A leading figure of French touch with his group Air, JB Dunckel has also been working independently for about twenty years, from soundtracks (François Ozon’s Summer of 85 in 2020) to electronic collaborations (with Jonathan Fitoussi on Miracles in 2019). This time, however, he’s recorded the album entirely on his own, with a single instrument: the piano.Well, not really on his own, since he was communicating telepathically with his childhood piano teacher, who is no longer alive (hence the title Paranormal Musicality), and explains that the legacy of his teachers Ravel, Debussy, Chopin, and Glass can also be heard on the album. An exercise in style as much as an exercise in spiritual connection, the composition of the pieces was something between improvisation and meditation, “letting emotions, colours, and memories pass through my fingers.” The result is a pared-down record, with lovely moments like “Key Games”, which he describes as a pop song, the poignant “Spring Emotion”, and the funeral march “Melo Walk”. 18 tracks to listen to and connect with your feelings. © Smaël Bouaici/Qobuz

Following two live albums, this eponymous outing is the debut studio album from the British singer/songwriter. A remarkable talent whom some are already calling "the new Adele," Ridings has a rich, full, lived-in voice belying her tender years, which swoops and soars on this set of '80s-tinged soul-pop-rock. Several singles are included, such as "Castles" and the U.K. Top Ten hit "Lost Without You."© John D. Buchanan /TiVo

A gorgeously rendered holiday-themed effort, In Winter finds singer/songwriter Katie Melua backed by the 25-member Gori Women's Choir. The album is Melua's seventh studio production and first since parting ways with longtime collaborator Mike Batt. Recorded in her native country of Georgia (Melua left with her parents at age nine), In Winter is a lushly produced, thoughtfully conceived album featuring arrangements by esteemed choral composer Bob Chilcott. An acclaimed institution, the Gori Women's Choir are famous for their haunting classical harmonies. They prove a superb match for Melua, who both sings along with the choir and frames herself against its angelic, delicately layered harmonies. Although the album is technically a holiday-themed work, it's not a cheery collection of Yuletide favorites. Instead, Melua delivers a handful of ruminative and lyrical originals, many inspired by her memories of growing up in what was then the Soviet Union, as well as the complex and often heartbreaking history of Georgia's civil war. She also weaves in several well-curated covers, including poignant renditions of Joni Mitchell's "River," Sergey Rachmaninov's "All-Night Vigil-Nunc Dimittis," and the hymn "O Holy Night." Melua even finds room to sing in Ukrainian, opening the album with a magical rendition of the traditional song "The Little Swallow," whose melody is better recognized to Western audiences as "The Carol of the Bells." These are warmly arranged, beautifully executed recordings that capture the stark, introspective beauty of a rural Eastern Europe in winter.© Matt Collar /TiVo

On their debut White Noise, PVRIS shed the shackles of their early metalcore sound and created dark pop for the Warped crowd. By combining the empowering and energetic spirit of Paramore -- one of vocalist Lynn Gunn's biggest influences -- with contemporaneous sounds from indie-synth bands like Chvrches and Vaults, the Lowell, Massachusetts, trio created a darkly addictive sound fit for both dancing and moshing. Album standouts like the joyful "St. Patrick" and the propulsive "My House" employ synth stabs and dramatic atmospherics from producer Blake Harnage, while Chris Kamrada's strong drumming and Alex Babinski's jagged riffs send clear reminders that PVRIS can rock. Along with Brian MacDonald's elastic basslines, the band effortlessly bring the melody and the power, like on the appropriately-titled "Fire." Much like some of rock's most iconic female-fronted bands, PVRIS benefits from their singer's charisma and song presence. Gunn's lyrics and vocal delivery are the most engaging aspects of White Noise: conveying aggression, seething frustration, and desperation, she commands each song just as well as her idol Hayley Williams. On "Holy," she calls out an intolerant bigot for judging her coming out as gay, employing jabs against religious hypocrisy with the ghostly imagery that floats throughout the album. The title track drips with yearning as Gunn cries out "I'm aching, suffocating" to a lost love, singing through muffled static to convey her pain. Aside from the Paramore-meets-Chvrches gems that populate most of the album, White Noise surprises with "Mirrors," a big-beat pop number that cracks like Sleigh Bells, and the atmospheric swirl of "Eyelids." This is one of those albums where each song could be a single -- a non-greatest hits Greatest Hits collection -- which makes it all the more impressive for a debut from a young band. PVRIS' roots may be in pop-punk and hardcore, but they set their sights on wider domination with White Noise.© Neil Z. Yeung /TiVo

