Best Albums of 2019
2019 is over.
Before we move on, I want to take a look at the best music of the year. I've gone through my best songs, now let's get into the albums that defined the year for me. Keep in mind, these are simply my opinions and I'd love to know your own selections should you wish to share them in the comments. I love all of my selections, but there are so many others that didn't quite make the cut and I've covered ten of those honourable mentions in a different post. Right, let's get into... the Top 30 Best Albums of 2019...
30
"Silver Linings"
Catching Flies
I'm a sucker for any offshoot of trip hop, and the chilled Bonobo-esque electronics are a perfect evening vibe. Silver Linings may be at the bottom of this list, but make no mistake because this is more than just an idly pleasant listen.
29
"Full Circle"
Nocturnal Sunshine
Another beat-driven album, this one featuring a host of underground singers and rappers that without those beats would not sound half as good. This is music made for nighttime listening, and the dark textured instrumentals are some of the catchiest and most enticing I've heard all year.
28
"Magdalene"
FKA twigs
FKA twigs has released some of the most emotional music of the year, wrapped up in an experimental R&B package intent on updating Björk's weirdness and seamlessly blending it with generally incredibly rich and intriguing instrumentals.
27
"Cuz I Love You"
Lizzo
Exploding in technicolour, this album is refreshing, modern and engaging R&B and it's no wonder Lizzo took over this year. It's just a shame that it tended to be her older singles gaining more traction and not the absolute powerhouses on this album. Its biggest strength is its biggest weakness, as every song here sounds as though it could be a single, making for an epic but inconsistent listen. Lizzo has her theatrics down to a T, but her themes could benefit from a lot more links.
26
"ZUU"
Denzel Curry
After the dark SoundCloud rap of TABOO, Denzel brings out his most straight forward project to date. This is quite simply a collection of fun, high energy bangers delivered with Denzel's usual intensity. It's fast, it's tight, and it's all achieved in under half an hour.
25
"Lost Girls"
Bat for Lashes
Behind the glossy, 80s-indulgent synthfunk exterior, Natasha Khan's newest album hides a whole lot of emotional weight. Over the course of the tracklist, you're swept of your feet and plunged headfirst into Natasha's experiences with the rawest and most desperate of emotions. On Lost Girls, although love is the primary topic there is a deeper rooted anxiety and scepticism that throws everything slightly out of balance, hanging a disconcerting feeling of melancholy over this album.
24
"Hi This Is Flume"
Flume
For an artist as preoccupied with the "wonky" subgenre as Flume is, it's no wonder he finally made a whole mixtape dedicated to exploring the sound. Flume deconstructs club, trap and electronic music in such a manic and confrontational way, if you can stand the attitude of the music it's unignorable. His manipulation of sound is taken to extremes, making this easily his most bold and essential listen to date.
23
"The Origin Of My Depression"
Uboa
This is more of an experience than an album, a heavy industrial-ambient record that explores the torment Uboa has had to experience as a trans woman. It is by far the scariest and most unsettling music of the year, disorienting and mind-boggling, a truly unique sound that leaves me both in awe and in shock.
22
"Norman F***ing Rockwell"
Lana Del Rey
There is no denying that this album is critic bait. Working with superproducer Jack Antonoff, Lana has achieved a windswept desert rock aesthetic that immediately sounds a whole lot better than anything she's put out before. It goes so much deeper than that. Her writing is unquestionably the most self-aware, honest and emotional it's ever been. The arrangements are gorgeous, lush and melancholic, backed by sparse, dusty trip-hop beats. This is Lana's best album.
21
"Schlagenheim"
black midi
This young band's knack for sonic exploration is what keeps them fresh and sets them far apart from their peers. They draw from styles of the past, from post-punk to math and noise rock. What makes this amalgamation of sounds so intriguing is the manic, frantic way they blur and mesh together. As I put it in my brief review, the formless bombast is intoxicating and I'm stoked to see what they do next.
20
"FIBS"
Anna Meredith
In the summer, I was rather concerned with how few really exceptional electronic releases I'd heard over the course of the year. By contrast, the last few months of the year were ripe with great electronic releases and this was among the best and weirdest.
19
"Memory Streams"
Portico Quartet
It's been a long journey for this group to get back on track, really since their disappointing sophomore slump in 2009, but every subsequent release has been improving since then and 2017's Art in the Age of Automation had some of the group's strongest and most electronic leaning work to date. On Memory Streams, they take a surprising turn back towards their roots but continue incorporating their newfound prowess in a more ambient electronic direction. This if by far their most accessible release, but also their most experimental. If you like or want to get into jazz, don't miss this.
