Favourite Albums of 2019

I consistently state that I believe music is endlessly improving. It seems to be a controversial opinion, but I don't think it should be. The internet has helped, to some extent, to democratise the release, and consumption, of music. More music is getting released, and more music is accessible than ever. And even if, for whatever reason, you staunchly detest new music, there are more archival releases than ever to shine a light on hidden gems of the past.

Although I would love people to read this and find cool, new music, this is very much an activity for me to document some of the releases I've loved – I still find myself returning to my 2018 list and returning to the albums within. So without further ado, here are some of my favourite releases of 2019...

Seagull – A Voice in the Ward

A Voice in the Ward takes Chris Bolton’s emotionally rich story-telling and melancholic, atmospheric instrumentation and amplifies it. Melbourne’s Bolton approaches themes many artists would leave untapped on this alt-folk record, and this, combined with his ability as a wordsmith and some inspired instrumental arrangements, results in an oftentimes confronting, yet hypnotic and powerful, collection of songs.

Clipping – There Existed an Addiction to Blood

This is a mind-boggling release. Industrial hip hop is a fusion which has existed for decades now, but it is difficult to think of a project which takes it to the extreme that There Existed an Addiction to Blood does, and even more difficult to think of one that does it so successfully. Cinematic and unnerving with horrorcore storytelling and iconography, this project helped mark a fitting end to a decade where experimental hip-hop has thrived.

Billy Woods & Kenny Segal – Hiding Places

Billy Woods albums will always have absurd replay value for those willing to venture down the rabbit-hole that is trying to digest and decipher Woods’ absurdly strong pen game. Kenny Segal offers dreary, cavernous production, giving Woods’ bleak, evocative performances the space, and the platform, they deserve.

Uboa – The Origin of My Depression

Uboa’s The Origin of My Depression is as haunting as the title suggests. Consistently venturing across the extremes of ambient and industrial noise, the grimness somehow manages to never dissipate throughout. Yet, somehow, every time Melbournian Xandra Metcalfe, and her production, erupts, it manages to feel just as raw and cathartic as it does chilling.

Trey Gruber – Herculean House of Cards

Psychedelic pop musician Trey Gruber tragically passed away in 2017, and Herculean House of Cards offers an at times confronting, yet beautiful insight into the tortured singer-songwriter’s mind. This posthumous compilation features early demos, unreleased tracks, and live performances. A growing figure in the Chicago DIY scene prior to his passing, this is a refreshingly honest and engaging album amongst clutters of indie pop, which, elsewhere, largely grew stale towards the turn of the decade.

black midi – Schlagenheim

black midi’s debut makes them one of the most exciting acts to watch in London, and worldwide, heading into the new decade. Schlagenheim is a vivacious, math rock project featuring exaggerated, sardonic vocals, an explosive, polyrhythmic drum performances, and screeching, noisy guitars. The one downside to this project is that it is far from life-affirming to recall these guys were approached to jam by the legendary Damo Suzuki of CAN when they were 18.

Dury Dava – S/T

The marathon length debut from Greek experimental rock outfit Dury Dava was ambitious, to say the least. A captivating mission statement on what we can expect from the band, the band effortlessly fuses elements from Greco-Turkish and African music and weaves in krautrock, psychedelic and progressive rock influences.

Phineus II – Meridian Response

Meridian Response manages to capture the sound of 90s jungle without sounding dated at all. The atmospheric pads and jagged breaks are a highlight here on a meticulously crafted electronic release with dreamy, textured vibes throughout. Highly infectious, and definitely one of the best electronic releases of 2019.

Odd Okoddo – Auma

Odd Okoddo is a curious combination made up of Kenyan vocalist and songwriter Olith Ratego and German instrumentalist and producer Sven Kacirek. Ratego’s ‘dodo’ vocal styling which originate from the shores of Lake Victoria and Kacirek’s masterful use of an arsenal of Kenyan percussion instruments and household objects works to create one of the more refreshing and unique projects of the year.

CHANEZE – GHUSL

CHANEZE’s GHUSL is yet another memorable Bandcamp gem, and yet another reminder that the site is currently the peak of music distribution (off-topic note: please try to use it if you care about the democratisation of music). The Brisbane release is largely anonymous, but combines Arabian musical characteristics, drums, synths, temple bells, and vivid sample choices that help to craft one of the most gripping experimental musical journeys of this year.

