OK, this is NOT one of my big-ass surveys of this or that year. I don't think that it is really feasible to do for the current year. Part of what makes an album really great is its longevity. Some of these albums I have had for a few weeks. Hardly long enough to make a good judgement, no? This year I have bought 30 albums - hardly a proper estimate of a year's worth of music. If I ever do my usual blog post on 2019, it'll be many years hence, and I'll probably have bought a bunch more releases from this year by then.
So anyway, here's my round-up of the year - make of it what you will. Please make recommendations if you like or if you think I've missed something. At some point in the future, I promise I'll get around to them.
The Top Ten is numbered at the top. After that, the rest; for the truly committed.
10.
Big Thief - U.F.O.F..
This was Big Thief's first of two albums from 2019. Two albums in a year feels like showing off, especially when they are both this good. People seem to pick a favourite; Two Hands is rawer, less structured, and has the amazing track 'Not'; but I prefer this one, which is more produced, polished and downright weirder. It slips in like gentle American indie-folk (think Mark Kozelek), and then adds (mostly) subtle Espers or Comets on Fire touches. What impresses is the sureness of touch. Nothing is too much or too little; there's a lot of control here. Most importantly, every song is killer.
9.
Lizzo - Cuz I Love You.
I've picked up a few pure pop albums this year and all of them are, at worst, fine. Not one of them lays a finger on this, though. Every track is hooky as all hell, fun, catchy and cool. There are 16 tracks and not one fails and outstays its welcome. It may not be big or clever but Lizzo will rock your party if you let her.
8.
Michael Kiwanuka - Kiwanuka.
This is some good shit. Kiwanuka's albums have been getting better and better and this one is awesome. He's channelling a raw, early 70s, funky soul feeling. It's deep, soulful, and hooky.
7.
Nilüfer Yanya - Miss Universe.
Some records cover a lot of ground stylistically in such a way that it leads you to suspect that the artist or band haven't quite figured out yet who they are. Some other records, like this one, are similar but they suggest a different conclusion - this is an artist or band that simply aren't going to get pinned down like that. I've been listening to this album a few times lately trying to find the words to explain why I like it and why I think it is one of the best albums I have heard this year, and I am struggling. Stylistically, as I say, it covers a lot of ground: it begins in a pretty standard indie-rock kind of way (Bella suggests 90s), but as it goes it shifts through dream pop and sophisti-pop and even rubs shoulders with elements of leftfield r'n'b. I don't know. All I can say is that I bought this in February and it has consistently grown on me since. I saw her play at Primavera and that confirmed that it was something special. The fact that it has ear-wormed itself into Bella's consciousness too is interesting too (we don't always see eye-to-eye). It does lag a touch towards the end and I can live without the interludes, but all the same, I recommend it very highly.
6.
FKA Twigs - Magdelene.
Frankly, it took me a while to get FKA Twigs. I think that the penny only finally dropped when I saw her live this year. It is a brand of complex art-pop that rests precariously against the precious. On my first few listens, I swung back and forth between being utterly enthralled and mildly irritated. As time has passed, there's been more of the former and less of the latter. The wealth of ideas, tones and textures is consistently impressive and Tahliah Barnett is an incredible singer, projecting an intimacy in the midst of sometimes overpowering, crushing sonic arrays.
(As an aside, I would massively recommend seeing FKA Twigs live if you get the chance. She conceives this music very much in the context of a performance and hers was one of the most fully realised performances that I ever remember seeing.)
5.
Sudan Archives - Athena
Art-pop with a R'n'B sensibility, or R'nB with an art-pop sensibility. Don't know, don't care - I love this. This is possibly the most obscure item on my list, so a brief intro - Brittany Parks, a.k.a, Sudan Archives, inspired by Sudanese traditional music, self-taught violinist, made a small splash 'round these parts with her two Stones Throw released EPs, and the magnificent Come Meh Way. Athena is her debut album. Sultry R'n'B with intriguing use of violins, both plucked and bowed, coupled with gorgeous, satin-y melodies. Parks has a casual vocal style, not a million miles away from Sade.
4.
Little Simz - Grey Area.
This summer, I saw Little Simz in Barcelona at the Primavera Festival on a tiny stage (she was mind-blowingly awesome). Three weeks later, Stormzy headlined Glastonbury. I mean no disrespect whatsoever to Stormzy, but there is something seriously wrong with this picture. She probably has a point here when she says on Venom that no-one admits that she's the best just because she has ovaries. Elsewhere: I'm like Jay-Z on a bad day, Shakespeare on my worst days. Debates of who is best often descend into silliness, but any discussion of the best MCs in British Hip Hop that doesn't include her is not worth your time. She should be gaining far more mainstream recognition. Anyway, Grey Area is a monster. The extent to which it has built on the already excellent Stillness in Wonderland is incredible. The decision to play with a band is smart, especially on the killer tracks Boss and Offence, which have a rawness that is so funky.
3.
Tyler, the Creator - Igor.
