Top Albums of 2019

I believe that modern art reflects a modern world, and it’s through the medium of music as an art form that we can understand more about each other. It’s my hope that by sharing with you my favorite albums of the year you come to understand a little bit more about me and the artists whose stories resonated me during this past solar cycle. 2019 was messy year, with a mix of personal stress and global tensions making a big chunk of it just generally unpleasant. Despite that, music is still as good it has ever been, and artists continue to innovate ways to express themselves to anyone willing to listen. If you are new to my lists, I try to cover names big and small, across as many genres as I can manage, in the hopes that the reader will find a gem they can call their personal favorite album of the year. Essentially, if music makers are creating good music, then music lovers should constantly be seeking out new work they can enjoy.

23.) Somnelent Nova by City Girl (Lo-Fi Hip-Hop/Chillwave)

It’s hard to pinpoint exactly the feeling that Somnelent Nova elicits out of you on first listen. It’s a lush album, full of spacey synths and jazzy instrumentation that is used to tastefully fill in the space of songs. Tracks drift in and out phrases as if they themselves were breathing and growing, proving a real sense of movement with the music. The backbone to all this is the percussion, crisp and present, which gives a rocking motion to the music. City Girl is an artist who you may know if you follow a lot of Lo-Fi playlists or streams. They are constantly making and releasing music, which I think adds to that sense of movement I described. It feels as if you are in City Girl’s thoughts, hearing their musical thought process in real time and being swept away into their own personal galaxy. While I wouldn’t call it a powerful album per say, I would call it effective. There is very little front and center vocal work on the album, with most of the features being instrumental additions or vocals that add to the atmosphere for a song. It paints pictures for the listener and tugs at your heartstrings without ever needing to state its purpose. If you have a taste for instrumental music with a masterful sense of vibes, you may love City Girl.

22.) Assume Form by James Blake (Electro-Pop/R&B)

James Blake has a bit of a reputation for being a sad boy songster. His music is fantastic but there is a heaviness to his lyrical content that can be depressing if you are not in the mindset for it. Assume Form alleviates a bit of this dramatic tension by having some of the best production of any album on this list. While most songs still operate in the arena of the genres I listed, how they function is a different beast entirely. They each take on forms seemingly unique to them and build internally before leaving the idea behind for the next song. Enlisting the help of artists across the musical spectrum, from the new king of dreamy soul Moses Sumney to new rising Spanish singer ROSALIA, James Blake created genre-bending ballads without compromising his trademark vocal work. From tracks like ‘Tell Them’, which throw Blake and Sumney’s light voices over a bold trap beat, to ‘Ill Come Too’, a heart wrenching tale about longing; the album always draws attention to the vocals without overpowering them. The instrumentation to all this is hard to pinpoint as each song varies in its foundation so much, but throughout the album you’ll be treated to majestic string sections and solemn piano chords backing the wild places any given song can go. Thematically Blake provides visceral expressions of wanting someone and recovering from the hole that may leave in a person. it has its depressing moments, but it is more an album about finding your way when lost that it is about being hopeless. It vents Blake’s own feelings of insecurities and musically explores how far those same feelings may stretch you as a person.

21.) Kingmaker by Joel Ross (Contemporary Jazz)

Kingmaker is a triumph in musical storytelling. Over its length it carries you through its complex instrumental interactions and wicked grooves, oozing with charm and personality. Ross, the 23-year old Vibraphonist and bandleader of the album’s quintet, uses his compositions as the basis to guide his listeners to specific emotions. Tracks like ‘The Grand Struggle Against Fear’ hit notes of anxiety and the release of said anxiety in daily life. Whether that anxiety should represent Ross’s is unclear, but he wants you to feel that tense pressure. The entire album feels intentional, as sporadic and improvisational as it is, with the musical interjections between the rhythm section taking a particular spotlight. The transitions are tight, the dialogue the players convey is engaging, and you really get the sense that all the members of this band are on the exact same abstract wavelength. The layers it weaves are dense but inviting, allowing your ear to drift away from the main melody and all throughout the band. Each member is telling their own part of the story, and both the sum and the parts are equally entertaining to listen to. If Jazz is a genre of music that intimidates or alienates you, I would recommend giving this album a try. it captures the sophistication that the genre’s legacy demands without hurling listeners down a musical rabbit hole. There is a lot happening at any given moment, but it is all a treat to listen to, and contains so many details sprinkled in for you to enjoy.