18
"Kiwanuka"
Michael Kiwanuka
Having built up an admirable following as a result of the success of his single "Cold Little Heart", Michael's newest release is a bridge of indie and soul music that hits the sweet spot between intimate and grandiose, where his music feels big and important but no less personal than ever. I relish the instrumental and vocal richness every time I hear this fantastic release.
17
"Titanic Rising"
Weyes Blood
Up until a week ago, I was certain this album would be in my Top 5. I adore this venture into chamber pop, the mystical aesthetics of the seemingly untethered and sweeping instrumentals, and Natalie's glorious vocals sometimes soaring sometimes haunting as a driving force behind almost every track. The lyrics too carry the same weight as on her previous folk-leaning projects, but are elevated by the watery depths of the keys and the cosmic highs of the strings. So, what convinced to place it this slightly lower? Sadly, it's the same reason that Angel Olsen's inferior All Mirrors didn't make the list at all - the production. On both albums, there's a constrained, almost sludgy quality to the mixing that leaves certain elements of the music far less distinguishable than they should be, a massive shame when the music is this good.
16
"There Existed An Addiction To Blood"
clipping.
I'm so glad I didn't skip this album. This is experimental hip hop and noise rap done to near perfection, another genuinely scary entry on this list and not a release to be taken lightly. The more you listen to it, the more little sounds and features you find hidden in the sparse but incredible soundscapes. There's so much to take in, but I've found the best way to digest it is to take a walk in the dark. "You ain't scared is you?"
15
"Trust in the Lifeforce of the Deep Mystery"
The Comet Is Coming
Calling this my favourite jazz album of the year does not quite do this band justice. The Comet Is Coming don't experiment like most musicians do, keeping the foundation familiar and building up, but instead combine the forces of their drummer, keyboardist and saxophonist in improvisions that tear down the boundaries of funk rock, psychedelia and electronic to create one of the most explosive and hard to ignore albums of 2019. I can't deny its wild, sharp brilliance and if you get on with this definitely check out the companion album The Afterlife, a record I was very close to including on this list as well.
Essential Track: Summon the Fire
14
"Nothing Great About Britain"
Slowthai
You'd think that with the increasing number of rappers discussing mental health in tandem with continuous rap tropes and flexes the genre would begin to wear thin, but instead we get an incredibly deep and relevant release that proves everyone wrong (including himself for the title of the album). Slowthai may be one of many fresh faces in the world of grime, but the uniqueness to his lyrics, flows and beats combined with the often furious, charged and intense delivery he brings to every song lets him standout as one of the best.
Essential Track: Inglorious
13
"A Small Group of Individuals"
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It may not hold the same social relevance or weight of many of my other selections, but when I fell in love with this album there was no going back. I love the variety of electropop sounds and styles, each song portraying a slightly different tone and yet acting together as a very enjoyable, crisply produced and diverse collection of accessible but emotional electronic songs.
Essential Track: Fever
12
"Between the Country"
Ian Noe
What can I say? Something old, something new is Ian's whole schtick, a schtick which works wonders as he explores themes and textures of classic indie country, framing his own experiences in that traditional storytelling way to create a very intricate and intimate picture of events through his detailed and often dreary lyrics. It's unusual for someone to arrive so fully formed on a debut and yet this year boasted many surprising turnouts for rather exceptional debuts. At a time where much of what is considered country music is this and this, I was very surprised that this won me over.
Essential Track: Letter to Madeline
11
"Requiem"
shey baba
The eponymous song came incredibly close to topping my Best Songs list, and the rest of the album isn't too far behind. The smooth blend of R&B, dreampop and bedroom pop made for one of the sweetest, most emotive and empathetic records in 2019 that I hold very close to my heart. There are some expansive, odd moments here that didn't need to elevate the already fantastic beats... but they did. These half ballads really resonate with, and the only reason it isn't higher is it's one of those situations where the front half of the record is far superior to the back half (though that's not to discredit it, the songs are still pretty great).
Essential Track: Requiem
10
"So that you might hear me"
Bear's Den
Not to say the experimentation on this album is anything unique, but it's definitely unusual for a folk act such as Bear's Den to develop their sound especially given the vast majority of their peers (The Lumineers, Mumford & Sons, Noah & the Whale) and the infuriating reluctance to develop whatsoever in terms of the sound the band presents. In fact, the artist that Bear's Den reminds me of is José González's band Junip, an indie rock act that uses synths to enhance their aesthetic and atmosphere in much the same way. In fact, for a band like this to care about their sound at all is relieving, but I'm also happy to say the writing has improved too. Perceptive, emotive, metaphoric lyrics are the focus of this album, and they are delivered in just the right amounts not to feel overcrowded or lightweight, the perfect balance. That's what makes this album so good: balance.
