Punk-funkers Squid step on the gas, Jessie Ware moves left of centre and Tierra Whack breaks the one-minute mark – read about 10 of our favourite songs of the month, and subscribe to the 50-track playlist

At an immersive, city-wide multimedia presentation of her new album When I Get Home, the singer-songwriter explains how her childhood home of Houston nourished her creative spirit

‘It’s one thing to think with your spirit,” says Solange Knowles. “It’s another to actually live it through your body.” The Solange of today works with feelings, grooves, and frequencies in mind. If A Seat at the Table, her breakthrough third album, was a lyrically dense record about the complexities and struggles of the black American experience, then When I Get Home, her latest release, is the sonic manifestation of that blackness. Staccato rhythms and meditative mantras – designed to ground and heal her after time on the road – ripple on through the bodies of her listeners. It’s an album about settling into familiarity: with yourself, the people around you, and the places one calls home.

At the SHAPE community center in the third ward of Houston last Sunday evening, the record comes to life during a screening of a film, also entitled When I Get Home, that Solange created and directed to accompany the album. Despite the celebrities in attendance, this isn’t a premiere. The album arrived days before, with the film launching simultaneously on Apple Music and the recently revived, early-internet social network Black Planet. Instead, it is a celebration of her return to her roots.

Thank you to alll of uuuu! I’m coming up for air and overwhelmed with gratitude for all the love U sharing. Thank you for always giving me the space to expand and evolve and express. For constantly opening up my world, and allowing me to show you my own new ones. I express for survival, for breath. This shit gave me so much joy to make! I wasn’t afraid. My body wasn’t either, even at times of uncertainty. I love and appreciate u guys infinitely. You make me feel safe and held even in this big big strange world. I can’t thank you enough. It’s been hard to answer where home is, hard to know if it’s past or future...this album and film is one stream of thought and reflection into answering that. I thank you for your time and energy experiencing it with meee. So much love!

my Sol-Angel... no one talk to me ever again

I’ll always be a black woman, and I’ll always create work from this black woman’s body

Related: Solange: When I Get Home review – lose yourself in Knowles' hazy vision

(Extreme Eating)
Always recognisable and always evolving, Andrew Fearn and Jason Williamson’s barked social snapshots turn melodic

Sleaford Mods’ frontman Jason Williamson recently revealed that lately he’s been listening to Alexander O’Neal, Chaka Khan and Luther Vandross, although the Nottinghamshire duo haven’t suddenly gone soul or R&B.

However, Andrew Fearn’s backing tracks are forever evolving and are a fair distance from 2013’s breakthrough, Austerity Dogs. The terrific Kebab Spiders is powered by two alternate basslines: one sounds like the sort of thing the great James Jamerson used to lay down for Motown and the other is clubbier, almost Belgian new beat. The brooding OBCT could be Depeche Mode or the Cure, until Williamson comes in and it includes, of all things, a kazoo solo. The highly melodic When You Come Up to Me, meanwhile, would be a lost 80s new romantic synth ballad were it delivered in any other voice. As ever, though, it’s Williamson’s trademark bark – a caustic, observant, irritant, unforgiving mix of John Cooper Clarke and Mark E Smith – which renders the Mods instantly recognisable. They are increasingly, as John Peel said of the Fall: “Always different, always the same.”

Related: 'Life is chaotic!' Sleaford Mods' Jason Williamson answers your questions

Nominated for two Grammy awards this week, his collaborations with Travis Scott follow those with Beyoncé. How did the DJ from Enfield become so well-connected?

For an artist whose sound is steeped in isolation, cutting a forlorn figure on icy electronic laments that shiver with loneliness, James Blake arrives at his latest album Assume Form as one of the best connected people in popular music.