20.) Origins of Schmitty by Witty Tarbox (Blues-Rock/Funk)

Witty Tarbox is Buffalo-based 5-man powerhouse. When a friend of mine told me to listen to their album I didn’t really know what to expect, so I went in with an open mind and was not disappointed. Origins of Schmitty starts with a lo-fi acoustic solo ballad and morphs into its driving opener ‘Fa Napoli’, taking its listeners by surprise and refusing to let them go once it has their attention. This core idea, of morphing and change, plays a vital role in how you experience the songs this album as to offer. Tracks can change their style and attitude on the fly, going from a tight funk groove to sweet doo-wop jam with effortless energy. In many ways it feels like the musical equivalent to a road trip, carrying the energy of seasoned blues rock musicians fused with the charisma of a budding surf rock group. We follow the titular character Schmitty through heartbreak and self-discovery, accompanied in his travels by wailing guitar and saxophone solos. The album has a confident sense in its own narrative, moments in Schmitty’s life become tangible in the instrumentation and as he struggles to make sense of his trauma the music evolves with his experiences. Songs are expansive but balanced, making sure the lead singer’s electrifying vocals always has the tightest backing at any point. This album gives you the urge to move your body and pumps your veins with electricity. If you could only financially support a single album on this list, I would encourage you to choose this one. This band put out a remarkable piece of work and I have no doubt they have nowhere to go but up.

19.) Apollo XXI by Steve Lacy (Alt R&B/ Indie-Rock)

Fresh out of high school, Steve Lacy joined The Internet, an LA-based Neo-Soul and Funk band. While in it, you could hear the musings of his creative mind peppered throughout their 2015 and 2018 albums. Now, 4 years after his initial introduction into the music world, he drops his wild debut Apollo XXI and it’s well worth the buildup. Lacy has a unique quality to the music he produces, utilizing colorful guitar chords and incredibly catchy basslines to hook your ear. When paired with his soothing voice and introspective lyrics you get one of the year’s best releases, a genre-fluid testament to his creativity. This is exemplified with mastery on the track ‘Like Me’, a 9-minute emotional journey through Lacy’s own feelings of sexuality. Flowing from a grimy drum groove into various guitars and synth-heavy sections for the duration of the song’s playtime. The album is full of tiny ideas, with most tracks being about 3 minutes and ones that do exceed that length changing in significant ways. This seems to mirror Lacy’s own creative strength, constantly bursting with new ideas and searching for ways to implement them. He is an artist who thrives on the process, and his album of ideas is held together by powerful themes of identity and wonder. A credit to Lacy’s youth, there is a charming lack of subtlety to the album. Songs of love and longing are about love and longing, serving as reflections of his own experiences instead of being grand metaphors. It makes emotional moments hit, because you know everything is rooting in the artist’s own funky reality. Lacy has grown remarkably in his ability to bring his unique ideas to life, and if you want a look into musical thoughts, Apollo XXI is the best lens you could get.

18.) uknowwhatimsayin? By Danny Brown (Hip-Hop)

The rap game is in a weird place. Enough time has passed such that rappers who popped into the mainstream during the early 2010’s are now considered a type of OG. They have built up respectably large fanbases and have now had enough social exposure to be easily recognizable. Danny Brown is one of these rappers, having lived his 30’s as one of rap’s strongest new voices. As more and more new talent has flooded the scene over a decade, refining his approach and sound have become vital to maintaining relevance. After his dark plunge into madness with 2016’s Atrocity Exhibition, fans were looking forward to what the living cartoon character would do next, especially when it was announced that Q-Tip would be heavily involved in production. Unknowwhatimsayin ends up finding Danny Brown at his most mature. It’s an album that celebrates the sort of mundanity that his profession has netted him. This is heard most clearly in the music, with some of the more experimental aspects of his sound substituted for vintage soul samples and a boom-bap drum base. The rapper and this sonic palate compliment each other well, songs like ‘Best Life’ weaving nostalgic vibes together with Brown’s signature nasal flow. The persona he puts forth on this album is one that isn’t concerned with trends and longevity, it embraces the now and only attempts to be as entertaining as it can while it’s in the spotlight. The artist sounds liberated, using his positive momentum to shower us with references and remind us that the world is a strange place. While he seems to be in a better place mentally, his latest project retains the same wild energy that helped him retain his place in rap’s current linage.