While there are lots of bands dealing in either danceable rock or navel-gazing pop, few bands combine the two quite like Foals. On Holy Fire, the third album from the English band, the post-punk revival is given a newfound sense of depth, creating songs that are rhythmic enough to draw listeners, but hypnotic enough to leave listeners lost in their wide-open spaces. This combination of atmosphere and momentum find Foals growing out of the shadows of titans like the Talking Heads and into a spaced-out, dance-punk niche that's all their own. Though a lot of the band's charm comes from the delicate interplay between the guitars and keyboards, the real star of the album comes by way of the massive, stadium-ready "Inhaler," which takes the sparkling, slow build used throughout the album and turns it on its ear with an eruption of massively fuzzy, Muse-esque guitars (and, to some extent, their bombast), creating one of the albums biggest and most rousing moments. Now that they're three albums deep, it feels as if Foals have found a nice middle ground between funk and feeling, making Holy Fire an album that is just as likely to get a room moving as it is to send its inhabitants into a fit of introspective conversation. This kind of duality is something that's hard to find, and it's a quality that could take Foals a long way if they're able to hold onto it.© Gregory Heaney /TiVo

Two of the singles Michael Milosh released ahead of Home had more dancefloor zest than anything off Blood, his previous Rhye album. "Black Rain" started with a somewhat "Billie Jean"-like beat and curlicued strings -- the latter deployed like the second coming of disco revivalists Faze Action -- and turned up the heat with some dramatic thrusts. Milosh finessed the change well enough that the song would've sounded just like Rhye even as an instrumental, without his characteristic sighing vocals and persuasive lyrics. Just before Home was released, Rhye entered Billboard's Hot Dance/Electronic Songs for the first time as a headliner with "Come In Closer," a lighter number making greater use of the strings and a touch of funk in the bass line. Those two songs, plus a third Roland LeFox collaboration -- the finely woven "Sweetest Revenge," which with its snaking bass line evokes Kleeer's mid-'80s slow jam classic "Intimate Connection" -- ensure that Home is at once unmistakably Rhye and an obvious progression. Milosh's approach as a songwriter and vocalist hasn't changed much. He's still addressing his lover, gently coaxing and assuring her, letting her know how he feels, communicating at all times on an intimate level. Throughout are references to (quiet) storms, waves, and rain made with literal and metaphorical purposes. The prevailing sense of solace (home indeed) is felt deepest in "Come In Closer," where Milosh welcomes a visitor with "You made it through these rough waters, and your hair's still wet/Come in from the cold." The songs made with Blood collaborators such as Itai Shapira, Nate Mercerau, and Ben Schwier aren't retreads, either, still fleet but considerably heftier, as if the word "dainty" was drawn with a slash through it and posted on the walls of each studio where they worked. Another element that sets this apart from Milosh's earlier work is the Danish National Girls Choir, whose recurring presence is stirring rather than the cloying distraction it could have been. This being the Rhye album with the most layers, Milosh was wise to employ the brilliant Alan Moulder (My Bloody Valentine, Nine Inch Nails, the Killers) as mixing engineer. Every change pays off. © Andy Kellman /TiVo

For four albums, Manowar blazed a self-appointed crusade for "True Metal," devoid of image or any commercial leanings, only to sign with a major label and sell out immediately. Practice what you preach, indeed. The songs on 1987's Fighting the World are actually a slight improvement over the band's previous offering Sign of the Hammer, but they are betrayed by the excessively clean production job herein. "Blow Your Speakers" and "Carry On" are blatant MTV contestants, and the big drumming of the title track sounds more like disco than metal. After getting the singles out of the way, the band carried on with business as usual (for the most part) for the album's second half. Particularly interesting is "Defender," another epic vehicle for an Orson Wells narration, the frenetic "Holy War," and the final Armageddon of "Black Wind, Fire and Steel."© Eduardo Rivadavia /TiVo

Tempering the Gossip's righteous fury with just enough focus, Standing in the Way of Control is a huge step forward for the band: thanks to the addition of new drummer Hannah Billie and higher-fidelity production than they've ever used before, now they're just as articulate and immediate as they are impassioned. Beth Ditto's unstoppable voice has even more room to command listeners, and throughout Standing in the Way of Control, she sounds equally convincing as an alluring, soulful diva and as a die-hard riot grrrl. Billie and guitarist Brace Paine are just as versatile, following Ditto's lead on the old-school, garagey outburst "Eyes Open" and the anguished ballad "Coal to Diamonds." The band also experiments with dance beats on Standing in the Way of Control; while this could be seen as riding the very tail-end of the dance-punk trend, the results aren't nearly that predictable. The Gossip's take on this sound is truly punk disco -- catchy and sexy enough for the dancefloor, but with enough fervor and raw energy for punk veterans. On "Yr Mangled Heart," Ditto's howl of "I only want what I deserve!" is backed by handclaps and a shimmying beat that only makes it more indelible. Even more impressive is "Listen Up!," a tale of jealousy, betrayal, and -- surprise, surprise -- gossip that's set, aptly enough, on the playground. Ditto plays cat-and-mouse with the person badmouthing her, circling her prey with a dizzying, cowbell-addled rhythm before going in for the kill. Fortunately, her feelings are just as intense toward her friends as her enemies, and on anthems like "Keeping You Alive" and "Fire with Fire," Ditto is a protectress and crusader. With songs that range from spiky recriminations ("Jealous Girls") to noir brooding ("Dark Lines"), Standing in the Way of Control is a lean but remarkably diverse album that shows that the Gossip have found plenty of ways to come into their own.© Heather Phares /TiVo