At some point over the last decade, while journeying from the fringes of London’s dubstep scene to the epicentre of American rap and pop, it became easier to list superstars the acclaimed producer-songwriter hasn’t worked with. Beyoncé recruited him for Lemonade. Frank Ocean called on him for Blonde. Drake has sampled him and Kanye West declared him “Kanye’s favourite artist” before a few ultimately ill-fated 2014 writing sessions together. Bon Iver, Chance the Rapper and Jay-Z are other studio sparring partners. Blake is up for two Grammy awards in rap categories this year, alongside rappers Kendrick Lamar, Jay Rock and Future for their track King’s Dead, taken from the Black Panther soundtrack.

Related: James Blake: Assume Form review – lovestruck producer turns dark into light | Alexis Petridis' album of the week

Related: James Blake: Assume Form review – a big, glitchy, swooning, hyper-modern declaration of love

Related: James Blake speaks out about struggle with depression

‘There was a rise in gun crime and garage was blamed. We went from being on Top of the Pops to not being able to play anywhere. Then I was shot’

I met Neutrino at the pirate radio station Supreme FM, where we were doing DJ sets. We clicked and joined So Solid Crew, who at that time were 30 strong. When we all piled into a tiny room, it was crazy – but when Neutrino and I signed our own record deal, we became a separate entity.

The Sydney six-piece came in at No 1 and No 100, in a broadcast which featured a strong turnout for women in the top 10

Sydney’s Ocean Alley have won the 2018 Triple J Hottest 100 with Confidence, one of four songs by the band to make it into this year’s countdown – the largest song poll in Australia.

Confidence is the lead single from Chiaroscuro, the second album from the northern beaches six-piece.

Related: The rise of Donald Glover: how he captured America

Related: Celebrating nationhood on 26 January has become a gratuitous act of hostility

Annual reminder that if you don't like what's on the #Hottest100 and you're over 35, that's kind of the point!

To the middle-aged people who will inevitably whinge about modern music today, it’s worth remembering that Shaggy - Boombastic and Madison Avenue - Dont Call Me Baby made the #hottest100 in the glory days of the 90s @triplej

Related: Baker Boy rising: from Arnhem Land to sharing a stage with Dizzee Rascal

Overall in the #Hottest100 we saw 62:38 (all male acts) : (acts with at least one woman, incl fts).

AFAIK, only one track with more than one woman: SanCisco's When I Dream at no. 48.

If I'd been counting acts with at least 50% women, the stats would have looked VERY different.

O2 Ritz, Manchester
Channelling everyone from Nancy Sinatra to Nine Inch Nails, Banks lets her astonishing talent outshine her controversies

After high-profile spats with everyone from Grimes and Elon Musk to Zayn Malik and Sarah Palin, this week Azealia Banks was at it again. An apparently straightforward flight to Ireland saw the hair-trigger New Yorker remove herself from the plane after an argument with an air attendant ended with her referring to “ugly” Irish women. One tearful confessional and a live triumph in Dublin later, she reignited the furore with a social media rant referring to “leprechauns”.

Unseemly as this is, it’s hard to reconcile the headline-grabbing enfant terrible with the grinning, uber-talented 27-year-old who has her Manchester audience roaring in approval. Backed by a drummer and DJ, and occasionally flanked by two dancers, she sings, dances, raps and displays enough charisma and stagecraft to put many a rival to shame. When she slowly takes off her jacket, the roar is so deafening you fear for the building.

Related: Azealia Banks: fearless truthteller or relentless troll?

From cheeky rappers to explosive hardcore punks, we introduce 50 artists sure to make an impact in the coming year

She has already sung backing vocals for Chance the Rapper, guested on Sam Smith’s last album and steals the show on Mark Ronson’s forthcoming LP of “sad bangers” – all because of a truly remarkable voice that marks her out as the coming year’s Adele. Here’s hoping her superhuman vocal control will be put to service on equally strong songs.

We will publish a selection of readers’ favourite albums before the end of the year

• Read about our No 1 album of the year
• The 50 best albums of 2018

After canvassing over 50 of our music writers and totting up their votes, we’ve announced our 50 best albums of the year, topped by Christine and the Queens’ sensual neo-boogie classic Chris.