17.) Anak Ko by Jay Som (Indie-Rock/Bedroom Pop)

There’s some music that just puts you at ease, that washes away stress from the day and lets you just get lost in its melodies. Anak Ko, the latest project from 25-year old multi-instrumentalist Jay Som, may be the coziest album on this list for that reason. Rooted in blissful guitar chord progressions and simple yet effective percussion, each song hits an emotional high note to leave listeners with a sense of Som’s own nostalgia. It’s a reserved album, but not one without its explosive moments, the build-up in the song ‘Nighttime Drive’ being a personal favorite of mine. The track has a Folk energy to it that eventually incorporates a string section to supplement its melody to wonderous results. This sort of fun exploration is found throughout, as little shifts in instrumentation and tone give every piece of the album a unique color. Thematically the album itself feels like it’s wandering, walking along a path with no rush or urgency to arrive at the destination, if there is one at all. Som is celebrating every moment as its own musical memory, giving us peaks into what her life has sounded like. Over the album’s short runtime, you get snippets of longing and reckless abandon, every emotion is given ample time to breathe as the idea is developed and brought to a close. Vocals range from sweet to downright haunting, from fully present in the mix to more washed out depending on the artists intention. As a result, the piece feels seamless and complete by the end of your listen. This is an album to play on repeat while you discover and re-discover the subtle moving pieces that create its sense of comfort and warmth.

16.) Lost & Found by mndbd (Lo-Fi Hip-Hop)

Classifying this album was a bit difficult; while at its core it is an album of beats, to say so still feels like an understatement. When the guitar first hits on the opening track ‘Smoke’ it feels dreamlike, unassuming but setting up an entire album worth of trance-inducing compositions. The core of most songs is simple enough: a wicked bassline or guitar riff comes in and loops before the drums kick in to get your head moving. Despite this, the album is incredibly textured, with a diverse array of sounds found across its songs for unexpected depth. It ventures into Bossa-Nova rhythms and shimmering digital string arrangements, using its base as permission to play around with any genre it feels inspired by. Smoke & Mirrors feels shapeless at its best, making you forget any notion of what the album should be. Listening to this project in full removes your sense of time and compels your body to rock back forth to its grooves. Within its ever-changing landscape you will find many surprises, the song ‘Legend’ always catches me off guard, lulling me into solemn vibe before opening into a lavish new string melody. Whether unpredictability was meant to play a role in this album’s creation, or it is simply a by-product of a producers curious ear, mndbd challenges listeners to experience beats in a new light. While some may initially view this album as a simple collection of beats, it is wholly complete without the need for any vocals whatsoever. The late 2010’s saw a resurgence of beat-making as an artform, with many artists making a name for themselves with their lo-fi beats alone, and mndbd deserves his due praise. The genre is still budding and releases like this show just how diverse and complex it can come to be.

15.) Grey Area by Little Simz (Hip-Hop)

Grey Area is a powerful confirmation of self. On it, 25-year old rapper Simbiatu Aijkawo (Little Simz) stakes her claim as a new queen in Hip-Hop. From its opening moment the album sounds like a living riot, with a pounding snare drum and thick bass creating the tension that Simz cuts through with her opening verse. She sounds confident but isn’t without her own fears, reflecting on poverty and wanting to support her mother. This sets up a thematic sphere that surrounds the rest of the album, it being very much a reflection of Little Simz’s personal reality. Backing this is often live instrumentation, crunchy drums and heavy bass lining most songs on the album. There is a lot of punk influence present on projects more aggressive songs, with even Simz’s voice having static filter applied to it for magnitude. Her verses are often introspective braggadocio, explicit in her desire to be the G.O.A.T, and doubtful if a man could stand in her way. The album itself serves as a direct challenge to the competition and demonstrates the wealth of Little Simz’s ability. Hip-Hop by its nature is political, and the existence of Grey Area as piece of music is a political statement. Simz stresses this on ‘Pressure’, and you begin to understand the shield that rap has created for her life. The same person displaying her power throughout is also a person trying to sort their life out. Narratives of learning to love yourself and addressing (or in the case of ‘Therapy’ resisting) the need for change. Little Simz’s persona feels honest, both the anger and elation in her writing coming off equally believable. This album that starts strong and only grows stronger as you learn about the human who made it, an oppressed human for whom music has become a much-needed method to cope with the world.

