2016 — with all its political jiggery-pokery — was exhausting, and it’s exactly the kind of year when pop feels essential, both as a salve and an escape. The year had a selection of albums that tackled this obstacle from all perspectives. From the emotional weight of works from the Knowles sisters to the unadulterated delight of Rihanna and The 1975, this list hopefully honors what we think makes pop music great: a willingness to explore and have fun doing it.
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Shura – Nothing’s Real
Early singles like “Touch” and “2Shy” suggested Shura’s debut would be a slow-burning — if somewhat reserved — affair, but as the first proper track from Nothing’s Real crashes in with a vibe that recalls Like a Virgin-era Madonna, it’s clear the album is chock full of rich, vibrant and open-ended pop. For all its referential touches, the album sounds — both lyrically and sonically — of the moment, like classic disco and ’80s pop fare taken apart and put back together again in a fresh and distinctively queer voice. “What’s It Gonna Be?” and “Nothing’s Real” stand out as fizzy highlights, but this is an enjoyable listen from start to finish. – Miguel Perez
JMSN – It is
Christian Berishaj, known to most by stage name JMSN, has had quite the life. Berishaj has seen it all – from a rocky childhood in Detroit to label struggles as an artist – and lived to tell the tale through his music. But surely 2016 is a high point for Berishaj, as his third album, It is, is a standout romp through a vintage yet refreshing soundscape. Spoken word-like interludes offer up plenty of breathing room, and its unhurried strucutre and subtle production give the album the vibe of a liver performance. From the sultry groove of “Power” to the reggae-tinged “Hypnotized” to the uber-soulful “Most of All,” It is‘ lush instrumentals make for a cozy atmosphere no matter the tempo. If every album paints a scene in the mind of the listener, then It is manifests itself in a hole-in-the-wall jazz club on a cold, rainy night – the music itself incandescent enough to warm the room. – Jamie Park
Rihanna – ANTI
Rihanna shook the internet with her release of “Work” in conjunction with Drake earlier this year, generating an extensive discourse on her use of Jamaican patios and Creole. The Barbadian performer who exudes both a physical and vocal confidence is not so different from the Rihanna of her “Pon de Replay” days but now exudes the kind of unabashed cultural adulation we’ve all been craving. ANTI is unashamed in its musicality and instrumentation, a clear nod to her Caribbean roots, and her unashamed sex-positivity reflects who Rihanna is as a performer. Ranging from raunchy beats and blaring synths to stripped piano and emotive vocals, Rihanna’s ANTI does not hold back. This album is about pure, unadulterated emotion. Braille overlays the image of a child whose eyes are covered by a crown. This evocative imagery suggests a prioritization of feeling over thinking, a response that is strongly resonated throughout the track list. ANTI is the best performing album of 2016 and for good reason. – Maham Tirmizi
Frank Ocean – Blonde
Frank Ocean and the public alike built the anticipation for the followup to channelORANGE like no other album this year. The minimalism of tracks like “Solo” with its tinge of gospel make the album sound spacious and give off a sense of clarity with its decluttered sound. The warped vocals of “Nikes” critique of the materialistic hedonism, in the form of Nike shoes. Blonde’s album cover best reflects what’s in store for listeners. Ocean, appears shirtless and vulnerable, hurt even, with the band-aid wrapped around his finger. Despite this, his body remains pointed towards the camera, the green tint to his hair speaks of his off-kilter self and dimensionality, ready for our consumption. Blonde was the epicenter of hype for pop this year and stopped the world on the eve of its debut. – Erika Bocanegra
The 1975 – I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It
While their branding and fanbase may suggest boyband or passing fad, The 1975 should not be overlooked in any serious music fan’s quest for well-crafted, thoughtful pop. Everything from their astounding stage design on tour to their thoughtful interview responses shows that there are some serious brains at work behind the curtain, and I like it when you sleep… is the perfect embodiment of that intentional magic. Throughout the album, the band reaches into an ‘80s grab bag and manages to come up with some fresh ideas on singles “Love Me,” “UGH!,” and “The Sound” – a trio of sparkling, radio-ready standouts. But don’t let all the attention-grabbing, cotton candy fluff make you complacent, I like it when you sleep… takes turns that go to some unexpectedly dark places like a religious crisis on “If I Believe You” and the death of a loved one on “Nana.” Yes, they’re at times pompous and tend to bite off more than they can chew, but The 1975 are a welcome refreshment to the pop landscape. – Jamie Park
Solange – A Seat at the Table
From the inception of her life as a solo artist, Solange has been unduly relegated into the shadows of her older, superstar sister. The criticism made some sense in the beginning, considering her work more-or-less aimed to follow a similar trajectory with lesser results, but her True EP was a critical and surprising turning point in her story. That collaboration with Dev Hynes — four years ago — started to seem like a fluke, but her third studio album crashed into the mess that was 2016 to slap some sense into all of us. A Seat at the Table is a beautiful and unapologetic declaration of power and powerlessness, and a vignette of a musician reborn. This album feels so open in its production. Along with co-executive producer Raphael Saadiq, Solange has created a work that feels warm and spiritual. It nods to so many artists and eras (see: Janet Jackson, Minnie Riperton, jazz) without ever feeling like a work of nostalgia.