Essential Tracks: Crow; Fuel on the Fire; Breaker/Keeper
9
"Grey Area"
Little Simz
My relationship with rap music has evolved pretty drastically in the last few years, and last year I only had one rap album in my Best Albums list, at #9. This year at #9, Little Simz has bagged the third highest rap album on my list. I've been familiar with Simz for over 2 years now, but it was the singles leading up to Grey Area that convinced me she was someone to watch, because her very grounded grime is far and away the best British rap of the year and far more deserving of praise than the likes of Dave and even Slowthai, both of whom are incredibly talented but neither of whom were able to come out with an album as good as this one.
Essential Tracks: Venom; Selfish; Flowers
8
"Useless Coordinates"
Drahla
I was insulted by the ignorance mainstream publications and critics seemed have for punk music in 2019. There was a wide selection of phenomenal new releases, but it seemed as though they would only rave over Fontaines D.C.'s very mediocre post-punk debut that, for me at least, lacked a lot of the energy and attitude core to punk music as a whole. Not only was that a major disappointment, but it overshadowed so many other bands who got ignored by critics after they found their safe pick. Rant over, because the jazz-infused, refined yet raw sound of Drahla's Useless Coordinates is my solution to the drought of F.D.C., and my personal favourite punk album of 2019. It doesn't overstay its welcome, at just 29 minutes its the second shortest album on this list, remaining punchy, quippy and intently focused throughout its runtime without falter.
Essential Tracks: React/Revolt; Serenity; Serotonin Level
7
"Miami Memory"
Alex Cameron
I was new to Alex's music in 2019, and this album grew on me the most of any release I heard throughout the year. His singer-songwriter stylings are enhanced by clunky (for once in a good way) drum machines and blocky synths that alongside his world weary, cynical and jaded outlook on some of the more obscure social topics that he focuses on. Despite many of these heavier themes, he has an optimistic outlook characterised by the usually upbeat, major instrumentals that back him, always fittingly laden with dark, brooding sounds but put in the perfect context of saxophones, organs and even an accordian. It feels mature, but Alex hasn't lost his signature humour, and his amusing phrases are perhaps more impactful than ever before. This is a master songwriter at his current best, and I already regret excluding any songs from my Best Songs list.
Essential Tracks: Divorce; Far From Born Again; Bad for the Boys
6
"Yearning for the Infinite"
Max Cooper
The highest instrumental album on the list and a rather late entry, this is Max Cooper's fourth album and what I found to be the most engaging ambient/techno release of the year. For one thing, it's an incredibly well-structured and thought out piece that flows almost continuous all the way through with beautiful transitions. It's quite a grandiose album, at 1 hour and 17 minutes you feel its length but thankfully not as a burden; rather, I find that it very much earns this time and I'm satisfied by every listen. There is an undeniable beauty to certain tracks, but as ever I am more drawn to the more driven and chaotic moments. The peak of the album is in the midpoint, where it reaches a satisfying climax over a span of 4 central songs, and everything before and after is building up and down respectively. What amazes me about this album is how captivating even the most ambient tracks are, a testament to Cooper's production.
Essential Tracks: Penrose Tiling; Void; Scalar
5
"Charli"
Charli XCX
After years of hit-or-miss singles, mixtapes and albums, Charli is far and away her best project because of its consistency, experimentation and production. This is the boldest pop album of 2019, and the most futuristic. Going into this album, you're greeted with the guns blazing "Next Level Charli", a tidal wave of speeding fun and flexing that only works as a result of the manic production style. That's where the consistency lies - in spite of the incorporation of modern pop and rap tropes, it doesn't feel like a dependance and it seems justified by just how next level the sound of the album really is. I can't put this at #1 because it does have quite a few flaws in the writing, but I also can't exclude or undervalue just how important and insane the instrumentals are. This is en parre with some of the greatest pop albums of the decade (think Lorde's Melodrama) and yet so much more than them because of the level new ideas being presented. In the coming decade, we need more music like this.
Essential Tracks: Gone; 2099; Click
4
"Anima Mysterium"
Yugen Blakrok
This is not what I picture as being the sound of hip hop in 2019, but it's all the better for it. On the surface level, the full, dusty beats and retro, jazz rock infused stylings are far and away from the dominant sounds in rap right now. By contrast, the mainstream is full of minimal, skittering trap beats and characterised by often indistinct, more mood based flows that are nothing like Yugen's clear, forceful delivery. Until very recently, I considered this a throwback in terms of sound, but then I drew the first real comparison between this and modern rap: Atmosphere. Often the key to being a success in rap now is the atmosphere, the vibe, the tone. Whilst the atmosphere of a Yugen Blakrok song is vastly different from say a Future song, for both artists they are the most important element of their music and the easiest way to latch onto a song. As great as her lyrics are, they too are secondary to the dark, Afro-cosmic aesthetic that acts as the defining characteristic of Anima Mysterium. An album that is grounded by the sounds of the past, an album that lays its sights on outer space and the future, an album that achieves all this through a modern presentation of these elements.