14.) Pony by Rex Orange County (Indie-Pop)

Rex Orange County can give his music a gut-wrenching quality. Despite the jazzy piano and guitars that give them a sweet sound, his songs tug at you. On his latest album, he gives that ability a new home, dropping a shiny array of tear-jerkers. The tears are happy though, filled with the optimism of someone who recently underwent major change. It opens with ‘10/10’, where Rex sings to us of losing friends and moving on to the tune of electric piano chords and bouncy drums. His lyrics are sad, but his mood is optimistic overall. This optimism is the heart of the album, which Rex maintains through tales of growing apart from loved ones and learning about himself. Songs often melt into their differing sections, synth lines making space for elaborate string sections backed by Rex’s trademark tone. Pony is an album about change, with the understanding that it is not easy or immediate. Rex went from singing pretty songs in his bedroom to working with huge names like Tyler, the Creator, all while having his own sad clouds to deal with. Change is scary and he doesn’t shy away from that, instead choosing to leave his listeners with a message of what happens when the bad days pass. The brightness of the album rings true, maybe not representing Rex all the time, but representing his end goal. A beautiful example of this is the album’s closer ‘It’s Not The Same Anymore’, a ballad that transforms into a cathartic breakthrough for Rex. In it he comes to terms with the changes he has undergone and realizes that he has become better for it. The song is a wonderful release of tension that leaves you on the note that he is ultimately ready to move forward and embrace the future. This album is the kind to bring you comfort on the days when trusting yourself doesn’t come easy, when you need a gentle reminder that there is always a chance for change and growth.

13.) Structuralism by Alfa Mist (Contemporary Jazz/Neo-Soul)

It has been about 3 years since UK-based pianist Alfa Mist turned his full attention toward playing Jazz music with his band. Before this he was better recognized as a Hip-Hop producer, but even his earlier work was rife with jazzy chord progressions and the foundations of his later releases. Alfa Mist’s expertise is letting the pieces of his music connect and speak for themselves, every instrument in its own sway. This is found in spades on Structuralism, with songs having an initial looseness to them. The album’s name refers the idea that structure is more important than function, with things being defined by their relationships. In a sense it is an album made up of feelings, each member of the band’s timing all attuned it fit the space another leaves. You hear this on ‘Mulago’, as the off-kilter rhythms leaves plenty of room for the instrumentation to dance with itself. Every song given form by Alfa’s Mist dark chords and keen ear for production. His roots in Hip-Hop are weaved into how songs bounce, with tracks pulling you more toward a head bop than a foot tap. It celebrates the past but also analyzes its patterns, with the few vocal appearances talking about reflecting on their past to change. Its telling how versatile the songs feel, the perfect board for smooth verse or a sultry trumpet solo. Above all things the album is a tasteful collection of interactions and relationships, between the music, the musicians, and the listener.

12.) Not Waving, But Drowning by Loyle Carner (Hip-Hop)

This album starts off with Rapper Loyle Carner reciting a letter. In it he thanks its focus, his mother, for the seed she planted in him that helped flourish. ‘Dear Jean’ is a charming tone setter, bouncy keys and drums supporting the rapper’s words of affection. Tracks on this album revolve around the rapper’s connection to other people, from loved ones to people he wishes he could see again. Carner is an introspective rapper, heard as he laments of mistakes he has made but relishing the success he has found. This also leads to many moments of vulnerability on the album, songs not being afraid to let the rapper’s vocals drift along side a bare piano or simple drumbeat. Loyle Carner lets the production and verses of him album each have their time in sunshine. Beats will change to mirror a phrase that’s rapped or entire spaces of a song are left for the listener to enjoy the gorgeous instrumentals. Tracks range from tender to triumphant, given life by live instrumentation and crisp samples. Mental health plays a large into a major role in the record’s themes, with Carner reflecting on the stress and elation that his relationships have brought him. You get the sense rapper feels alone often, and his coping mechanism is shown in the album’s tiny interludes. Here you get voice recordings of Carner’s interactions as he goes through daily life. Snippets of watching football with friends, demoing songs to taxi drivers, and buying Jamaican food are scattered throughout the album. It is in these moments, and when he makes music, that he feels the most connected. The naming of the album comes from an old poem about a man whose distress went unnoticed under a guise of being content. Loyle Carner has found a way to let us see into his comfort, and it’s a beautiful thing. The album ends with the rapper’s mom reciting a poem about her son, proud of him for paving his own path to success. It’s a sweet moment, that reminds us that Loyle Carner feels an undeniably gratitude for the people who love him.