But a list of 50 – and you can see the whole thing here – inevitably misses out out dozens of brilliant albums, so we’d love to hear from you about the recordings you think were unfairly overlooked by our vote. In love with the latest chapter of Father John Misty’s wry catalogue of self-obsession? Outraged that Guardian critics bucked their stereotype and didn’t reward Beyoncé and Jay-Z’s collaborative album? Did you think great soundtrack recordings – Black Panther, A Star is Born, Phantom Thread – should have been recognised?

If you’re having trouble using the form, click here. Read terms of service here.

The Scandinavian code of conduct «jantelagen» encourages modesty, conformity and goodness. Swedish feminist and anti-racist punk rapper Silvana Imam celebrates the exact opposite: pride, individuality, and diversity, as shown in the multi-faceted documentary Silvana by Mika Gustafson, Olivia Kastebring, und Christina Tsiobanelis. Screened on January 11, 2019, at the 9th Norient Musikfilm Festival in Bern, Switzerland.

Filmstill: Silvana (Mika Gustafson, Olivia Kastebring, und Christina Tsiobanelis, Sweden 2017)

«Do not think that you are special or better than us!» This statement sums up the central theme of a code of conduct called the «jantelagen», or Law of Jante, commonly used as a term to describe a condescending attitude towards individual success and personal ambition in Nordic countries.

The code originated in the satirical novel «A Fugitive Crosses His Tracks», written by Dano-Norwegian author Aksel Sandemose in 1933. Set in the fictional Danish town Jante, the novel describes the inhabitants’ attitudes, and contains a list of ten rules that are variations of the theme: «do not think that you are special, better, smarter, or more important than us!» Although the origin of the term is not necessarily well known, the law itself is often brought up in discussions focusing on a mentality prevalent in Nordic countries.

Praise of Diversity and Individuality

The work of queer hip-hop artist Silvana Imam can be seen as a clear challenge to such a code. Imams brand of queer feminism is explicitly sexual and based in praise of diversity and individuality. With the titles of her albums and tours she advocates (queer) empowerment, as her representation of queerness provides positive recognition, both of and for her fans. An album she released in 2014 was called «När du ser mig – se dig» (when you see me – see yourself), with an accompanying tour entitled «Jag ser dig» (I see you). However, Imam revolts against more than just heteronormativity: she also speaks from a position outside of Swedish mainstream culture in terms of whiteness.

Filmstill: Silvana (Mika Gustafson, Olivia Kastebring, und Christina Tsiobanelis, Sweden 2017)

In her song lyrics, such as, for instance, the song «Hon va» (she was), Imam specifically stresses her migrant background; her mother is from Lithuania, her father is of Syrian descent, and the family came to Sweden in 1990 («hon va fyra år när hon kom hit/ till Kiruna bagage utan flyttbil» – she was four years old when she arrived here/ to Kiruna, luggage, without a moving truck). Growing up in a suburb of Stockholm, Imam was teased for her «strange» last name that made her different. However, in a Swedish context, the Law of Jante is explicitly based on the idea of not being special. It can therefore be argued that the Law does not apply to Imam, or others marked as «different», and thereby «special» to begin with.

Resisting Jante through Rap

The biographical movie Silvana Imam – väck mig när ni vaknat (Silvana Imam – wake me up when you have woken up) contains several themes and scenes that can be understood through such a lens. Painting a close and personal portrait of the artist, the film charts Imam’s rise to fame against the backdrop of her family history, and her relationship with singer Beatrice Eli.

Filmstill: Silvana (Mika Gustafson, Olivia Kastebring, und Christina Tsiobanelis, Sweden 2017)

It shows an unapologetically opinionated artist on a mission of queer empowerment, an artist who is aware of the «jantelagen» that warns her not to think that she is «special or better than us.» In one of the film’s initial scenes, we meet Imam in a recording studio, listening to a radio program in which she is announced as the artist of the year for 2016. Reacting to the announcement she exclaims: «What kind of a fucking country is this where it’s wrong to admit you are great? It’s fucked up! I’m just so great!»