Essential Tracks: Monatomic Mushroom; Gorgon Madonna; Hydra
"Morbid Stuff"
PUP
There's nothing quite like the feeling you get after a long, arduous week and just sitting down and taking a listen to PUP's Morbid Stuff. This is a pop punk band with edge, with real grit and real power in their instrumentals and songwriting. To me, in spite of the many many bands that occupy the same lane as them, PUP remain unique and somehow seem more substanceful, more relevant, more important than their peers. There's some quality they achieve, a nerve they hit, that just results in a much more, for lack of a better word, real sound. Of course, there are plenty of melodramatic, hyperbolic moments and there's no shortage of confusing metaphors but the band somehow funnel this into a relatable, relentless rally of track after track of impactful, emotional gut-punches spanning from desperately insecure to seething hatred. It's not oversold, it's overstated but justified and it has the weight of good enough writing, catchy riffs and hooks as well as engaging, guitar driven instrumentals to ensure that they stand out at every moment.
Best Tracks: Kids; Bare Hands; Full Blown Meltdown
2
"IGOR"
Tyler, the Creator
[Initiate David Attenborough voiceover] And here we have a wild Tyler in its natural habitat, his emotions, desires and motives confused and conflicted, he's really going through the motions [Deactivate voiceover].
If you aren't someone who has kept up with talk surrounding the year's best releases, perhaps this will come as a surprise to see it so high not only on my list but many music critics' lists. There's very good reason for this. First off, the background: this is a concept album surrounding what's probably a breakup, but intriguingly left open to interpretation, just as many of the topics are. Tyler is in a state of emotional breakdown, searching for a purpose but unable to move on from this person. This album explores the nitty gritty thoughts and feelings, spinning them all into beautiful soul-inflected rap songs that defy conventionality in order to achieve what has to be the best sound that he's ever produced. That's another point, his production style has obviously varied over his independent career as a consequence of his ever-shifting sound and intensity, but it's only on an album like IGOR that you can appreciate it all given the variety in the tracklist in terms of focus, intent and the resultant moods. Playing around with sound as if it were putty in his hands, Tyler is a master at manipulating elements in order to support the themes of the particular song, or even moment within songs, case and point my favourite track "A BOY IS A GUN*", in which the blending of soul and hip hop is at its best. You have to look deep with this one, or you can miss a lot of what he's saying, but for me it's well worth it.
Best Tracks: A BOY IS A GUN*; I THINK; GONE, GONE / THANK YOU
1
"Ulfilas' Alphabet"
Sundara Karma
As made clear by the fantastically striking artwork, this album is all about colours. It's a wonderfully bright and fully realised record from a band who have undergone several sonic changes already through their career, the transition between their debut and this being the greatest. I still love that first Sundara Karma album, for all its straightforward indie rock charm I'm always pleasantly surprised when I revisit it to find that, unlike so many other indie albums from around that time, it hasn't faded in the slightest. Nevertheless, it doesn't stand up to the followup. My initial impressions of this album were pretty positive, but I failed to really give it the time it deserved and as a result it was only the singles that stood out at the time. That was March, and 6 months on I decided to introduce a new series (A Changing Opinion) in order to retribute myself, as I had come not only to appreciate the deep cuts but to love the album in its entirety. Whether we're talking about the off-your-feet, swirling synths of "One Last Night On This Earth" or the firm, churning synth-rock venture that is "Rainbow Body", Sundara always have exciting ways to perform their Bowie-esque, modern glam-rock. It's nothing short of bold, it has spades of fun and literally every track has something to offer. Make no mistake, all this is beyond great, but for an album to be the best of a year (and in particular a year like 2019) it's got to say something that really resonates. Ulfilas' Alphabet does that. When they aren't explicitly and perceptively melancholic, the social unrest that the band captivates can be found in the sly irony and quirky comments throughout the record. Every song has its place, and every song has at least one extra layer of meaning behind the upbeat, extravagant performances and immaculate production. I love this band, I love this album...and perhaps that means that in some capacity, for all its problems and pains, I love 2019 - or, at least, I can find something to love in 2019, something that's helped me get through to the new year, something I'll carry with me forever. I hope you can enjoy it just as much as I do.
Best Tracks: Higher States; Illusions; Ulfilas' Alphabet; One Last Night On This Earth; Rainbow Body
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Thank you to everyone who's been following my blog and specifically these year end lists over the past month, it really means a lot. This is the penultimate Year End list, with only my Best Hits Songs remaining (but I can't do that until the Official Charts posts their full Top 100). From now on, things are basically back to normal on my blog. You'll find out about any changes as they come, there's one coming rather soon, and yeah, thanks again for reading and Happy New Year - 2020 - let's make it a good one.