11.) Bandana by Freddie Gibbs and Madlib (Hip-Hop)

Some albums are built upon a dream, filled with the innermost desires of the artists who created it. Bandana, the second collaborative album between Indiana rapper Freddie Gibbs and legendary Hip-Hop producer Madlib, was written while in desperation, as Gibbs sat in an Austrian jail cell. He was falsely accused of a crime he didn’t commit in a country that wasn’t his own. As a result, the album depicts Gibb’s ideal life, one free of the trappings of poverty and legal heat. Madlib, a true friend, never doubted Gibbs for a moment and continued creating the soundtrack for Freddie’s life stories. His tone on ‘Freestyle S**t’ is joyful, as he reflects on what he has had to do to survive in the world up until this point. His stories are given new context by Madlib’s stellar production, a master of spinning soul samples into instrumentals. The album has all the swagger of classic gangster film with the perfect protagonist to boot, Gibbs’ charisma oozing out of every song. There is a lot of talk of dope dealing, not native territory to the rapper, but there is a rationale to it. Among the tales of bad deals and broken friendships are lessons Gibbs learned to keep him ahead of the curve. Despite his apparent proficiency in dealing, he yearned for a life in which didn’t have to, which music provided him. He has done his time and given up enough of himself to external forces, and now just wants to thrive. It is a simple goal, but earnest, allowing many different avenues for the rapper to conjure his dream. The music is bold and swanky, crisp drums and tight basslines outlining Gibbs’ rapid fire flow, with seldom a breath between whole verses and choruses. The strength of this album resides in the overwhelming chemistry between Freddie Gibbs and Madlib, who set out to make out an album that might have been Gibbs’ last. It is a piece formed under extreme pressure that will now serve as a triumphal reminder of the rapper’s freedom.

10.) When I Get Home by Solange (R&B/Neo-Soul/Jazz)

Solange’s talent as a singer is undeniable. Her 2016 album A Seat at the Table was an impactful celebration of Black pride with a refined Neo-Soul sound. Her follow-up takes that momentum and shifts in a new direction, with music that sets its own pace. In contrast to her previous work this album is more atmospheric. The purpose of songs isn’t to broadcast an explicit message but rather establish a mood. The album incorporates elements of Experimental Jazz and Hip-Hop into its production, with songs made up of sublime loops and lathered in improvisation. The album is layered, songs like ‘Almeda’ having rhythm and vocal sections developing independently alongside each other. This isn’t to imply the music somehow doesn’t find its synch, but rather it feels like every component of the album is trying to show its own color. Every sound you hear on the album is confident, with the knowledge that if it were unwanted on a song it would not be there. The guests featured on this project all feel personal, bouncing off Solange’s lyrics on to contribute to the vibe. This goes along with the lyrical themes expressed on the album, touching on the importance of owning yourself despite oppression. Solange has taken everything she has learned with her previous music and rearranged it to better demonstrate her current moods. It may sound more abstracted, but When I Get Home is a loud political and artistic reminder to live boldly and keep moving forward.

9.) There Existed An Addiction To Blood by clipping. (Experimental Hip-Hop)

The trio that makes up the band clipping seeks to remove some of the vanity in the rap game. Daveed Diggs, the front man and rapper, backed by producers William Hutson and Jonathan Snipes, excel at creating worlds with no heroes. Tracks like ‘Nothing is safe’ reflect a cruel reality, where plans backfire and people lose their lives without prejudice. The delicate but steady piano is unnerving, and Digg’s lyrical precision is haunting. The song explodes with heavy synths later into its runtime, creating a true taste of the album’s musical potential. The core of the band’s sound has always been a combination of industrial samples and bang-on percussion, but their latest project contains uses this core more sparingly. The album embraces minimalism, choosing to overpower its listeners with tension instead. The characters you encounter in this soundscape are residents of rock bottom, with nothing to lose and nowhere to go. This despair is converted into raw aggression, with even the features on this album bringing grimy verses to throw onto clipping’s twisted canvas. The album serves as a warning of sorts, of the irresistible allure of violence and what that will do to you and those around you. It isn’t without its hope, the latter half of ‘All in your head’ a dim light in a long tunnel, but said hope is fleeting. This album and most of clipping’s music is an evolution of the Horrorcore genre, which was how rappers like Eminem first made a name for themselves. The ultraviolence and detail-oriented storytelling of the style has drawn the ire of many critics, but it isn’t without its nuance. The subtext of the violence is the circumstance that created it, with war and poverty destroying the very communities that Daveed Diggs places most of his stories in. There Existed An Addiction to Blood is an album that will hype you but also make you uncomfortable, with the penmanship of one of rap’s finest leading the charge into the abyss.

