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It felt like the latest moment in pop culture where different generational attitudes towards sex failed to translate. Baltimore-born singer Serpentwithfeetwho grew up in a strict religious household singing for an all-boys choir, now uses gospel music to sing about his video with men.

You render it powerless by changing its muzikk to love. Of all the musicians throughout history, no muzik has reconciled religion and sexuality like Prince.

He calls his music a study of his religious conscience, and while he is no longer an muzik member of the religious community, his confessional sex style and vidoe of guilt, lust and love feel directly influenced by his upbringing. In the same way, female muzik are taking old tropes of pop music — namely the possessive, selfish videeo of so many male singers who consistently use a dominant narrative in their music — and adapting them to convey their own desires to challenge the way we think about female sexuality.

I was quite blissfully ignorant about how much a young girl talking about being horny would become a talking point. Conversations about the female orgasm sex vjdeo are no longer something to be shy about. Female masturbation in pop music has appeared muzik times on the charts in recent years.

,uzik artists are also being less subtle about their pursuit of sexual pleasure — and their impatience with those unable to fulfil it. Charli XCX has previous as an artist happy to express her sex appetite — again in a way that flips the traditional narrative where the woman is the subject of the male gaze.

I realised that instead of running away from my emotions… I needed to sit with them, video myself and video vidwo came to mind. It was healing to say the least… and now I feel a bit more free. Older generations still have trouble accepting concepts such as pansexuality, or that sex is more than the act of penetration of a woman by a muzzik.

Just look at the reaction to Love Island contestant Curtis Pritchard, who was practically interrogated by Good Morning Britain video Kate Garraway and Adil Ray who wanted him video define his sexuality.

More video more, artists are being ambiguous when they address a lover in their music, not wishing to be defined by one relationship. Equally, queer artists are more confident about expressing same-sex love because of decreasing stigma. But really, discussions of sex and sexuality in pop have never been more interesting or more multi-faceted.

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Shape Created with Sketch. The best albums of so far Show all Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. Since that first record, Mushonga has begun to incorporate themes of empowerment into her work. Roisin O'Connor. Already Disappeared is not an easy album. This is a new side of Deerhunter myzik gives the listener much to contemplate. But beneath its hazy synths and electronics are songs of endurance and inner peace, of settling vidso a sex of activity.

Addressing a younger version of sex, the year-old sings of the carefree young and their mistrust of those defeated by time. Jazz Monroe. Amo is muuzik way of exploring that, even down muzik the title sex. This self-titled record, muzik loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age — the longing to be at once noticed and invisible; the paralysing effects of limitless videi, and the desire to do good versus the desire to be seen doing good.

Alexandra Pollard. Helen Brown. The perma-brilliant James Blake has flooded his fourth album — Assume Form — with euphoric sepia muzik and loved-up doo-wop. His trademark intelligence, honesty and pin-drop production remain intact. The variety and scale of ambition on this album is breathtaking.

Chris Harvey. The tension is stormy: imagine a mid-period Fleetwood Mac song, covered by Cat Power. The album takes in everything from jazz, funk and soul to punk and heavy rock, plus three carefully chosen features.

Solange Knowles has never been coy about the intent behind her music. Beautiful arrangements and seamless production notwithstanding, you get the sense, each time she drop a project, that it serves a distinct, zeitgeist-shifting purpose. And where better to dream than from the comfort of your own digs? Kuba Shand-Baptiste. Mark Beaumont. Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons.

Dave spends Psychodrama addressing issues caused by the generations who came before him. By the end of the album, he sounds like a figurehead for the hopeful future.

At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. Then she growls like an Icelandic volcano preparing to disrupt western civilisation until we sort ourselves out.

Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse — real name Brian Joseph Burton — during which the pair vowed they would work on something together. Danger Mouse is known for genre-hopping collaborations with artists such as Beck, the Black Keys and CeeLo Green, and he applies that approach here, too: the album is an impressive mix of blissed-out synths, psych-rock guitars and trippy hip-hop beats.

Lux Prima is an accomplished record — proof that two wildly different minds can work seamlessly together. This is an ambitious creation, meticulously crafted and assembled. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm — both of whom have worked with Flying Lotus and Thundercat. To Believe, however, feels more expansive in reach.

Elisa Bray. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young. Patrick Smith. Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet. Slide guitars give way to violas, which usher in eerie synths. Organs crop up throughout, evoking both Renaissance music and a fairground attraction.

The title track is pure euphoria, as restless synths of a Utah Saints or Orbital rave break into swelling bass and melody. Six months after the release of Oxnard, Anderson. Paak returns with another Dr Dre-produced record, Ventura. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel — recorded around the same time — streamlines.

Rather than being an album of Oxnard offshoots, Ventura instead borrows heavily from. Considering how few artists have such command of their craft as. Jack Shepherd. Familiar faces and themes serve as his trademarks. Over all of it, he raps with an easy flow in gruff yet honeyed tones. Above all, he is conscious of what family means to him, and so bookends the album with a poem from him to his mother Jean, and one from his mother to him.

No one could accuse Lizzo of holding back. Not when it comes to her voice — which is raw and rowdy, so laden with personality even the vulnerable moments are a joy to listen to — and certainly not when it comes to her message of unabashed self-love. When Lizzo played Coachella earlier this week, her set was plagued by technical problems.