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Catching Flies
I'm a sucker for any offshoot of trip hop, and the chilled Bonobo-esque electronics are a perfect evening vibe. Silver Linings may be at the bottom of this list, but make no mistake because this is more than just an idly pleasant listen.
29
"Full Circle"
Nocturnal Sunshine
Another beat-driven album, this one featuring a host of underground singers and rappers that without those beats would not sound half as good. This is music made for nighttime listening, and the dark textured instrumentals are some of the catchiest and most enticing I've heard all year.
28
"Magdalene"
FKA twigs
FKA twigs has released some of the most emotional music of the year, wrapped up in an experimental R&B package intent on updating Björk's weirdness and seamlessly blending it with generally incredibly rich and intriguing instrumentals.
27
"Cuz I Love You"
Lizzo
Exploding in technicolour, this album is refreshing, modern and engaging R&B and it's no wonder Lizzo took over this year. It's just a shame that it tended to be her older singles gaining more traction and not the absolute powerhouses on this album. Its biggest strength is its biggest weakness, as every song here sounds as though it could be a single, making for an epic but inconsistent listen. Lizzo has her theatrics down to a T, but her themes could benefit from a lot more links.
26
"ZUU"
Denzel Curry
After the dark SoundCloud rap of TABOO, Denzel brings out his most straight forward project to date. This is quite simply a collection of fun, high energy bangers delivered with Denzel's usual intensity. It's fast, it's tight, and it's all achieved in under half an hour.
25
"Lost Girls"
Bat for Lashes
Behind the glossy, 80s-indulgent synthfunk exterior, Natasha Khan's newest album hides a whole lot of emotional weight. Over the course of the tracklist, you're swept of your feet and plunged headfirst into Natasha's experiences with the rawest and most desperate of emotions. On Lost Girls, although love is the primary topic there is a deeper rooted anxiety and scepticism that throws everything slightly out of balance, hanging a disconcerting feeling of melancholy over this album.
24
"Hi This Is Flume"
Flume
For an artist as preoccupied with the "wonky" subgenre as Flume is, it's no wonder he finally made a whole mixtape dedicated to exploring the sound. Flume deconstructs club, trap and electronic music in such a manic and confrontational way, if you can stand the attitude of the music it's unignorable. His manipulation of sound is taken to extremes, making this easily his most bold and essential listen to date.
23
"The Origin Of My Depression"
Uboa
This is more of an experience than an album, a heavy industrial-ambient record that explores the torment Uboa has had to experience as a trans woman. It is by far the scariest and most unsettling music of the year, disorienting and mind-boggling, a truly unique sound that leaves me both in awe and in shock.
22
"Norman F***ing Rockwell"
Lana Del Rey
There is no denying that this album is critic bait. Working with superproducer Jack Antonoff, Lana has achieved a windswept desert rock aesthetic that immediately sounds a whole lot better than anything she's put out before. It goes so much deeper than that. Her writing is unquestionably the most self-aware, honest and emotional it's ever been. The arrangements are gorgeous, lush and melancholic, backed by sparse, dusty trip-hop beats. This is Lana's best album.
21
"Schlagenheim"
black midi
This young band's knack for sonic exploration is what keeps them fresh and sets them far apart from their peers. They draw from styles of the past, from post-punk to math and noise rock. What makes this amalgamation of sounds so intriguing is the manic, frantic way they blur and mesh together. As I put it in my brief review, the formless bombast is intoxicating and I'm stoked to see what they do next.
20
"FIBS"
Anna Meredith
In the summer, I was rather concerned with how few really exceptional electronic releases I'd heard over the course of the year. By contrast, the last few months of the year were ripe with great electronic releases and this was among the best and weirdest.
19
"Memory Streams"
Portico Quartet
It's been a long journey for this group to get back on track, really since their disappointing sophomore slump in 2009, but every subsequent release has been improving since then and 2017's Art in the Age of Automation had some of the group's strongest and most electronic leaning work to date. On Memory Streams, they take a surprising turn back towards their roots but continue incorporating their newfound prowess in a more ambient electronic direction. This if by far their most accessible release, but also their most experimental. If you like or want to get into jazz, don't miss this.
18
"Kiwanuka"
Michael Kiwanuka
Having built up an admirable following as a result of the success of his single "Cold Little Heart", Michael's newest release is a bridge of indie and soul music that hits the sweet spot between intimate and grandiose, where his music feels big and important but no less personal than ever. I relish the instrumental and vocal richness every time I hear this fantastic release.