Kankyo Ongaku – Japanese Ambient, Environmental & New Age Music 1980-1990

Both the full record and the digital release of this Japanese ambient and new age music from the 80s compilation represent stunning entry points to the minimalist avant-garde and new age Japanese music of the eighties. Undoubtedly one of 2019's best compilation and archival releases.

Liturgy – H.A.Q.Q.

Liturgy has always divided the metal community, mostly being rejected - with some even going far enough to suggest their previous works made a mockery of black metal. Their new release, however, is indisputably highly impressive, combining a unique, technical black metal approach, with cutting edge production and the seamless inclusion of glitch elements. The craftsmanship of frontman and composer Hunter Hunt-Hendrix is seriously commendable.

Griselda – WWCD

The Griselda crew, made up of Westside Gunn, Conway, Benny The Butcher, have blessed us with a number of quality releases in the past few years (case in point, this year’s Flygod is an Awesome God), and their first as a collective lives up to the hype. Incredibly dope hardcore hip-hop with consistently strong production which is only held back by some of the features.

Weyes Blood – Titanic Rising

Titanic Rising manages to be just as cinematic as you would infer from the title. With some of the best songwriting and gorgeously warm compositions the genre has seen in a number of years, this is a stunning baroque pop album.

Dope Purple – Grateful End

Dope Purple are a noise and psychedelic rock band from Taiwan. Their new album Grateful End channels all sorts of influence, but particularly bears resemblance to the Japanese underground and particularly legendary noise rock band Les Rallizes denudes. This album features lo-fi, distorted, production, cosmic sounds, soaring vocals, and inspired and memorable instrumental passages.

Alex Cameron – Miami Memory

Watching synthpop artist Alex Cameron gradually pivot from an 80s-inspired alpha machismo satire to his actual self, who directly makes fun of that caricature and the many people it continues to represent, has been highly enjoyable. The character he portrayed in his last two records was brilliant, but this was probably a necessary step to develop his music and came without a noticeable dip in quality. He continues to make seriously catchy synthpop.

MIKE – Tears of Joy

Vocally and stylistically, there’s plenty in common between MIKE and Earl Sweatshirt. If you enjoyed Earl’s depressing and intense Some Rap Songs, be sure to check out Tears of Joy. MIKE offers poignant lyricism and consistently strong glitchy, abstract production.

Rafael Anton Irisarri – Solastalgia

This year featured a number of absorbing releases which explored climate change and environmental issues through music’s lens (see We All Have an Impact in honourable mentions). Solastalgia is a drone exploration of these issues. Even outside of the context of the consequences of climate change, this is one of 2019’s best drone releases. Within the context, it’s one of 2019’s most essential releases.

Freddie Gibbs & Madlib – Bandana

Bandana is a wonderful follow-up to one of this decade’s best hip-hop projects. Long-awaited and much anticipated, Freddie Gibbs and Madlib didn’t let us down. While Madlib is solid as usual, this project really works as a showcase for Freddie Gibbs as he firmly establishes himself as one of the best gangsta rappers in the world today.

Shun Konno –「rusted existence」

This is a ball-tearing, face-melting, mind-altering drum and breaks project from the Japanese producer. Not for the faint of heart, but highly detailed, atmospheric, and rewarding.

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Honourable Mentions

Mdou Moctar – Ilana (The Creator), Tropical Fuck Storm – Braindrops, Nihiloxica – Biiri, slowthai – Nothing Great About Britain, Kirin J Callinan – Return to Center, Earl Sweatshirt – FEET OF CLAY, Injury Reserve – ST, Mr Key & Greenwood Sharps – Green & Gold, Westside Gunn – Flygod is an Awesome God, Boreal Massif – We All Have An Impact, Billy Woods – Terror Management, Lightning Bolt – Sonic Citadel, Tyler, the Creator – IGOR, Matana Roberts – Coin Coin Chapter Four: Memphis, Show Me the Body – Dog Whistle, Private Function – St Anger, Estee Nack & Giallo Point – Papitas, The Comet is Coming – Trust in the Lifeforce of the Deep Mystery, Lim Kim – GENERASIAN, SAULT – 5, Waste of Space Orchestra – Syntheosis, FKA twigs – MAGDALENE, Ill Considered – Ill Considered 5, 6 & 8, Issam Hajali – Mouasalat Ila Jacad El Ard, U-Bahn – ST, Pinch Points – Moving Parts, Aldous Harding – Designer, Angel Olsen – All Mirrors, The Good Ones– RWANDA you should be loved, ARSE – Safe Word

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Free Bonus Best Tracks of Year Playlist