Top 20 Albums of 2019
20. Taylor Swift, Lover
From the ashes of Reputation, Taylor Swift rose with a record full of bubbly, fun pop hits. The first single to come off this album, “ME!,” was just too much. It seemed like the bad girl cringe that populated all of Reputation was going to continue on this next album. “ME!” was the exception not the norm to Lover. The album is filled with the most interesting production of Taylor Swift’s career. Songs like “Cruel Summer” (produced by St. Vincent) and “False God” show the potential that Taylor holds for more interesting music in the pop sphere. The hooks also reminisce of Red era pop power. Songs like “Paper Rings” and “You Need to Calm Down” represent this fact. While her lyrics are somewhat lackluster (except for the title track), the production and the great hooks make the album a great bubbly listen.
Standouts: Lover, False God, You Need To Calm Down
19. Lizzo, Cuz I Love You
While Lizzo has been active for over a decade, in 2019 Lizzo exploded onto the popular music scene. -While many of the characteristics that Lizzo possesses musically are pretty commonplace in the female hip-hop space, the unabashed confidence and attitude are what pushed kids all over the world to lip sync to “Truth Hurts” on tik tok and make Lizzo a star. Cuz I Love You is filled to the brim with this confidence and body-positivity. Included is also great production on tracks like “Cuz I Love You",” “Juice,” and “Jerome.” The storm of popularity that encompassed Lizzo this year was hard to avoid and the world of music was made better because of this.
Standouts: Cuz I Love You, Juice, Jerome
18. Clairo, Immunity
2019 was a year punctured by a sharp escalation of a generational war that although memes were the main arena of battle, the breakout of two gen z stars (Clairo and Billie Eilish) was another arena for this battle. While Billie gained a gigantic spotlight with her ASMResque vocals and interesting production style, Clairo also pushed the style of whispery vocals into a different direction. Clairo took this sound into a more laid back, “lo-fi hip-hop beats to study to” direction that is characterized by sparse, but punctuated production and beautifully haunting vocals. If you look at Immunity on Apple Music you can see two videos that Clairo shot on her phone talking about the album. It is this level of authenticity that gen z kids are bringing to the table that makes them so easy to empathize with and become superstars.
Standouts: Impossible, Bags, Softly
17. Brittany Howard, Jaime
The Alabama Shakes front woman, Brittany Howard, went solo in 2019 creating a beautifully personal album, Jaime. Dedicated to Howard’s sister who died from an illness as an early teen, Jaime takes the mountain of a voice that Howard used in her time in Alabama Shakes to knew, more intimate heights. Songs like “Georgia” and “Stay High” bring us closer to the religion and other interest that may have got lost in translation in her time with Alabama Shakes. This intimacy combined with the outstanding blending of grassroots, gospel, and rock that Howard achieves makes Jaime and wonderful album.
Standouts: History Repeats, Georgia, 13th Century Metal
16. Thom Yorke, ANIMA
The Radiohead front-man remains forever busy between Radiohead, his composing for films like Suspiria, and his solo work. ANIMA is the maturation of many of Thom Yorke’s eclectic electronic ideas that were in their infancy on albums like his last solo work, Tomorrows Modern Boxes, or his work with super-group, Atoms For Peace. While his own influence is very apparent there are artifacts that appear throughout Radiohead projects that can further pinpoint his exact contributions to the band. The creepy children yelling “yea!” in the song “Twist” and the crestfallen lyrics in “Dawn Chorus” point to his Radiohead core. ANIMA shows that there is no slowing down the creative power of Thom Yorke.
Standouts: Traffic, Twist, Dawn Chorus
15. Sleater-Kinney, The Center Won’t Hold
After Sleater-Kinney’s comeback in 2015 with No Cities to Love, the momentum that the band was running with seemed unbounded. This was punctuated with the release in 2019 of The Center Won’t Hold, the last album to include the bands longtime drummer, Janet Weiss. This departure came as a surprise because of the success and momentum that the band had been building. Nonetheless, The Center Won’t Hold, is a testament to the experience that the band has in the pop-punk sphere. The wonderful, hard-hitting production (again courtesy of St. Vincent) brings the Sleater-Kinney sound a bit of modernization. Above all Sleater-Kinney represents a pillar of female voice in the pop-punk sphere that is irreplaceable.