17
"Titanic Rising"
Weyes Blood
Up until a week ago, I was certain this album would be in my Top 5. I adore this venture into chamber pop, the mystical aesthetics of the seemingly untethered and sweeping instrumentals, and Natalie's glorious vocals sometimes soaring sometimes haunting as a driving force behind almost every track. The lyrics too carry the same weight as on her previous folk-leaning projects, but are elevated by the watery depths of the keys and the cosmic highs of the strings. So, what convinced to place it this slightly lower? Sadly, it's the same reason that Angel Olsen's inferior All Mirrors didn't make the list at all - the production. On both albums, there's a constrained, almost sludgy quality to the mixing that leaves certain elements of the music far less distinguishable than they should be, a massive shame when the music is this good.
16
"There Existed An Addiction To Blood"
clipping.
I'm so glad I didn't skip this album. This is experimental hip hop and noise rap done to near perfection, another genuinely scary entry on this list and not a release to be taken lightly. The more you listen to it, the more little sounds and features you find hidden in the sparse but incredible soundscapes. There's so much to take in, but I've found the best way to digest it is to take a walk in the dark. "You ain't scared is you?"
15
"Trust in the Lifeforce of the Deep Mystery"
The Comet Is Coming
Calling this my favourite jazz album of the year does not quite do this band justice. The Comet Is Coming don't experiment like most musicians do, keeping the foundation familiar and building up, but instead combine the forces of their drummer, keyboardist and saxophonist in improvisions that tear down the boundaries of funk rock, psychedelia and electronic to create one of the most explosive and hard to ignore albums of 2019. I can't deny its wild, sharp brilliance and if you get on with this definitely check out the companion album The Afterlife, a record I was very close to including on this list as well.
Essential Track: Summon the Fire
14
"Nothing Great About Britain"
Slowthai
You'd think that with the increasing number of rappers discussing mental health in tandem with continuous rap tropes and flexes the genre would begin to wear thin, but instead we get an incredibly deep and relevant release that proves everyone wrong (including himself for the title of the album). Slowthai may be one of many fresh faces in the world of grime, but the uniqueness to his lyrics, flows and beats combined with the often furious, charged and intense delivery he brings to every song lets him standout as one of the best.
Essential Track: Inglorious
13
"A Small Group of Individuals"
CUT_
It may not hold the same social relevance or weight of many of my other selections, but when I fell in love with this album there was no going back. I love the variety of electropop sounds and styles, each song portraying a slightly different tone and yet acting together as a very enjoyable, crisply produced and diverse collection of accessible but emotional electronic songs.
Essential Track: Fever
12
"Between the Country"
Ian Noe
What can I say? Something old, something new is Ian's whole schtick, a schtick which works wonders as he explores themes and textures of classic indie country, framing his own experiences in that traditional storytelling way to create a very intricate and intimate picture of events through his detailed and often dreary lyrics. It's unusual for someone to arrive so fully formed on a debut and yet this year boasted many surprising turnouts for rather exceptional debuts. At a time where much of what is considered country music is this and this, I was very surprised that this won me over.
Essential Track: Letter to Madeline
11
"Requiem"
shey baba
The eponymous song came incredibly close to topping my Best Songs list, and the rest of the album isn't too far behind. The smooth blend of R&B, dreampop and bedroom pop made for one of the sweetest, most emotive and empathetic records in 2019 that I hold very close to my heart. There are some expansive, odd moments here that didn't need to elevate the already fantastic beats... but they did. These half ballads really resonate with, and the only reason it isn't higher is it's one of those situations where the front half of the record is far superior to the back half (though that's not to discredit it, the songs are still pretty great).
Essential Track: Requiem
10
"So that you might hear me"
Bear's Den
Not to say the experimentation on this album is anything unique, but it's definitely unusual for a folk act such as Bear's Den to develop their sound especially given the vast majority of their peers (The Lumineers, Mumford & Sons, Noah & the Whale) and the infuriating reluctance to develop whatsoever in terms of the sound the band presents. In fact, the artist that Bear's Den reminds me of is José González's band Junip, an indie rock act that uses synths to enhance their aesthetic and atmosphere in much the same way. In fact, for a band like this to care about their sound at all is relieving, but I'm also happy to say the writing has improved too. Perceptive, emotive, metaphoric lyrics are the focus of this album, and they are delivered in just the right amounts not to feel overcrowded or lightweight, the perfect balance. That's what makes this album so good: balance.