The primary feeling elicited from this live recording by Katie Melua is one of absolute sincerity, thanks to the autobiographical nature of the programme. Recorded in December 2018 at the Westminster Central Hall, the album opens with a traditional Georgian folk song (her country of origin), Tu Ase Turpa Ikavi, before following with Plane Song in which the singer describes her arrival in Northern Ireland (her adoptive country) in 1993. In the space of a few minutes, Katie Melua manages to take us through her journey charged with raw emotion. Accompanied by only a guitar, a piano and a discreet rhythm section, the singer has the power to showcase her velvety voice as well as the quality of her songwriting which blend pop and folk music. Of course, she performs hits like Nine Million Bicycles and The Closest Thing to Crazy, but there are a couple of surprises, like the cover of The Cure’s Just Like Heaven or What A Wonderful World. By slowing down the tempo of Louis Armstrong’s classic and joining forces with the Gori Women’s choir (who feature on several other songs from the album), Katie Melua imbues a relaxed ambience in the London concert hall. If we’re still talking about covers, we should mention the vibrant All-Night Vigil - Nunc Dimittis (a Russian religious song composed by Sergei Rachmaninoff in 1915) and Fields of Gold by Sting. It appears that Katie Melua enjoys plunging herself into as wide an array of genres as possible, but thanks to her melancholic voice and radiant sensitivity, she nevertheless manages to instil a sense of unity to this magical concert. © Nicolas Magenham/Qobuz

After the success of his album Heavy Is the Head in 2019, the English rapper seems to have found inner peace. This album is resolutely religious, employing a gentle sound and gospel arrangements, and it definitely contrasts with his previous releases. Brought up in a Christian household, Stormzy explains that he discovered the true meaning of prayer during lockdown. Now, he has a lot to get off his chest. Using long piano digressions accompanied by his calm, clear voice, he delves into his past and his regrets (‘Please’) and asks God for help (‘Holy Spirit’). He also successfully tries his hand at love ballads (‘Firebabe’) and demonstrates his love of Nigerian rhythms—which this time are a lot more discreet and refined (‘Need You’ and ‘Hide & Seek’). Stormzy has changed a lot… But is this change temporary? The title of his first album, Gang Signs and Prayer, spoke volumes about the inner conflict he was facing between the streets and the church. In any case, he showcases his humility here, even letting his friend Sampha sing a solo track accompanied by a superb Fender Rhodes piano on ‘Sampha’s Plea’. This Is What I Mean is, without a doubt, the rapper’s most intimate album. © Brice Miclet/Qobuz

For her seventh album, Miranda Lambert takes an unexpected time warp to the 1980s — and has a helluva lot of fun. With stuttering guitar and video game sound effects, "Mess With My Head" is country Pat Benatar and "Track Record" sounds like it's off a John Hughes soundtrack. Meanwhile, the staccato sass of "White Trash" and sweet optimism of "Bluebird" would've fit right in on Country FM, circa 1985. There is no shortage of Lambert's patented confidence on the swaggering "It All Comes Out in the Wash," swamp-bluesy "Holy Water" and "Way Too Pretty for Prison" — a woozy duet with Maren Morris that jokes about killing a cheating husband and includes a chain gang call-and-response. She unleashes her full vocal power on hard-charging rager "Locomotive" and winks at Brothers Osborne's "Tequila Again" with the liquor love song "Tequila Does." But on closer "Dark Bars," Lambert shows that maybe her tough-girl image gets heavy to carry — revealing that while she's "not in pain, not on pills," she can't quit looking for trouble in all the wrong places. © Qobuz

Paul Cauthen named his second album Room 41 after the hotel room he called home following the release of his debut album My Gospel in 2016. He stayed in that lodging in Dallas for the better part of two years, living the life that resulted in the blown-out and frequently bizarre Room 41. Cauthen doesn't abandon the outlaw country of My Gospel so much as force it into a disco, then stands back to see which one emerges victorious. Based on Room 41, it's difficult to declare either side a clear winner. Cauthen ping-pongs between dark ballads and gonzo country-rock fusions, dressing each extremity in overlapping layers of haunted harmonies, smeary synths, freeze-dried funk, and slamming backbeats. Drenched in alcohol and cocaine, Room 41 seems allergic to daylight, and not overly concerned with whether a listener is on its wavelength, either. This can mean that Room 41 may seem a bit alienating if it's played at the wrong time, when its low-rent melodrama seems not only skeevy, but a bit ill-formed. But if the mood strikes, it's a risky, compelling listen and certainly one of the oddest albums of 2019, regardless of genre.© Stephen Thomas Erlewine /TiVo