is an acronym for many things: Kids on Drugs, Kill our Demons, and King Overdosed. The colorful album art, meanwhile, displays children taking pills, snorting cocaine, smoking weed, and sipping lean (when you look closer, the children can be seen morphing into morbid figures, under the cloak of a jewel-encrusted king). The lyrics on *KOD* are even more provocative, and find Cole leaning inward, unpacking his own traumas, demons, and vices, warning about unhealthy dependencies to materialism and drugs. On “Once an Addict,” the platinum-selling rapper uses his mother’s story to ruminate on the intergenerational effects of alcoholism, while “Kevin’s Heart” finds him using comedian Kevin Hart’s publicized infidelities as a vehicle to discuss Cole’s own internal struggles with monogamy. These are weighty topics. But listeners didn’t mind: *KOD* not only topped the album charts, it broke numerous streaming records on its first day of release.
After two concept albums and a string of roles in Hollywood blockbusters, one of music’s fiercest visionaries sheds her alter egos and steps out as herself. Buckle up: Human Monáe wields twice the power of any sci-fi character. In this confessional, far-reaching triumph, she dreams of a world in which love wins (“Pynk\") and women of color have agency (“Django Jane”). Featuring guest appearances from Brian Wilson, Grimes, and Pharrell—and bearing the clear influence of Prince, Monae’s late mentor—*Dirty Computer* is as uncompromising and mighty as it is graceful and fun. “I’m the venom and the antidote,” she wails in “I Like That,” a song about embracing these very contradictions. “Take a different type of girl to keep the whole world afloat.”
*“Excited for you to sit back and experience *Golden Hour* in a whole new, sonically revolutionized way,” Kacey Musgraves tells Apple Music. “You’re going to hear how I wanted you to hear it in my head. Every layer. Every nuance. Surrounding you.”* Since emerging in 2013 as a slyly progressive lyricist, Kacey Musgraves has slipped radical ideas into traditional arrangements palatable enough for Nashville\'s old guard and prudently changed country music\'s narrative. On *Golden Hour*, she continues to broaden the genre\'s horizons by deftly incorporating unfamiliar sounds—Bee Gees-inspired disco flourish (“High Horse”), pulsating drums, and synth-pop shimmer (“Velvet Elvis”)—into songs that could still shine on country radio. Those details are taken to a whole new level in Spatial Audio with Dolby Atmos. Most endearing, perhaps, is “Oh, What a World,” her free-spirited ode to the magic of humankind that was written in the glow of an acid trip. It’s all so graceful and low-key that even the toughest country purists will find themselves swaying along.
It was worth the wait for Colombian-American songstress Kali Uchis’s first full-length. A romantic collage of artists and sounds she’s encountered along the way—Tyler, The Creator and Bootsy Collins on “After the Storm”, and Gorillaz’ Damon Albarn on the surfy “In My Dreams”—the album draws on Latin pop (“Nuestro Planeta”), hypnotic R&B (“Just a Stranger”), and high-flying psych-rock (“Tomorrow,” with production from Tame Impala’s Kevin Parker). It’s a sign of Uchis’ artistic vision that she pulled so many creative minds into a single body of work that sounds so distinctly her own.
Back when he was still one-half of Clipse, Pusha-T dazzled listeners of the Virginia duo\'s mixtape series *We Got It 4 Cheap* by annihilating popular beats of the day. The project\'s sole criticism was that the production was already so good, it could carry anyone. *DAYTONA*, copiloted by hip-hop production genius Kanye West, upends that conceit, with contemporary boom-bap built from luscious soul samples that would swallow a lesser MC. With Pusha at the absolute top of his game, *DAYTONA* is somehow more than the sum of its parts, a fact the rapper acknowledges proudly on “The Games We Play”: “To all of my young n\*\*\*\*s/I am your Ghost and your Rae/This is my Purple Tape.”
Sleep’s *The Sciences* begins with a three-minute warm-up of the same name. As though revving a long-dormant engine of feedback and distortion, it’s a fitting start to the legendary doom trio’s first album in almost two decades (released on 4/20, no less). Unlike their hour-plus stoner meditation, *Dopesmoker*, *The Sciences* is divided into six colossal tracks, anchored by the comforting familiarity of sludgy riffs and rumbling percussion. Throughout, you’ll find some of their greatest guitar solos (“Marijuanaut’s Theme”) and lyrics (“Giza Butler,” an homage to Black Sabbath’s Geezer Butler), while stunning, reflective closer “The Botanist” is among the best songs in their genre-defining career.
The Weeknd\'s 2016 album, *Starboy*, was the musical equivalent of a Hollywood blockbuster: action-packed, star-studded, with a little something for everyone. Here, he returns to his unfiltered, art-house roots with a release so intimate and tortured, you’ll feel like a fly on his bedroom wall. Stuttering snares, gauzy production, and R-rated lyrics about sex and drugs (“I got two red pills to take the blues away,” he coos through a vocoder on “Privilege”) paint a vivid picture of a brooding Lothario—one that strongly resembles the dark artist we initially met on *House of Balloons*. This time around, he’s tapped gothic electro king Gesaffelstein to bring a sheen to the shadows with neon synths and fuzzy echoes that lift his signature anguish into new emotional heights.