Standouts: The Center Won’t Hold, Hurry On Home, Can I Go On
14. Panda Bear, A Day With the Homies (Digital Mix)
There’s a lot wrong with this. A Day With the Homies was a vinyl only EP release by Pandar Bear in 2018 (he also released an album in 2019), but the “digital mixes” were released in a standard, tweaked format late this year. So whatever, I love the sound that this relatively tiny EP has to offer and Panda Bear is one of my favorite artist. Sounds is an apt description of why music like A Day With the Homies is interesting. The singing is a somewhat melodic standard but the electronics are more against the grain. It is this chaffing of the status quo that really is interesting and the fact that Panda Bear is able to interwove this sound with happy-go-lucky chill vocals is what is very compelling about A Day with the Homies and other works.
Standouts: Flight, Part of the Math, Nod to the Folks
13. Big Thief, U.F.O.F
I think U.F.O.F stands for unidentified flying object friend but either way this album is a thing of beauty (as I imagine a U.F.O.F is). Big Thief had a big year releasing two great albums, but it was U.F.O.F that crushed our emotions more. The indie group has built a career around their very emotional minimalist art pieces and this has gestated into more complete albums year by year. 2017’s Capacity was a stellar and gripping display of storytelling that was drastically intimate. In 2019, U.F.O.F stands as more of a classic rock concept album than a story. The emotional punch is still there, it just remains buried under more layers of subtext than normal.
Standouts: Cattails, Orange, Magic Dealer
12. Vampire Weekend, Father of the Bride
It took some getting used to. Vampire Weekend has a very different sound on Father of the Bride. The result of longtime band member Rostam Batmanglij leaving to pursue solo projects, this shift in sound from the densely produced Modern Vampires of the City, to the more jam-oriented high indie that is found on FOTB is stark. Frontman Ezra Koenig has always been the lyrical chops of the band and it is apparent on this record as the laid back jam style is very focused on the story. Despite this, there is some remnants of Batmanlij’s ideas and style (he worked very sparsely on this album). Vampire Weekend remains a integral part of modern indie-rock but Father of the Bride signaled that they may have just turned from the Smiths to the Jimmy Buffet.
Standouts: Harmony Hall, Sympathy. Sunflower
11. Charli XCX, Charli
Far from the bombastic pop songs like “Fancy” and “Boom Clap” that made her famous, Charli is Charli XCX on the cutting edge. Acting like a Kanye West-type Charli XCX elects to play the orchestra recruiting popular artists like Lizzo and Troye Sivan in her latest record. She is able to remarkably strike a balance with catchy pop refrains and incredibly glitchy metallic sounds. “Gone” with Christine and the Queens is the shining example of this. Filed with an irresistible hook, “Gone” presents some of the most interesting and innovating production of any pop song this year. Charli XCX represents the future of pop in every sense of the word and Charli represents this forward looking mentality.
Standouts: Gone, 1999, White Mercedes
10. Ariana Grande, thank u, next
Ariana Grande was the most popular female streaming artist in 2019 with a mind boggling 79 billion streams (on Spotify alone). This was done by continuing the momentum of her stellar 2018 with the release of thank u, next. A physical next in the sense of her album chronology but a mental next in the sense of the next chapter of Grande’s life. From the traumatic 2018, thank u, next pulls no emotional punches presenting an album that is darker and denser than Sweetener. Grande also dips into some more interesting production with songs like “fake smile.” thank u, next affirms Grande’s starpower while being more intimate than ever.
Standouts: imagine, NASA, fake smile
9. Purple Mountains, Purple Mountains
Silver Jews frontman David Berman attempted a comeback after a ten year hiatus with the album and band Purple Mountains. Sadly the miraculous indie comeback story was cut short by Berman’s passing. Purple Mountains is a lush album in the sense of mood and lyrics. Berman was a talented lyricists while in Silver Jews and this shone through on Purple Mountains. Specifically he was able to convey a vast amount of deep emotions on almost every track off the album. Purple Mountains is not exactly a depressing album in the sense because many of these topics that Berman tackles are shrouded in an upbeat mood. Without the lyrics, “All My Happiness is Gone” becomes an slow upbeat jam. This points to an uneasiness about expressing emotions or the fact that Berman might not want to make an outwardly depressing album. Nevertheless, it seems that we get to peak inside the mind of a tortured genius towards the twilight of his life.