Essential Tracks: Crow; Fuel on the Fire; Breaker/Keeper
9
"Grey Area"
Little Simz
My relationship with rap music has evolved pretty drastically in the last few years, and last year I only had one rap album in my Best Albums list, at #9. This year at #9, Little Simz has bagged the third highest rap album on my list. I've been familiar with Simz for over 2 years now, but it was the singles leading up to Grey Area that convinced me she was someone to watch, because her very grounded grime is far and away the best British rap of the year and far more deserving of praise than the likes of Dave and even Slowthai, both of whom are incredibly talented but neither of whom were able to come out with an album as good as this one.
Essential Tracks: Venom; Selfish; Flowers
8
"Useless Coordinates"
Drahla
I was insulted by the ignorance mainstream publications and critics seemed have for punk music in 2019. There was a wide selection of phenomenal new releases, but it seemed as though they would only rave over Fontaines D.C.'s very mediocre post-punk debut that, for me at least, lacked a lot of the energy and attitude core to punk music as a whole. Not only was that a major disappointment, but it overshadowed so many other bands who got ignored by critics after they found their safe pick. Rant over, because the jazz-infused, refined yet raw sound of Drahla's Useless Coordinates is my solution to the drought of F.D.C., and my personal favourite punk album of 2019. It doesn't overstay its welcome, at just 29 minutes its the second shortest album on this list, remaining punchy, quippy and intently focused throughout its runtime without falter.
Essential Tracks: React/Revolt; Serenity; Serotonin Level
7
"Miami Memory"
Alex Cameron
I was new to Alex's music in 2019, and this album grew on me the most of any release I heard throughout the year. His singer-songwriter stylings are enhanced by clunky (for once in a good way) drum machines and blocky synths that alongside his world weary, cynical and jaded outlook on some of the more obscure social topics that he focuses on. Despite many of these heavier themes, he has an optimistic outlook characterised by the usually upbeat, major instrumentals that back him, always fittingly laden with dark, brooding sounds but put in the perfect context of saxophones, organs and even an accordian. It feels mature, but Alex hasn't lost his signature humour, and his amusing phrases are perhaps more impactful than ever before. This is a master songwriter at his current best, and I already regret excluding any songs from my Best Songs list.
Essential Tracks: Divorce; Far From Born Again; Bad for the Boys
6
"Yearning for the Infinite"
Max Cooper
The highest instrumental album on the list and a rather late entry, this is Max Cooper's fourth album and what I found to be the most engaging ambient/techno release of the year. For one thing, it's an incredibly well-structured and thought out piece that flows almost continuous all the way through with beautiful transitions. It's quite a grandiose album, at 1 hour and 17 minutes you feel its length but thankfully not as a burden; rather, I find that it very much earns this time and I'm satisfied by every listen. There is an undeniable beauty to certain tracks, but as ever I am more drawn to the more driven and chaotic moments. The peak of the album is in the midpoint, where it reaches a satisfying climax over a span of 4 central songs, and everything before and after is building up and down respectively. What amazes me about this album is how captivating even the most ambient tracks are, a testament to Cooper's production.
Essential Tracks: Penrose Tiling; Void; Scalar
5
"Charli"
Charli XCX
After years of hit-or-miss singles, mixtapes and albums, Charli is far and away her best project because of its consistency, experimentation and production. This is the boldest pop album of 2019, and the most futuristic. Going into this album, you're greeted with the guns blazing "Next Level Charli", a tidal wave of speeding fun and flexing that only works as a result of the manic production style. That's where the consistency lies - in spite of the incorporation of modern pop and rap tropes, it doesn't feel like a dependance and it seems justified by just how next level the sound of the album really is. I can't put this at #1 because it does have quite a few flaws in the writing, but I also can't exclude or undervalue just how important and insane the instrumentals are. This is en parre with some of the greatest pop albums of the decade (think Lorde's Melodrama) and yet so much more than them because of the level new ideas being presented. In the coming decade, we need more music like this.
Essential Tracks: Gone; 2099; Click
4
"Anima Mysterium"
Yugen Blakrok
This is not what I picture as being the sound of hip hop in 2019, but it's all the better for it. On the surface level, the full, dusty beats and retro, jazz rock infused stylings are far and away from the dominant sounds in rap right now. By contrast, the mainstream is full of minimal, skittering trap beats and characterised by often indistinct, more mood based flows that are nothing like Yugen's clear, forceful delivery. Until very recently, I considered this a throwback in terms of sound, but then I drew the first real comparison between this and modern rap: Atmosphere. Often the key to being a success in rap now is the atmosphere, the vibe, the tone. Whilst the atmosphere of a Yugen Blakrok song is vastly different from say a Future song, for both artists they are the most important element of their music and the easiest way to latch onto a song. As great as her lyrics are, they too are secondary to the dark, Afro-cosmic aesthetic that acts as the defining characteristic of Anima Mysterium. An album that is grounded by the sounds of the past, an album that lays its sights on outer space and the future, an album that achieves all this through a modern presentation of these elements.