8.) Arizona Baby by Kevin Abstract (Alt R&B/Hip-Hop/Pop-Rap)

For transparency’s sake I had to choose between this album and Ginger by Brockhampton, a band in which artist Kevin Abstract plays a large role. In the end I chose Arizona Baby because it clicked more, the emotionally devastating journey the artist endures on this album leaving a lasting impression. The album revolves around a loss of youth, as the 23-year old struggles to come to terms with growing distant from the comfort of his younger days. It wasn’t always sweet, as he elaborates on telling us his experiences with homophobia and racism, but the simplicity was alluring. It is a scattered recalling of memories, held together with eclectic production that draws inspiration from sunny boy bands and gritty trap bangers. You see this bright side in ‘Baby Boy’, the sweet rock melody and charming background vocals covering the feelings of not being able to move on from a loved one. Compare this to ‘Use Me’, where the artist sounds detached rapping over a snappy trap beat. The versatility isn’t just a flex; each represents a pronounced part of his trauma and desire to learn the proper way forward. It is a humbling album that sticks with you because of the absurd amount of courage it must have taken to make. Kevin Abstracts time with Brockhampton plays a large role in this album too, with members contributing to background vocals and production, supporting their friend in any way they can. Their presence feels pronounced and intentional, maybe the artist’s own way to start to forgive himself for past mistakes. The album hits like the aftermath of a mental implosion, wherein your thoughts collapse upon themselves and you melt away. However, as Kevin Abstract learns, you cannot stay in that state forever and eventually you must confront yourself. This project doesn’t glorify imperfection, but it tells its listeners that there is life after the mistakes you make, and beauty to be found beyond them.

7.) Ventura by Anderson .Paak (Neo-Soul/Funk/R&B)

The past four years have been a wild ride for Anderson .Paak, the drumming/singing/rapping renaissance man who took the latter half of the 2010s by storm. He is a wicked talent in his own right, paired with an otherworldly charisma that led him to work with everyone from Dumbfounded to legends like Dr. Dre. While his 2018 album took a more aggressive approach, Ventura is a return to form, a modern Soul classic that relishes in being alive. The album sounds like a nostalgia trip for anyone who grew up listening to their parents’ generation of Soul music, the rhythm section is crisp and the melodies burrow their way into your ear for days. .Paak has many strengths, with his projects often reflecting one them over their runtime, but for this album he focused on feel good music. Songs like ‘Make It Better’ are intense demonstrations of this, the string section sings throughout the track as .Paak tries to fix a failing relationship. This plays into his vintage sound, as he appeals to his lover by reminiscing about the past. It’s a sweet message, implying their love can work because it has before, a boldness that he carries through the remainder of the songs on the album. There is a perpetual high throughout the tracks, songs rarely ever giving the listener a moment of downtime. Driving basslines and gorgeous keyboard chords support .Paak as he sings/raps about finding love and finally being able to pave his own way into the industry. As a person, .Paak has gone from homelessness to a household name, and his response to that is to throw a musical block party. He isn’t concerned about anyone doubting him at this point, as he knows the success is the best revenge, and the most optimal way to achieve success is keep making impressive albums. This is the kind of album my mom would put on when it came time for Sunday cleaning, it moves you and gives you some of its boundless energy. Anderson .Paak, after all his grinding, has reached the summit of the musical world, and uses that platform to provide his fans with music to empower them.

6.) Complicate Your Life With Violence by L’Orange and Jeremiah Jae(Hip-Hop)

L’Orange and Jeremiah Jae have a sinister working relationship, making albums soaked in nihilism. Their 2019 release, the second collaborative album between the two, continues this trend of looking at life through the lens of a soldier. This interpretation isn’t always literal but aims to create characters for whom violence is part of their daily routine. Songs like ‘Dead Battery’ elaborate on the effects of drawn-out wars, leading to a mindset of people blissfully living each moment like it is their last. While preparing for bombs to drop, L’Orange’s production is the perfect mood setter, cutting samples of old movies into groovy bass-heavy instrumentals. Samples are not limited to movies however, as twangy Blues guitars help create the smokey bar feel of the album. There is a sleekness to it, with it flowing in an out of narrative exposition providing by the samples. However, it speaks volumes that an album rooted in terror is able to carry itself with a sense of class and sophistication. Jeremiah Jae never yells or preaches; he just speaks his mind with a tone that reminds you of a flicking switchblade. His verses feel like refined streams of consciousness as he criticizes broken education systems and governments that profit from the failure of their youth. The bars speak for themselves, and the rapper knows this, his skill in elaborate storytelling painting melancholy images over L’Orange’s beats. Complicate Your Life With Violence sounds in many ways like the end of the world with its barren and desolate melodic backdrops. Despite this, you can’t help getting caught in it, yourself falling victim to the ever-present allure of violence in our world.