Tyler's transformation from enfant terrible to musical auteur has been impressive. There'll be those that will say that there were always signs, and they're not wrong, but he was also blunt and shapelessly provocative on his first album; that, to be honest, put me off. I saw that there was something interesting, but I wasn't sure that it was worth the effort of sifting through the bullshit. The buzz surrounding his last album (Scum Fuck Flower Boy) was enough to encourage me to pick it up and sure enough, it was cool. Cool enough that this one was pretty much an auto-buy. What's notable about the album is that is barely a Hip Hop album at all but straddles Hip Hop, R'n'B, funk and soul masterfully. It's also incredible the degree that he has learnt from and begun to surpass his heroes. The stamp of Kanye West is present here, for instance, but Kanye hasn't released an album this good for years. Every track is thoughtful, engaging and a blast to listen to. What more could you want?
2.
Nick Cave & The Bad Seeds - Ghosteen.
It can't be just me, but Lord, do I find this album heart-breaking. The narrative of this album was always going to hard to avoid, following, as it did, the death of Cave's son. It is, undoubtedly, sodden with grief - thematically, obviously, but also in tone and tempo. It truth, it's an album I find difficult to listen to coming so soon after my mother's passing.
Yet for all that, and it's funereal pacing, and it's length, it's a mark of Cave skill as a songwriter and arranger, that it remains a pleasure and a joy to listen to. That's not to say that it is a fun listen - it's not; but despite all the reasons that this could have, justifiably, been a dirge, it holds on to a lighter side, a beauty - a sedate, gentle, prettiness.
1.
Lana Del Rey - Norman Fucking Rockwell.
I don't think any album this year has been as giving as this one. It's so insanely rich of ideas, tones, references, connections, and yet all the time without even slightly compromising her own persona and position. Lana Del Rey's records have been growing and becoming more thoughtful and sophisticated since her debut Born to Die in 2012, and this might be, as she sings, The Next Best American Record. It is so embedded in the musical traditions of America, from Laurel Canyon to Oakland. It is a soft rock record that can reference Snoop Dogg, Neil Young and Joni Mitchell, the Mamas and Papas, and yet not be afraid to slip back into the 21st century to get all EDM for a verse.
One of my favourite tracks here is Venice Bitch, which begins simply enough, and yet grows and soars, becoming woozier and more and more disorientating. It's such a piece of work. At 10 minutes, it ought to have outstayed its welcome, but it remains comforting to the end.
Lyrically, it never fails to be evocative. With the exception of possibly Cave, I can't think of any record in the last few years that does so much lyrically (and I'm not even a lyrics guy!).
I think that one of the tests of whether an album is really great is the extent to which it might go with us forward into the rest of our lives. I can't speak for anyone else, but I feel that this will be with me for a very long time. Time will tell, but it's my favourite album of the year.
11. Freddie Gibbs & Madlib - Bandana. I've not listened to a lot of Hip Hop this year. No reason - just haven't. I've only picked up a few new Hip Hop albums. Luckily for me, they've all been doozies. This one sits firmly within that classic U.S./Boom Bap tradition and truth is, I feel that this record could have been released pretty much any time in the last 15 or so years. (Perhaps someone that knows Hip Hop better than me could tell me why I'm wrong.) But do you know what? I'm not complaining because every damned bit of it is killer - Madlib's production, in particular, makes me woozy with happiness.12. Aldous Harding - Designer. One part art-pop, two parts wispy folk. It's a simple mixture but very pleasing, and it goes down real easy. I think that one reason for that is that it is nicely reminiscent at times to that early 70's soft rock in that it has a nice ear for melody and a catchy hook. Recommended if you like that sort of thing.
13. Fontaines D.C. - Dogrel. This was an unusual choice for me. Much more rumbunctuous and rocky for my usual tastes. I only gave it a listen at all because it was picking up a lot of buzz. But since I did it's been growing on me. At first glance, you might say that it is too derivative. You can pick up a whole range of 80s indie influences (the ever-present Joy Division, The Fall, Bunnymen, even The Smiths) as well as obvious and slightly lazy comparisons to The Pogues (they're from Dublin). [That said, the closer Dublin City Sky does bear that likeness.] But despite these influences, Fontaines do bring something new and fresh to the record. Most obviously an energy and hunger. If you're not put off, like Bella, by the dude's shout-y non-singing brand of singing (which he does on most, but not all, tunes here), it's definitely one to spend a little time with.
15. Angel Olson - All Mirrors. Female art-pop of this sort has a chequered past for me. For every U.S. Girls or Lorde, there's a St. Vincent or Bats for Lashes album. These latter albums are fine, but I just enjoy them and never listen to them again. So, my question to myself is: is Angel Olson another Meg Remy or Natasha Khan? Thankfully, early indications are good (although time will tell). Anyway, the album is rich and glossy, deep and moving. It's haunting, but not in a precious way. I think the most positive sign is that it has huge great hooks. Hard not to enjoy. Right now, it's a winner.
16. Big Thief - Two Hands. They've managed to release two pretty impressive albums this year. I prefer the other, so I'll keep it super-brief here. If nothing else, check out 'Not' from this one, though. The whole album is good, but slips into the background a touch. But that track always brings it right back.