Standouts: That’s Just The Way That I Fell, All My Happiness is Gone, Snow is Falling In Manhattan
8. Karen O & Danger Mouse, Lux Prima
Seemingly flying under the radar of most, the Karen O (of Yeah Yeah Yeah’s fame) and Danger Mouse project Lux Prima is a creative journey. While neither artist is in their respective primes, they end up creating a unique blend of avant-pop and rock (reflecting the two styles of each artist) that tells a fascinating musical story. The production by Danger Mouse creates such a rich atmosphere with a rock-opera aesthetic reminiscent of Queen’s Flash Gordan soundtrack. Karen O punctuates these soundscapes with moments of pure rock. Songs like “Woman” and “Turn the Light.” While the two styles and sounds are somewhat at odds with each other, the two artists find an absolute harmony where both sets of ideas can flourish.
Standouts: Lux Prima, Turn the Light, Woman
7. FKA Twigs, MAGDALENE
In 2014 there was a enormous amount of hype for FKA Twig’s debut album LP1. And while “Two Weeks” is a great song, I felt like the album didn’t live up to the large expectations. As a result, when FKA Twigs announced MAGDALENE I was skeptical at best. The project did not disappoint. MAGDALENE has some of the most beautifully haunting production of any album in 2019. Straight from the start “thousand eyes” confronts you with somewhat uncomfortable sounds but FKA Twigs incredible voice coupled with the eclectic mood created makes it seem almost comforting after a few listens. This album as a whole can be likened to the album art in a sort of idiosyncratic way. FKA Twigs famously uses her likeness as the canvas for here album artwork and this is no exception. The distorted images is off-putting at first but once you focus and take a closer look, the artwork is stylized like a painting and all those weird imperfections actually contribute to its beauty. Much in the same, every song on MAGDALENE is represented by this haunting beauty and it further establishes FKA Twigs as a true artist.
Standouts: sad day, fallen alien, cellophane
6. Sharon Van Etten, Remind Me Tomorrow
For a long time Sharon Van Etten has occupied a softer darker production style with a singer songwriting such as on “Every Time the Sun Comes Up.” On Remind Me Tomorrow, Van Etten tweaked her production style to a more synthy 80’s inspired sound. This is a somewhat popular trend for pop and indie stars (marked at a high point by Lorde’s Melodrama) but for Van Etten she blends these sounds aesthetically and it seems to fit in with her agenda. From the album artwork and crushing songs like “Seventeen,” we get the sense that Remind Me Tomorrow is a throwback of sorts in body and in music. The first single off the album, “Comeback Kid” captured this childlike story and feeling while exploding with synthy drums. The blending of styles can be seen in the climatic “Seventeen.” A tear jerker as well as a stadium banger, this song incorporates some of Van Etten’s best songwriting with punchy, in your face instrumentation. Remind Me Tomorrow shows Sharon Van Etten trying and succeeding at something new.
Standouts: No One’s Easy to Love, Comeback Kid, Seventeen
5. Angel Olsen, All Mirrors
In 2016, Angel Olsen showed that she had a fiery resolve the likes of Mick Jagger and the outstanding glass breaking power of Liz Phair. In 2019, she added to her repertoire and showed that she was capable of producing an album that felt like the soundtrack to a Sci-Fi opera. Throughout All Mirrors, Angel Olsen still comes at you with belting vocals but now the instrumentation is taken in a different direction. Instead of the indie rock that populated 2016’s My Woman, vibrant operatic strings and synths fill the void. Olsen even modulates her voice to almost harmonize with the synths and create a deep metallic sound that resonates and fills your head. The sound is so unique and brings a different perspective to Angel Olsen’s voice and songwriting. All Mirrors feels like it is simultaneously from 2001: A Space Odyssey and Lost in Translation and Olsen further solidifies her creative genius.
Standouts: Lark, All Mirrors, Spring
4. Weyes Blood, Titanic Rising
It is difficult to pinpoint exactly what genre of music Weyes Blood’s Titanic Rising falls under. It is so unique in the overall sound that flows throughout the entire album. The mood created is described pretty clearly by the album artwork as the sound is almost very slow, melodic and shimmering. Weyes Blood capitalizes on the growing trend in coming of age movies where the protagonist goes through some very emotional under water montage. This is exactly the music that SHOULD be playing during those scenes. Spacey, yet powerful, it is not exactly fair to pigeonhole these songs into a category like this. There is quite a wide variety of sounds on the album. “Everyday” contains a very “A Day in the Life” piano, while “Movies” contains a synth melody that would put Stranger Things to shame. It is such a skill to create an overarching sound but also play with different styles on each song and Weyes Blood has perfected this skill on Titanic Rising.