5.) Jamie by Brittany Howard (Blues-Rock/Neo-Soul)

The opening jam of ‘History Repeats’ hits the ground like rolling thunder. Between the powerful drum pattern and Brittany Howard’s guitar solo it wakes up the listener and raises the bar. This album came initially from a place of rest, as Howard wanted a break being the frontman of Alabama Shakes to write her own music. The result was Jamie, a sincere and explosive album that showcases Howard’s inner complexities. Songs on the album reflect the many circles Howard has gone through with certain states of mind. ‘Georgia’ is about the mental machinations behind a crush and what it feels like to have someone you like stuck in thoughts. Howard can’t catch the eye of a woman she admires, and her every moment is consumed by trying. As the song builds her anxieties increase until they burst over and blaring synths and organs fill your senses. The heart of this album’s music remains in Howards realm of Blues, with many songs taking on ballad like structures for a mixture sour and sweet. The songs still move your feet but have the shimmer of soul with Howard’s heartfelt vocals. As a singer, she isn’t afraid to play with her vocals, adopting funny voices or timbres alongside her ability to belt. To her singing is a spiritual connection to something higher, so by putting more of herself in a song she feels more at ease. You feel this in the album’s gospel inspiration that gives a greater sense of space and glory. The music displays its influences music proudly, which reflects Howard’s theme of holding her head high. As an LGBT woman of color, she has spent a life feeling undervalued in America. Her response, instead of shrinking back, is to shine ever brighter. She uses her platform to celebrate herself and also question the world at large, seen in the harmony on ‘Goat Head’. The track is whimsical in its lyrical delivery, words dripping out of Howard’s mouth to a one of the strongest beats of 2019. It starts off innocuous until she gets to the climax of the song, in which she questions who committed a hate crime against her Black father. The album is conscious and alive, and a magnificent solo debut for the modern era of Blues music.

4.) Ivy League by Potsu (Jazz/Lo-Fi Hip-Hop)

The highest praise I can give to Potsu is that they have stayed in my weekly rotation since I first discovered them in 2018. They are equal parts producer and Jazz musician, writing their music in a way that lets both talents shine. Their style is classy, injecting piano and saxophone solos into lo-fi grooves. Or they may do the inverse, crafting head bopping beats out of a traditional Jazz rhythm section: piano, drums, and bass. The fusion of the two worlds gives tracks like ‘Ivy League’ a dignity to it, as the somber piano melody is given new context as the fast-paced drums kick in. Every track is made with the knowledge that at any moment it can morph to show more or less of a respective genres influence. This becomes the biggest strength of the album, as songs are arranged and played with no special favor given to one genre or the other. To Potsu there is no restriction to how they can create their music, and what is incorporated where. The album glides through its runtime, with tracks being short and poignant representations of Potsu’s thought process. Seeing as how they make band-oriented music as a single human; improvisation plays a large role on the albums musical structure. Songs often have a guitar or piano chord progression on loop that they play around with, constantly trying to one-up their own phrases and experiment as much as they can. Ivy League is a quiet but intense album that is a perfect backdrop for rainy days and lazy nights. Its sound is formed in the obsession of Potsu, a crazy talented multi-instrumentalist who thrives on the pursuit of finding the perfect vibe.

3.) Igor by Tyler, the Creator (Alt R&B/Experimental Hip-Hop)

Tyler, the Creator is no stranger to my music lists, and no stranger to changing up his sound. In the decade the artist has been in the public eye, he has gone from a crude but talented teenager to veteran musician and composer. His latest album, Igor, may seem the most disconnected from his earlier works, but its change in genre doesn’t leave it without Tyler’s musical fingerprints. It starts strong with ‘Igor’s Theme’, featuring some of the crunchiest drums on this list paired with a droning synth tone and harmonious background vocals. It doesn’t have a traditional rapped verse but makes a statement on what the album has in store for listeners. Its sound is abrasively R&B, with heavy rock influence in its production. Sweet keyboard and synth bass are offset by wicked percussion. The album sounds like a rebellion against the very genre’s it is drawing influence, creating a sense of tension throughout. The tension is thematically appropriate, as the project revolves a breakup and the stages of devastation it brings you through. This comes out on ‘New Magic Wand’, a manic song wherein Tyler begs a partner to stay with him. A chorus of “please don’t me leave” repeats the music surrounding the lyrics gets more frantic. Tracks on this album are visceral counterparts to the emotions they are conveying. While many of those emotions are explored through the lens of the titular character Igor, they ring true as Tyler’s own. The rapped verses on the album are fewer than in any music Tyler has released previously, but they retain his punchy wit. He talks about reinventing himself, both as a person and artist, on every new album. Every new collection of music Tyler releases has a different soundscape, but his ability to portray himself honestly remains consistent. This album comes full circle by its end, with Tyler finding peace away from his former lover. With this peace of mind, he can move on to a new beginning and possibly a new sound.