Trailer

9th Norient Musikfilm Festival 2019

Strong showing for female and hip-hop artists suggest renewed focus on diversity – but it’s a mediocre year for British acts

After controversy about the Grammys’ failure to recognise women’s achievements at the 2018 ceremony, female artists dominate key categories in the nominations for the 2019 awards. Country stars Maren Morris and Kacey Musgraves, rapper Cardi B, pop futurist Janelle Monáe and Lady Gaga could all take home major awards at the 61st Grammy award ceremony in Los Angeles next February.

Elsewhere, Kendrick Lamar and Drake dominate proceedings, with eight and seven nominations respectively. Along with Childish Gambino, AKA Donald Glover, they could rectify the other dispute that emerged from this year’s awards – namely the Recording Academy nominating but not awarding major hip-hop artists.

Artists including Kojey Radical, Let’s Eat Grandma and Róisín Murphy discuss the year’s biggest stories, from Childish Gambino’s This Is America to the rise of K-pop and Jessie J’s success in China

April: Kanye West reaffirmed his support for Donald Trump on Twitter, part of a turbulent year in which he claimed slavery was “a choice”, released several albums, visited Trump in the White House, handed out Yeezy shoes in Uganda and announced he was thinking of building a flying-car factory.

Kojey Radical: I feel conflicted. I’ve got Yeezys on right now. The problem is, for all the contribution he’s made to music, he’s gotten to the point now where he just likes the conversation.

I listen to drill from the comfort of my nice home, but it’s bleak. These lads are virtually crying on the microphone

Related: This is America: theories behind Childish Gambino's satirical masterpiece

Surely certain powers will be extremely happy to see the rise of K-pop. It’s cultural warfare, in a way

I get called to talk at Oxford because I’m a black female. Just by existing, I’m political

Related: Why has the UK stopped producing pop superstars?

Related: Has 10 years of Spotify ruined music?

If a young artist came to me now and said: 'Do I need to get signed?’ I’d probably say no

Our countdown of the year’s most exciting sounds – updated every weekday – brings intensely confessional pop, otherworldly blues and the magic of twisted flamenco

• See our tracks of the year
• The best culture of 2018

Over to James Blake, who tweeted of Rosalía’s second album:
“Just what the actual afjhkhhhhhdiquyhqkzjdhjsnbahjkbbsbdhsjajbaFfdfffdffffffffffffffffffff.” Indeed. El Mal Querer sounds like nothing else released this year: the 25-year-old Catalan trailblazer’s fiercely passionate and subversive concept album combines flamenco tradition with an avant-garde approach to R&B. Read our full review.

The Art School, Glasgow
The London-via-Lagos MC is small in stature but a giant on the mic, with an astonishing staccato style set to dystopian beats

It’s 1am when Flohio takes the mic. The decks are in the middle of the floor, and SE16’s brightest rapper is balancing on a block to make her small stature visible. Beckoning the eager crowd even closer, she grins: “I wanna make sure I have someone to catch me.”

Born in Lagos and based in Bermondsey, Funmi Ohiosumah has a crooked smile, androgynous style and a powerful, magnetic presence. She dropped her first EP Nowhere Near in 2016 and chased it with infectious, postcode celebrating collaborations with London producers God Colony. Since then, she’s shown genre-defying dexterity through shrewd producer partnerships, from the skittering, bass-heavy minimalism of west Londoner Cadenza to the monstrous energy of Berlin techno innovators Modeselektor. For this Glasgow stop-off on her first headline tour, the bill is curated by trusted local tastemakers OH141.

Guardian music writers have picked their favourite songs of the year – from UK drill breakthroughs to pure pop anthems – and put them all on a giant playlist

Kicking off our roundups of the best music of 2018, polled from votes by more than 50 Guardian music writers, we count down our favourite tracks of the year – topped by a man who managed to unpick US racial politics, launch a thousand thinkpieces and reach No 1 in the US charts, all with a single track. Read about the top 20 below, and hear the whole top 100 in playlists on Spotify and Apple Music. We’ll be counting down the albums of the year throughout the rest of the month, with No 1 announced on 21 December.

Related: This is America: theories behind Childish Gambino's satirical masterpiece