Standouts: A Lot’s Gonna Change, Everyday, Movies
3. Billie Eilish, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?
Aside from Lizzo, Billie Eilish was the another artist that enjoyed a meteoric rise in 2019. The 18 year old represents generation z in a way that no other artist has (see the multiple Office samples in “my strange addiction”). At first, I found songs like “bad guy” cheesy. I found the lyrics cringey as hell and the high hats at the end of the song too reminiscent of Migos. For a minute I felt old. I truly didn’t understand anything this girl was saying but listening deeper into the album I started to see the light. Eilish’s singing style is like no others. Aggressive yet soft, and quiet yet hard hitting she is able to access such a wide range of emotions while simultaneously sounding like hundreds of ASMR streamers. Eilish’s dichotomy of aggression and mellow her truly high highs and rock bottom lows seems to make her extremely relatable and authentic to the kids. This bleeds into her public persona and why I fell she has gained so much traction in the past year. Billie Eilish truly represents what the future of popular music is shaping up to be and we all just have to patiently wait for her next move.
Standouts: bad guy, bury a friend, i love you
2. Lana Del Rey, Norman F*****g Rockwell
Lana Del Rey captured the zeitgeist with tracks like “Summertime Sadness” and “Video Games” but recently she has been in a bit of a slump. 2017’s Lust for Life and 2015’s Honeymoon were alright albums but couldn’t really hold a candle to Born to Die. Just the cover of Norman F*****g Rockwell sees Lana talking a departure from her normal sad-girl-by-a-car (except the happy-girl-by-a-car of Lust for Life) to artwork that is literally reaching out to you to come on an adventure. “God damn man-child” is quite the way to start an album. These first few moments of the album are a microcosm for the albums music and themes. Norman F*****g Rockwell is Lana coming to terms with her musical endeavors. For much of her careers Lana has almost been a caricature of a tortured American celebrity Marilyn Monroe type. Celebrating the beach, fast cars, California, etc. Norman Rockwell famously painted vaguely mundane scenes that were emblematic of the American dream. It seems that Lana is trying to loosen the mold that she has created for herself as a perpetrator of the American dream with the title and opening line being an attack on Norman Rockwell-eque men. She still sings about California and the like but with a new feminine reverence and perspective and as a result, Lana creates an updated identity for herself that is more complex and more fulfilling.
Standouts: Norman f*****g Rockwell, Venice Bitch, The greatest
Tyler, The Creator, IGOR
With 2017’s Flower Boy, Tyler, The Creator vastly changed his deeply grungy lo-fi style into a very polished and glammy pop-rap one. At the ire of many of his hardcore fans, this change was welcomed with somewhat mixed reviews as many felt Tyler was selling out and changing what made him unique (I disagreed). IGOR sonically feels like a response to these disagreements. The album beautifully blends the grime of older Tyler material and the more sparkly sound of Flower Boy. The album artwork seems to mimic this musical style as the millennial pink represents the glam of songs like “I THINK” and “ARE WE STILL FRIENDS” while the ghoulish figure of Tyler represents the grime like on “NEW MAGIC WAND” and “WHAT’S GOOD.”
While the production style is a fantastic blend of Tyler, The Creators influences and previous works, what makes IGOR so special is the story created by the songwriting. IGOR is a classic breakup album in every sense of the word. A complete story starts with our introduction of Igor (who is seen as a monster figure) in “IGOR’S THEME.” After this introduction, we immediately are introduced to Igor’s love in “EARFQUAKE.” The album is spent chronicling the rise and fall of this relationship. The highs of “NEW MAGIC WAND” and “A BOY IS A GUN” are brought to a ceremonious close with the breakup of the relationship and “I DON’T LOVE YOU ANYMORE.” Igor seems to go through stages of grief on both “GONE, GONE/THANK YOU,” and “ARE WE STILL FRIENDS.” The storytelling combined with the maturation of Tyler, The Creator’s sound makes IGOR the most complete and stunning album of 2019.
Standouts: EARFQUAKE, GONE GONE/THANK YOU, ARE WE STILL FRIENDS
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