2.) LEGACY!LEGACY! by Jamila Woods (Neo-Soul/Alt R&B/Jazz)

Jamila Woods, a Chicago native whose name rose to prominence after her feature on ‘Sunday Candy’, has since become one of the most innovative voices in Neo-Soul. She makes music that is personal yet hyper-political, attacking patriarchy and convention. The instrumentation to her fury is a killer rhythm section that gives songs energy while spacey chord progressions give the music its texture. Tracks are lavishly crafted instrumentals that all have a bounce to them, and Woods often finds catchy a one liner that is layered and woven into the fabric of the music. All the puzzle pieces of the music click, and songs have many small variations and changes within themselves to keep up a persistent feeling of movement. Thematically the album serves as a grand response to trauma, tracks are named after revolutionary people of color and address our broken worldly infrastructure. Jamila no longer has the patience to deal with toxic masculinity in any sense, so her songs are filled with direct shots to this archaic ideology. She owns herself, body and mind, to weather anything a cruel world can throw at her. The confidence she displays comes from experiences being abused and manipulated, and her resolution is no let those people hurt anyone again. To simply call the album empowering would be a disservice, as songs like ‘Basquiat’ contain enough bombastic energy to power a revolt on its own. The track, backed by a ridiculous drum beat and wavy guitar chords for ambience, is a burning manifestation of Wood’s fury. In it she addresses the notion of how absurd it is that people cannot understand her anger at the world as a black woman. After a heavy feature from Saba about his own rage taking shape as introversion, the song bursts into a cathartic outro, the only way to prevent the rage from consuming the listener. The album takes care to not let us stew in negative emotions, as the sound of still consists of Wood’s angelic voice and pretty melodies. LEGACY!LEGACY! is an album that refuses to ignore the scars of its past, and wants listeners to remember them as well. There is despair looking backward but there is also hope, as Wood shows in her declaration of feminist pride.

1. ) Burd by Wilma Vritra (Experimental Hip-Hop)

Before 2019, I don’t think I could give you an album that definitively covers my music taste. The closest I could come is To Pimp a Butterfly by Kendrick Lamar or The Love Below by Andre 3000, albums that play around in many prominent genres of black music. After Burd however, I no longer think that’s true. This album, made by the far-out minds of producer Wilma Archer and ex Odd Future rapper Vritra, sounds like it was made in a dream where rules and conventions don’t exist. It opens with a calm guitar loop, before Vritra spits his verse in a laid-back manner. It all seems typical until a saxophone solo cuts in and background vocals start to harmonize, the sax being given a ghostly phaser effect to sound like a laser. It is weird and unexpected, but not out of place with the structure the two artists had set up. Wilma Archer specializes in creating dense atmospheric music with beautiful string arrangements over them. To complement this, Vritra fills the space Wilma creates with his cartoonish verses and worldly insight. Instead of splitting the difference on ideas, the album chooses to let both artists display both of their strongest points without compromise. ‘Shallow Grave’, my personal favorite song of 2019, showcases this synergy at its finest. The track sounds like a malicious circus, a waltz-like tempo lies at the root of the song as Vritra performs an existential verse about staying sane in the modern era. The album truly follows its own rhythm, with a multitude of purely instrumental tracks that all vastly different in tone and style. They feel vital to the makeup of the album, not just interludes or afterthoughts. These instrumentals will often tell their own distinct stories, such as ‘earnie’, which sounds like the opening theme of a late-night cop drama remixed into a jazzy jam. The bass and saxophone in this same communicate and play off each other, partners in the boogie they are creating. They seldom seemed to cut ideas from the projecting, making sure every obtuse beat or concept made it into the final project. Burd has a complex musical identity because its creators have complex tastes and desires. The result is a musical representation of a twisted carnival, with a different attractions and sideshows for every kind of listener. It stretches in many directions but still manages to clearly touch on loss and the desire to just survive in life. This album has shifted how I think about music and helped end this decade on the right note. It celebrates its own creativity and reminds listeners that there is no end to how much music can evolve.