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Well worth the wait. Every song ad­dresses ro­man­tic re­la­tion­ships, which is al­ways a sure way to reach many, and her voice is just glo­ri­ous.

J. Cole: For­est Hill Drive

J. Cole is noth­ing if not a skil­ful word­smith, and my favourite track, Tale Of Two Ci­ties, has a sec­ond verse that goes so hard it’s not even funny.

Grimes: Art An­gels

If you don’t know who Grimes is yet, it’s time. Art An­gels is ec­cen­tric, catchy, left-field pop from one of the most unique pro­duc­ers and singers in the in­dus­try right now. Viva gurl, viva! This mix tape took SA mu­sic to a new level, in­fus­ing Zulu cul­ture and old-school sounds into a space that is ac­ces­si­ble to a younger au­di­ence. genre to earn the sta­tus of be­ing more a piece of art than a mere trap record. The Biebs did some­thing un­ex­pected with Pur­pose. The pro­duc­tion is fresh, the song­writ­ing is bet­ter than it has ever been, and it doesn’t try to be any­thing other than what it is: a great pop al­bum.

The Weeknd: Beauty Be­hind the Mad­ness

Take the silkys­mooth Michael Jack­son-like vo­cals, add some deeply macabre lyri­cal con­tent and top it all off with a mix of synth and soul.

Nakhane Touré: The Laugh­ing Son

It was the year of the EP for me. I loved Petite Noir’s angsty, dancey King of Anx­i­ety and FKA twigs’ sump­tu­ous, spacey M3L­L155X. But Nakhane Touré’s The Laugh­ing Son stole my heart. The brood­i­ness has given way to up­lift­ing vibes.

Leon Bridges: Com­ing Home

The soul­sooth­ing ro­mance of Leon Bridges in his de­but al­bum comes around once in a life­time. Croon­ing cry­baby melodies take you to a place in­side you that’s re­served just for lovin’, a place you may have for­got­ten.

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