Essential Tracks: Monatomic Mushroom; Gorgon Madonna; Hydra
"Morbid Stuff"
PUP
There's nothing quite like the feeling you get after a long, arduous week and just sitting down and taking a listen to PUP's Morbid Stuff. This is a pop punk band with edge, with real grit and real power in their instrumentals and songwriting. To me, in spite of the many many bands that occupy the same lane as them, PUP remain unique and somehow seem more substanceful, more relevant, more important than their peers. There's some quality they achieve, a nerve they hit, that just results in a much more, for lack of a better word, real sound. Of course, there are plenty of melodramatic, hyperbolic moments and there's no shortage of confusing metaphors but the band somehow funnel this into a relatable, relentless rally of track after track of impactful, emotional gut-punches spanning from desperately insecure to seething hatred. It's not oversold, it's overstated but justified and it has the weight of good enough writing, catchy riffs and hooks as well as engaging, guitar driven instrumentals to ensure that they stand out at every moment.
Best Tracks: Kids; Bare Hands; Full Blown Meltdown
2
"IGOR"
Tyler, the Creator
[Initiate David Attenborough voiceover] And here we have a wild Tyler in its natural habitat, his emotions, desires and motives confused and conflicted, he's really going through the motions [Deactivate voiceover].
If you aren't someone who has kept up with talk surrounding the year's best releases, perhaps this will come as a surprise to see it so high not only on my list but many music critics' lists. There's very good reason for this. First off, the background: this is a concept album surrounding what's probably a breakup, but intriguingly left open to interpretation, just as many of the topics are. Tyler is in a state of emotional breakdown, searching for a purpose but unable to move on from this person. This album explores the nitty gritty thoughts and feelings, spinning them all into beautiful soul-inflected rap songs that defy conventionality in order to achieve what has to be the best sound that he's ever produced. That's another point, his production style has obviously varied over his independent career as a consequence of his ever-shifting sound and intensity, but it's only on an album like IGOR that you can appreciate it all given the variety in the tracklist in terms of focus, intent and the resultant moods. Playing around with sound as if it were putty in his hands, Tyler is a master at manipulating elements in order to support the themes of the particular song, or even moment within songs, case and point my favourite track "A BOY IS A GUN*", in which the blending of soul and hip hop is at its best. You have to look deep with this one, or you can miss a lot of what he's saying, but for me it's well worth it.
Best Tracks: A BOY IS A GUN*; I THINK; GONE, GONE / THANK YOU
1
"Ulfilas' Alphabet"
Sundara Karma
As made clear by the fantastically striking artwork, this album is all about colours. It's a wonderfully bright and fully realised record from a band who have undergone several sonic changes already through their career, the transition between their debut and this being the greatest. I still love that first Sundara Karma album, for all its straightforward indie rock charm I'm always pleasantly surprised when I revisit it to find that, unlike so many other indie albums from around that time, it hasn't faded in the slightest. Nevertheless, it doesn't stand up to the followup. My initial impressions of this album were pretty positive, but I failed to really give it the time it deserved and as a result it was only the singles that stood out at the time. That was March, and 6 months on I decided to introduce a new series (A Changing Opinion) in order to retribute myself, as I had come not only to appreciate the deep cuts but to love the album in its entirety. Whether we're talking about the off-your-feet, swirling synths of "One Last Night On This Earth" or the firm, churning synth-rock venture that is "Rainbow Body", Sundara always have exciting ways to perform their Bowie-esque, modern glam-rock. It's nothing short of bold, it has spades of fun and literally every track has something to offer. Make no mistake, all this is beyond great, but for an album to be the best of a year (and in particular a year like 2019) it's got to say something that really resonates. Ulfilas' Alphabet does that. When they aren't explicitly and perceptively melancholic, the social unrest that the band captivates can be found in the sly irony and quirky comments throughout the record. Every song has its place, and every song has at least one extra layer of meaning behind the upbeat, extravagant performances and immaculate production. I love this band, I love this album...and perhaps that means that in some capacity, for all its problems and pains, I love 2019 - or, at least, I can find something to love in 2019, something that's helped me get through to the new year, something I'll carry with me forever. I hope you can enjoy it just as much as I do.
Best Tracks: Higher States; Illusions; Ulfilas' Alphabet; One Last Night On This Earth; Rainbow Body
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Thank you to everyone who's been following my blog and specifically these year end lists over the past month, it really means a lot. This is the penultimate Year End list, with only my Best Hits Songs remaining (but I can't do that until the Official Charts posts their full Top 100). From now on, things are basically back to normal on my blog. You'll find out about any changes as they come, there's one coming rather soon, and yeah, thanks again for reading and Happy New Year - 2020 - let's make it a good one.
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