Nikki NackTune-Yards -- aka New England vocalist Merrill Garbus and partner in bass-playing crime Nate Brenner -- have allowed some major pop producers, namely John Hill and Malay, access to their already established and almost aggressively individual sound. Concerns of a disaster in the making may ring out; their first album unbelievably lo-fi and the second self- produced -- how would makers of albeit alternative but identifiable r’n’b pop affect the truly eccentric and self-sufficient band’s identity? Well, not as you much as you may imagine or possibly fear. There are changes of course as one would expect and also hope from any artist that has been producing music in excess of five years, but these are subtle and even, on occasion, welcome amendments made to the Tune-Yards manifesto.

2011’s “Whokill” was an astonishing force of nature; it blew everyone and everything that stood in its path away but left Merrill Garbus drained and creatively arid. “Nikki Nack”’s opening lyrics tell of Garbus’ frustrations and the encouragement given to her by a stranger based only on her casual, overheard, singing:

‘You tried to tell me that I had a right to sing

Just like a bird has to fly

And I really wanted to believe him because he seemed

Like a really nice guy

But I trip on the truth when I walk that wire

When you wear a mask, always sound like a liar

I tried to tell him all the reasons that I had never to sing again

And he replied ‘You’d better find a new way’

Garbus’ wide eyed, exclaiming vocals -- certainly soulful and often astoundingly powerful -- sound pretty much the same on “Find a New Way” as they always did. The change then comes mainly from the songs themselves and Tune-Yards development as writers. Garbus has spoken about her love of sticky, ear worm- songs that attack the brain, embedded forever. One of the objectives she had for this album was to figure out how to write such hooks and incorporate them without compromise of creativity and individuality. Maybe this was the reason for recruiting the producers of, amongst others, Pink, Shakira, Alicia Keys and Christina Aguilera; John Hill and Malay are music specialists who understand how to navigate an artist towards the potential of a great melody. Along with Brenner, the band has again self-written the entire record and this objective of creating catchiness has, on the whole, been met, with many satisfying examples.

The first half on “Nikki Nack” is more convoluted stylistically than the second and also has a lower hit rate. “Water Fountain”, the album’s first single, squashes all of Tune-Yards characteristics and tics into one song. It’s a very tight squeeze; playground skipping rhymes, yelps and ‘yee- ha’s!’, clanging and clattering percussion, exhibitionist vocals and lyrics about a crumbling and under-funded neighbourhoods and a video that references Peewee Herman’s “Play House”. Ostentatious, wacky and be-jewelled, it’s not subtle and, after the initial and undeniable rush has worn off, it’s not enduring either. “Look Around” and “Time of Dark”, both slower tracks, feel longer than their playing time and “Real Thing”, which starts off brilliantly with staccato thrown verses circa “Writing on the Wall” era Destiny’s Child, ends in a tangle of voices and sonic muddle.

Hey Life” chronicles an existence led too fast accompanied by anxiety and a pressure to cram as much as possible into every waking second; its drumming, synth prods and speed singing all add to the heightened feeling of panic with Merrill central to the ensuing chaos. It’s a minor track in some ways but one that is nonetheless thrilling and manages to avoid any cartoonish inclinations on a track where this could have been an easy temptation.

The strongest section of the album begins with “Stop that Man” which introduces a trio of songs where evidence of growth in song-writing and an ability to apply a more contained but ultimately more rewarding approach is clearly apparent. One of the continued aims of Tune-Yards has been to comment on social and left-leaning political issues with lyrics that are set against predominantly upbeat and dense dance rhythms and beats that imply a celebratory mood. Casual racism, gentrification and sexual harassment are all central themes here and “Stop that Man” questions racial assumptions based on media statistics and news reports and also personal experiences. The song succeeds mainly though by being part angular, glitchy electro clash experiment (it turns inexplicably and temporarily into Blue Monday/ Bobby O for forty-five seconds mid-song) and part glorious, singalong pop song. So if Garbus’ intention was to create a song serious in intention that you’ll also sing and dance along to, she has also again succeeded.

