Her appeal extends well beyond the realms of pop as there’s a distinct, developed lyrical voice and a dynamic, extraordinary literal voice that makes 2018 feel much less scary and isolating and much more pure and magical.
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She handcrafts everyday situations into something angelic yet relatable and celebratory yet poignant. She sings, “We make tiny happinesses in each moment,” which is exactly what this record feels like. A lyric from “What We’ve Made” is a perfect metaphor for the album. Even the largest songs have a clear sense of intimacy while introspective tracks like “Baby Girl” and “What We’ve Made” are distinctly grand. On songs like “Stock Image” and “Thingamajig,” she exhibits an otherworldly, operatic beauty, while on “Freak Out” and “Cost Your Love,” there’s a bouncy, sugary and simple joy marked by frenetic synths, grounding guitars and spry percussion. Her larger-than-life vocals derive, in part, from her classical training, but she also has the kind of pipes that just don’t seem teachable. Madison DeslerĪfter releasing two EP’s-2015’s Strange Darling and 2017’s Give It To Me-Los Angeles singer-songwriter Miya Folick shared her debut album in the form of the starkly titled Premonitions, which is characterized by her jaw-dropping vocal range. But that was then, High As Hope is now, and the song ends with Welch sounding finally at peace, the faint “La da dah-da da’s” closing out her latest chapter on a distinctly positive note. Like the title suggests, it begins with Welch’s voice alone, until the piano comes in as she delivers the most vulnerable lyrics of the album: “But I must confess / I did it all for myself / I gathered you here / To hide from some vast unnameable fear.” It’s one of the ultimate divulgences an artist can make-admitting to using their art, fans, and fame to distract them from everything dragging them down. It’s the last song of the album, “No Choir,” that proves to be the most revealing. A new level of vulnerability from Florence Welch and deft, atmospheric production from Emile Haynie (Lana Del Rey) make High As Hope another album of cathedral-filling, mountain-moving sound, with Welch’s vocals the main source of power. Here are the 10 best pop albums of 2018:Ī mix of raw-nerved personal reckoning and outward-looking, life-affirming anthems, Florence and the Machine’s follow-up to the chart-topping How Big, How Blue, How Beautiful soars just as high. In terms of both popular music and the genre’s sonic definitions, pop in 2018 was a big rainbow quilt, and there’s room for many more beautiful patches. Florence Welch got real about eating disorders and loneliness on her new album, and Swedish dancefloor goddess and heartbreak doctor extraordinaire Robyn made her long-awaited return, right on time. Chances are, one of your favorite pop songs this year contained at least one verse in Spanish or a hint of Latinx trap, be it Cardi B’s “I Like It,” Bad Bunny’s Drake collab or Empress Of’s masterful language-switch on “When I’m With Him.” Pop’s melting pot certainly expanded, but a few familiar faces made welcome comebacks, too.
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Three artists on this list-Empress Of, Camila Cabello and Kali Uchis-all come from Hispanic backgrounds, and they all sing in both English and Spanish.
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We’d also be myopic not to recognize the impact Latin music had on the charts this year. And The Chainsmokers, well, they wrote a song about Beach House. Radio anthems were graceful testimonials to ex-loves-or the female anatomy. In 2018, love songs weren’t just about one type of love. But there were also a greater number of fresh, new voices on the charts-pop artists who used their unique backgrounds to tell stories previously untold, artists who weren’t content with blending in. Of course, there were the usual lineup of catchy love songs, radio (or Spotify) anthems and Chainsmokers collaborations.