17. Ariana Grande - Thank U, Next. More high grade pop music. Much like Sigrid, I don't have that much to complain about. The singles, obviously, are first rate, but frankly so are a bunch of the album tracks - at 41 minutes, it hardly even drags; if anything it gets stronger as it goes - Grande smartly placing the singles later in the listing. Smart move and a great album even if not top ten.
18. The Comet is Coming - Trust in the Lifeforce of the Deep Mystery. Let's be honest, this ain't jazz, no matter how much we pretend - stick it on the Impulse label all you like. That said, I enjoy it plenty despite feeling slightly cheated by it. In short every song has the same formula; the drummer and the dude on the keyboards knock out a rhythm (something spacey, big-beat-y, something at the dancier end of stoner rock, and so on) and then the third guy solos over it with a saxophone or clarinet. It is very cool and a lot of fun.19. Bruce Springsteen - Western Skies. I enjoyed this far more than I expected - certainly more than I've enjoyed any Springsteen album since the '80s. In short, it's pretty much a melancholy singer-songwriter affair. It's prettied up with some nice arrangements and more than touch of 'country'. Perhaps unsurprisingly, it's closest point of comparison (while not being the same) seems to me to be the albums Dylan made in the late '90s (Love and Theft, etc.), where Dylan seemed to come to terms with his age. I can't say how much that is the case here, but it has an 'evening' quality - whatever that means.
20. Chaka Khan - Hello Happiness. This isn't the best album of the year, but it is one of the most fun. Pretty much seven straight dance tracks - five up tempo, last two low; all funky and cool. Chaka Khan is, of course, on fire. 'Like Sugar' is worth the price of admission alone. Also it has the decency to keep things brief - clocking in at just over 30 minutes. I like that!
21-30 (In approximate order)
Raphael Saadiq - Jimmy Lee. It's been a while since Raphael's Saadiq's last album and this one is excellent in a number of respects. Where it falls down is that, in being devoted to Saadiq's brother who recently died following a crack addiction, it has a heaviness that doesn't translate so much into fun. That does not make it a bad record, of course, but it lacks the lightness that Instant Vintage or Stone Rollin' had.
Bonnie 'Prince' Billy - I Have Found a Place. This is the first album by Will Oldham since 2006's 'The Letting Go' that I have found myself looking forward to listening to. I'm still not quite sure where it will ultimately land in his discography or how fixed it will be in my enjoyment, but there's potential. It's still warming. Ask me again in a year or two.
Sigrid - Sucker Punch. Frankly, this a great pop album in the Scandi-pop tradition of Robyn. It's grand - lots of nice ideas and hooks. However, it just doesn't stand up to the crackle and energy of an album like Lizzo's or Billie Eilish.
Ibibio Sound Machine - Doko Mien. The dance-y end of 80s R&B goes to Africa. Really hard not to like. Not quite enough to fix itself in the memory and thus to ensure a long-standing place in my heart, but plenty enough to my CD shelves.
Charli XCX - Charli. Much like Sigrid, I've nothing negative to say about this album. It's a pretty solid slab of dance-pop. It's more urban, more EDM influenced than Sigrid pure-pop confection, with a nice range of collaborations (including Christine [and the Queens], and Lizzo). But ultimately, not really hitting the upper reaches.
Jessica Pratt - Quiet Signs. Nice, wispy, under-stated folk music. Pleasant with loads of reverb on the vocals, but for a very specific sort of mood. I'm not in that mood often enough and when I am Aldous Harding is going win... Sorry!
Mabel - High Expectations. It's a tough gig when you deliver a perfectly serviceable pop album and you are immediately outflanked by Ariana Grande, Sigrid, Billie Eilish, etc. It's a fine album but, honestly, it is the weakest of all the straight pop albums I've bought this year. Sorry, Neneh Cherry Jr.
Santana - Africa Speaks. I've never really warmed to Santana but of all of the albums of his I've listened to, this one has engaged me the most. Maybe it's because it's produced by Rick Rubin or because he is accompanied by powerhouse singer Buika throughout, or maybe it's because he's managed to resist putting guitar fills all over the place - I don't know, but it's alright. Truth is, though, that for all of that, it all feels a little safe and unremarkable.
Bill Callahan - Shepherd in a Sheepskin Vest. Bill Callahan doing his Bill Callahan schtick. I've not very enjoyed one of his records for a while. I think it's fine, but not one of his more memorable.
Calexico & Iron and Wine - Years To Burn. It's been a while since I picked up anything from either of these guys. Not much has changed. The first track is cool, but the rest is just fine... Nothing to write home about.
If you made it this far, thank you! One final note: I think it's been a pretty good year musically. Even the worst album here is pretty good. Looking at others' lists, I have zero doubt that I will discover other great albums from the year as time goes on. It's fair to say that I tend to default to the surface. It will take time for the subterranean jewels to become exposed to me. All the same, I never tire to finding things, and I'll look forward to another year, God willing.
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