Left Behind” and the downbeat but not depressing, smoothly r’n’b “Wait for a Minute”, probably the album’s best tune and performance, complete the trio and these moments are some of the finest in Tune-Yards discography to date. There is nothing that rivals the unruly, audacious and already ground -breaking “Gangsta”’ for example, here; the Tune-Yards of “Nikki Nack” are indeed more mannered but also more intricate with one beady eye placed on fine detail and songs that reveal themselves more slowly and reward generously over time. Claims of cultural appropriation, for they have been made, are surely overblown and only on the multi harmonies of the lullaby-like “Rocking Chair”, short and little too on the nose, does the intention grate. Other influences can also be heard, Laurie Anderson, Cyndi Lauper, Missy Elliott and Timbaland, Santigold, Big Boi, MIA and Neneh Cherry in particular all register at certain points but never once could you mistake Tune –Yards for anyone else. “Nikki Nack” may not shout its intentions as loudly as before but its power is found elsewhere, you’ll find yourself madly singing its merits -- probably unaware and almost certainly with glee.

Haim – “Days Are Gone”

Days are GoneAfter a year and a half of singles and heavy blog discussion, Haim’s debut did anything but disappoint. Nearly the strongest pop release of the year which puts all of their strengths and flavours on full display: tight vocal performances, tasteful and lush instrumentals, catchy choruses and a bag of influences ranging from Fleetwood Mac to Destiny’s Child. Every track could have been a single and as a collection “Days Are Gone” does not drop the ball once. The change in sound from their previous more rock-oriented live front may disappoint some followers but the clean, rich pop sheen each song receives here is irresistible. Sophisticated yet instantly accessible, this album deserves to be remembered.  An extremely promising genesis to the career of a band that will hopefully continue to thrive.

Lorde –“ Pure Heroine”

Pure HeroineThe most impressive female solo singer to emerge this year, Lorde’s debut’s refreshingly stark production makes you realise how hard its competitors seem to be trying to even be heard. “Royals” is only one of the many highlights here and even after its over-exposure on the radio it sounds blissful in context here. The consistently minimalist atmosphere becomes surprisingly heavy on repeated listens, making one realise how effective the “less is more” approach can be. Lyrically it’s youthful but it’s easy to forget this with what’s happening around the words. Again, the number of possible hits is staggering with Lorde’s surprisingly mature voice serving as one of the most enticing sounds of 2013. A hugely exciting debut, “Pure Heroine” is one of the strongest pieces of evidence that this was the year of female pop.

Kanye West – “Yeezus”

YeezusKanye’s personality was flaunted so much in 2013.  Between the Kardashians, his various outlandish interviews and clashes with the paparazzi it’s easy to forget what was at the eye of the storm: “Yeezus”. However rushed and messy some of this record seems, it’s thrilling, cathartic and a lot more listenable than some might claim. Resembling a sharper-edged, colder-sounding “808s & Heartbreak”,” Yeezus” is at least the darkest SOUNDING thing he’s ever released. It’s like a digital rainbow: between the steely synths on the earlier tracks, the horn samples on “Blood on the Leaves” and the early-Yeezy soul samples on “Bound 2”, it’s surprisingly varied and in spite of some misguided lyrical direction we’re left with a largely on-point, albeit bizarre, record essential at this point in the man’s career.

Kyary Pamyu Pamyu –“Nanda Collection”

Nanda CollectionOne of the most colourful releases from this year, “Nanda Collection” can be at once immediate and baffling. The extremely layered, almost three-dimensional instrumentation is thrilling enough to make up for the lack of power behind Kyary’s voice but that’s not  what she’s about anyway, what with her prime function simply being kawaii. The songs fit her persona and image perfectly, discussing such subjects as ice cream, fashion, aliens, ninjas… you get the idea without even being able to entirely understand the lyrics. The enjoyment here is something both more primal and innocent and once you push past any initial possible alienation there’s nothing left but excitement and happiness. The amount of care put into this album just bounces off it and it’s unbelievably infectious. Oddball of the year for sure.

Lady Gaga -- ARTPOP

ARTPOPIt seems some quiet time was just what Gaga needed following the paper-thin “Born This Way” album: almost every song on “ARTPOP” sounds like it’s been given the room to breathe and develop that most of the tracks on her previous release never had. If you ever thought her music didn’t actually justify her oddball public persona and fashion sense, “ARTPOP” is absolutely what you have been waiting for. One listen of opener “Aura” makes it clear this is the most actually “Gaga” record Ms. Germanotta has released. Dominated by a thick, lively, 80s-style production it excites pretty consistently, featuring absolutely some of the best tracks Gaga’s ever put out. Her stabs at pop culture and her other usual themes actually have weight in both what they’re saying and their musical backing. Certainly her strongest full-length release so far.