Anderson .Paak – Malibu
It’s been a busy 2016 for Anderson Paak, who found time to drop solo effort Malibu, complete a world tour, craft a collaborative album with producer Knxwledge as part of the duo NxWorries, and feature on everyone else from Chance to Mac Miller to KAYTRANADA. The dude has been seemingly all over the place, but Malibu stands out from the pack as his shining effort and most complex offering to date. Paak, like many of his contemporaries, blends modern hip-hop stylings with a more classic R&B sound – evidenced everywhere from the relaxed groove of “The Bird” to the horn-blasting funk of “Am I Wrong.” Even the most upbeat tracks are deeply introspective and personal, with Paak painting vignettes of a childhood marked by broken familial relationships. Despite its chameleon-like ability to shift its sound from song to song, Malibu has been crafted with enough finesse that you don’t get sonic whiplash, but instead are taken through a journey lead by a intensely upbeat guide. – Jamie Park
Beyonce – Lemonade
You only get one chance to respond to a broken heart. One split second reaction and then months afterward to replay in your head all the other things you could have said. Beyonce lives out this fantasy in Lemonade with every emotional response. The result, an empowering classic catharsis for the scorned woman that pulls at the heartstrings. She doesn’t just lament; she commands revenge. In a fiery collision of style and genre, Beyonce reclaims her power from those who have disrespected her and transcends her musical roots, leaving behind her pop ballads of yesteryear. She replaces them instead with her cultural roots, evoking the musical language of R&B, hip-hop, rock and bluegrass. Marrying the prowess of several contributors, Knowles turns what might be a disjointed sound into a powerful depiction of her cultural and musical heritage. – Maham Tirmizi
Blood Orange – Freetown Sound
Freetown Sound has Dev Hynes, aka Blood Orange sample De La Soul, J Dilla, Ta-Nehisi Coates, and a revolving door of collaborations with Empress of, Carly Rae Jepsen, among others. If this sounds like an album with a thousand little puzzle pieces, that’s because it is. However Freetown Sound never suffers because of Hynes’ eccentricities, in fact it thrives because of it. This album is a collection of jazz, ’80s pop, and R&B timbres, all the while discussing gender orientation, class, and race. Freetown Sound is lyrically and rhythmically evocative. Dev Hynes has managed to create an album that is distinctly his own and yet the central voice of this album is not his own, rather it is the sound of the voice of every inhabitant of Freetown. – Erika Bocanegra
NAO – For All We Know
British songwriter NAO first sauntered into the public eye in 2014 with her So Good EP, but it was her second effort February 15 that had the whole blogosphere singing her praises. Tracks like “Inhale Exhale” — which would carry over to her debut — felt simultaneously dark and lively. For All We Know is a welcome addition to a running record of British successes in experimental, electronic R&B-ish type music, and NAO seems to be part of the pack (see: FKA twigs, AlunaGeorge, Låpsley) leading this new vision of sophisticated and complex pop music. But, her debut takes a slightly different path; with bombast and assurance, NAO presents a gleaming polished work of contemporary funk and R&B that is impossible to ignore. – Miguel Perez