Honourable Mentions of 2019
"Order In Decline"
Sum 41
Sum 41
For me, this album is like the stark opposite to those on my "Most Disappointing" list; rather than being an album that failed to live up to my high expectations, it was an album I had almost no expectations for given the previous cringe of many of their singles. Instead, Sum 41 deliver one of their most streamlined, proficient and genuine punk releases yet that equates to a very good if not great album that I've found has some real weight in 2019, especially when compared to many of their previous releases.
"Crush"
Floating Points
One of the most beautiful, carefully-crafted and striking atmospheric-electronic albums of the year, Floating Points' music may not be the most adventurous or exploratory in its sonic palette but it finds interesting and intricate ways to manipulate its tone to produce a fresh, oceanic soundscape that is wholly worth experiencing whether this is your favourite kind of music or if you simply want a better background sound than what a generic Spotify playlist would provide.
"WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?"
Billie Eilish
The defining pop album and artist of the year, Billie has well and truly broken out and owned 2019. Whilst it may once have been easy to attribute her success to the industry plant so many claim her to be, there's no denying that she's one of only a few pop artists that are truly independent in the creation of their music these days, Billie and her brother crafting a unique and boundary-pushing sound far ahead of most of the mainstream. She's a long way from the clichéd and shallow lyrics that dominated her Don't Smile At Me EP, and the sooner people accept that the better. I believe she's a necessary factor for pop music to evolve, and I'm excited to see what the new decade brings following this "Eilish event".
"Compliments Please"
Self Esteem
As much as I appreciate what Billie Eilish's album is in terms of a progression for pop music, a genuinely unique and impressive feat of experimentation that will hopefully pave the way for more brave artists being embraced by the mainstream, Self Esteem's brand of synthpop-inflected experimentation is far closer to my music taste and therefore an album I enjoy a whole lot more. From the powerful LGBTQ undertones to the exciting instrumentals, Rebecca proves her worth as a potential popstar I think deserves the spotlight.
"Driftglass"
SEED Ensemble
This is one of my favourite jazz albums of the year, a magnificent offering of afrobeat jazz that explores Caribbean stylings and cosmic themes through the lens of many young London-based jazz players led by saxophonist Cassie Kinoshi. It feels modern, it sounds expansive and diverse and it for me at least it stands out as some of the best work in the genre this year.
"Almost Free"
FIDLAR
I keep having to defend this album, a progression for the band from their oddly commercial skate punk origins that bluntly dives into dark themes of alcoholism, addiction, gentrification, instability, politics and mental health. It's meant to be abrasive, it's meant to be overwhelming and when it works it's the band's best work to date, and some of the best rock music of the year. In some ways this album is the Joker of music in 2019, a thematically inconsistent record that is pulled in far too many directions to have a central focus that you either love for what it does or hate for what it doesn't achieve. Messy but admirably bold both lyrically and musically, this probably won't be for most people.
"Psychodrama"
Dave
I spent a while figuring this album out, and I've landed somewhere between the two main critical consensuses of the album. Yes, it is very much rooted in one specific sound and the production is pretty bland and unadventurous in the context of today's hip hop landscape and that does take away from the sort of excitement that comes with listening to many of his more underground peers (more on that to come in my main list) but you have to respect the level of success he's achieved given just how personal, profound and socially aware his lyrics are, and just how poetic a rapper he is. The lead single "Black" is a perfect example of what the album is like to listen to, an emotional and grounded experience backed by lacklustre beats that whilst pretty offer nothing new or distinctive, a fact enhanced by how great and provocative his words are. You should listen to this album, but you should also make up your own mind on it, because for me its importance outweighs its quality.
"Don't Wait 'Til Tomorrow"
YONAKA
After how lengthy that last one was, I'll try and keep this brief - if someone asked me what I wanted to hear dominate the mainstream should alternative music make a comeback, this is the band I'd want to lead the charge. Yonaka deftly blend modern pop with alt rock in a fantastic update of bands like Metric and the Yeah Yeah Yeahs, and I truly hope they see the success they deserve because this album is amazing, not shying away from tackling relevant societal problems inbetween the empowering break up anthems and love songs.
"Cheap Queen"
King Princess
Another artist that I hope to see in the spotlight, King Princess is a rising star in alt pop right now with her progressive framing and LGBTQ context giving her the sort of background that so many pop stars seem intent on chasing and imitating to feign depth and gain relevance. King Princess doesn't need to feign anything, her queer identity a simple fact of her personality that ultimately doesn't matter when you hear her music: her songwriting is beautifully personal and pretty top notch for such a young talent, and it's great to see a fresh face singing so naturally about her sexuality, especially after the abomination that was Rita Ora's track "Girls" last year. It's inspiringly open, serious yet playful and context aside these are just some great albeit simple songs that deserve way more attention.
"Remind Me Tomorrow"
Sharon Van Etten
An unexpected but justified and remarkable change up in terms of sound for Sharon, this sonic pivot from bare bones indie folk to shimmering and stuttering indie rock makes almost too much sense in today's alternative landscape, and I dare say she's handled the transition a lot better than some (*cough* Of Monsters & Men), exploring the less recently trodden path of synth-rock to develop her sound as she matures into an artist that on Remind Me Tomorrow, an appropriately titled album, she spends a lot more time reflecting and looking back on the crazy last few years of her life, choosing to ignore many of the pressing issues of the present to give herself a chance to reflect. It's a great record that I adore, but the production is a little clunky at times which can feel like a purposeful yet detracting juxtaposition to Van Etten's grace and style. All in all, most indie fans will probably love this, I certainly do.
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Thank you so much for reading, as much as I can I'll aim for my Best Albums list to be out ASAP and in the meantime take advantage of this strange time of year between Christmas and the 2020 by checking out some of the music you missed this year, perhaps even some of the stuff I've recommended from this post or my best songs. Whether you do or not I hope you all have a wonderful conclusion to 2010, and I'll see you in the new year!
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