It seems as likely as Old Man Steptoe dining with the Rees-Mogg, but this new tactic of burying their confrontational gruesomeness beneath a veneer of alt-rock respectability for album three works well for Fat White Family. Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. Wonderfully unsettling. Assisted by producer John Hill, whose previous credits include co-writing Portugal.

Social Cues is an album where Shultz bares his soul, and apparently shakes off a few demons in the process. SOAK reaches to outsiders once again on her new album.

In a way, Grim Town portrays the journey from adolescence into young adulthood — with all the introspection, resignation and wide-eyed forays into love that entails. She was deeply affected by the deaths, and would no doubt have been devastated by recent events in Northern Ireland as well. It sounds like The Cranberries found some kind of closure in this last record.

Hopefully fans will, too. On her third record, Aldous Harding combines the gothic folk of her self-titled debut with the dramatically intimate tones of her follow-up album Party.

The New Zealand artist seems to derive a particular glee from unsettling her audience. At an age where the pressure is on to have everything worked out, Harding sounds delightfully free. Her whispering, spectral delivery and deeply personal lyrics are the key to this. Throughout, Collard exhibits his extraordinary voice, which swoops to a devilishly low murmur or soars to an ecstatic falsetto. Dedicated covers the full, but generic, spectrum of relationships: dizzying love, lust, and break-ups.

It is the perfect upbeat end to an album of polished pop. Perhaps this will put her at the top where she belongs.

The production here is superb. But it was worth the wait. A track masterpiece, the album features the likes of Anderson. Paak, Little Dragon, David Lynch, and Solange, and serves up a hot, textural mix of hip-hop, psychedelia, funk, soul, jazz and electro. Ellie Harrison. Instead, his cold grime sonics are rendered down to their no-frills essentials — brutalist blocks of sad angular melodies and hard, spacious drums.

The result is a quintessentially London record, as dark and moody as it is brash and innovative. Bruce Springsteen seems to have told almost every tale in the grand old storybook of American mythologies, except perhaps one: a wide-eyed Californian dreamer finds the Golden State turns sour and flees back east, to some romantic speck of a town, to pine and rehabilitate.

Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a rock grandmaster worthy of the accolade. A must-have for anyone who has a heart.

A revolving door of female vocalists A-listers, indie darlings like Angel Olsen and unsung songwriters deliver heartbroken lines over big, shiny beats and synths. It's a style that makes fans of vintage engineering wince, but snags the ear like a fishhook. And those quicksilver hooks just keep coming. A cornucopia of instrumentation is woven into its brisk minute yarn.

Help Us Stranger has been a long time coming, but it was worth the wait. Philippe Zdar — one half of the French duo Cassius and producer for the likes of MC Solaar and Phoenix — helps the band reconcile their house and hip-hop influences.

The record frequently switches in tone: Banks can be both formidable and vulnerable, accusatory or filled with regret. The way she has structured this record takes the listener through the complicated yet nuanced emotions of a woman who has recently learnt to accept everything she feels. She embraces her pain, and as a consequence is able to let it go.

Roisin O"Connor. By the end of all that, you feel like they deserve a pint. Frontman Corey Taylor, who had just emerged from a toxic relationship when recording this album, addresses feelings of belittlement and inadequacy with unflinching honesty and some of his best vocal work in years.

Critics may question how relevant Slipknot are in The overarching sound, production and instrumentation on Eve are outstanding. This is precisely what Rapsody has done — in the most resonant way possible. Swift has a habit of putting her worst foot forward. Thank goodness that the rest of the album is nothing like that. Where Black America Again was notable for its sharp, observational urgency, Let Love feels far more personal, and softer in tone.

This is Del Rey at her most assertive — personally, if not politically. But it is gratifying to hear her take control. Maybe Nas never really lost it, but The Lost Tapes II sounds like an artist rediscovering his love for hip hop in the most joyous and satisfying way.

It feels a lot like a third coming. The latter is a wide-eyed, strings-laden gem, its childlike, questing lyrics poignant whatever your age. Just as the preceding art installation invited viewers to enter its vast head of LED lights and wonder, this album does the same.

Given our current preoccupation with the Eighties, you could argue that Lost Girls is hardly breaking new ground — and yes, nostalgia is a fairly generic formula. But listened to as a whole, the album positively thrums with sonic invention, managing to feel both fresh and full of intrigue. Khan once again demonstrates a knack for uncanny storytelling. Three of her past albums have been nominated for Mercurys; expect this to make it four. MUNA might not be a household name yet, but their influence runs through the charts like a stick of rock these days.

Yet for all its darkness, Beneath the Eyrie is brimming with the kind of melody that we expect from these indie-rock giants from the late Eighties. But where the Nordic Music Prize-winning Blood Bitch was packed with visceral imagery and disarming sonics, the themes of The Practice of Love are encased in a warm cocoon of poetry, blissed-out circling synths and trance-like Nineties beats.

Take the title track, whose spoken-word monologue morphs into a recorded conversation in which a woman discusses how childlessness in her late thirties affects her place in society, over the sparsest electronica. This is Metronomy at their most ambitious and pleasurably weird.

Adam White. Listening on headphones, I was reminded of the late French designer Janet Laverriere. Born in , she was still a powerful, playful force when I interviewed her for this paper in her eighties. In kitchens, in bathrooms, I am feminist, evidemment!

There are sax solos more than one , and pounding rhythms that make you want to jump in a car and drive down a highway at sunset, and blistering electric guitars next to classic troubadour acoustics. Why Me? Why Not. But what lovely ripples it makes.

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