Top 50 Albums of 2019
#50 Rich Brian - The Sailor // Alternative Hip-Hop
If nothing else, this record shows that Brian has a shit ton of potential. I found myself mostly unimpressed by his rapping, although as I said, there’s something in Brian waiting to come out. The main reason I enjoyed this album as much as I did was thanks to the production. I don’t know what kind of budget Brian’s working with, but the production here is spectacular. It’s a great blend of classic hip-hop, some more cinematic R&B, and there’s some decent trap-flavored bangers as well. I see this project as Brian moving from comedic-centric rap to a more serious sound; and while I dig some elements of this transitional phase I hope it gets fleshed out in greater detail. All that being said, if you’re looking for a fun listen, then this album is for you. It also has a great story about Brian’s emigration from Indonesia to the US.
Favorite Tracks: Rapapapa, Kids, 100 Degrees, Slow Down Turbo
Least Favorite Track: Confetti
#49 Westside Gunn - Flygod Is An Awesome God // Coke Rap
The coke rap sound is, as a whole, hit or miss, at least for me. The slow-paced, grimy boom bap beats vary in quality, especially when one’s entire discography is founded upon them. This album, for all intents and purposes, was my introduction to the genre, and it took some time to grow on me. For one, Gunn’s voice is…abrasive, to say the least. It’s high-pitched and indignant. However, it has that undeniable gangsta swagger that doesn’t make it sound whiny, but powerful. This album is definitely a mixed bag, but I won’t pretend it didn’t intrigue me enough to listen to Gunn & co.’s music more. And it certainly put me onto a great subgenre of rap that I’d been missing out on.
Favorite Tracks: Bautista, Ferragamo Funeral, Dance Floor Love, Gunnlib
Least Favorite Track: Thousand Shot Mac
#48 Hobo Johnson - The Fall of Hobo Johnson // Indie Rap
This is a very weird album. The songs are all over the place, in terms of aesthetic, genre, and tone. Some are lighthearted, some are poignant, some are downright depressing. And some of his lyrics are cringey as fuck. I’ve heard people describe Hobo Johnson’s songs as incel anthems, and while I wouldn’t go that far, his whole persona reminds me of the outlook I had in the 8th Grade. That being said, I can’t help but empathize with the music, and I think that deep down, a lot of dudes can relate to the uncomfortable honesty of Hobo Johnson. The production is also generally pretty damn strong, and there’s a lot of catchy hooks. I just wish Johnson would quit sounding like such a middle schooler and get a damn dog, or a girlfriend, or something.
Favorite Tracks: Typical Story, Uglykid, Subaru Crosstrek IV, All In My Head, I Want A Dog
Least Favorite Track: You & the Cockroach
#47 Caleb Giles - Under the Shade // Dense Lofi
This album is like a soundtrack to an afternoon stroll. It’s short, it’s wistful, and it’s introspective. It’s a nice bite-sized trip in Caleb Giles’ mind, but unfortunately, it suffers from a bit of aimlessness. There’s not a whole lot this album has going for it beyond the surface; I never really felt engrossed in the music itself, more so just the vibez around it, which is enough to land in my top 50 (because the vibez truly are legit) but not enough to get much higher. If you’re looking for a more melodic sounding Earl Sweatshirt, then Caleb’s your guy. I think Caleb’s got a good ear for sounds, and definitely has a solid pen game, but I need something more.
Favorite Tracks: Too, Name, Sunshine Reprise, Outro
Least Favorite Track: Sunshine
#46 Gang Starr - One of the Best Yet // Classic Boom-Bap
This album is an anomaly. The rapper half of the classic hip-hop duo Gang Starr, Guru, passed away about ten years ago, and I don’t think anybody expected DJ Premier to put together this posthumous project, featuring beyond-the-void verses from Guru. Much of what Guru says sounds relevant, which is incredible (like when he calls out rappers who fake their background) but some of the stuff he says just sound outdated beyond belief. Like when he calls out rappers who wear skirts. And there’s some incredibly cringey moments when he sidetracks from the song topic to rap about how good he is at sex (in excruciating detail). Luckily, Guru’s awkward moments are subdued, because the best part of this album is Preemo’s absolutely lavish production. You can really tell the guy put his heart and soul into making this album sound beautiful, and it pays off, because I don’t think there’s a single song featuring bad production. So yeah, producer good, rapper meh.
Favorite Tracks: Bad Name, Family and Loyalty, Hit Man, What’s Real
Least Favorite Track: Get Together
#45 Westside Boogie - Everythings For Sale // Lyrical Rap
I feel fairly conflicted about this record, because on one hand I’ve gotta give praise where praise is due; Boogie’s one of the smoothest rappers I’ve heard in a minute. The way he rides a beat, both melodically and lyrically, is very impressive, and his beat selection is also perfectly suited for his voice. However, there were moments on the record where I felt as if the sensitive side of Boogie was simply a farce, and that he was kind of a sleazeball underneath. I’m probably wrong, but that’s the vibe I got on some of the songs. Barring that, though, I really did enjoy this album. The hooks are tight, the beats are a great combination of Dreamville-esque soul-infused trap and west-coast soul, and Boogie’s voice is addictive in its smoothness.
Favorite Tracks: Silent Ride, Lolsmh, Soho, Skydive II, Whose Fault
Least Favorite Track: Skydive
#44 PUP - Morbid Stuff // Pop Punk
Somehow, I totally let this album slip under my radar throughout all of last year, even though I was constantly hearing its praise. I think the description of thrashing punk distracted me, since I just wasn’t feeling punk in 2019. But once the moody madness of late 2019 and early 2020 came to a halt, I was filled with frustration. And I was self-aware of it, too. Which this album sort of feels like; a self-aware and humorous look at one’s anger. The lyrics are witty, the instrumentation is ANGSTY, and it’s a lot of fun to listen to….for the first 20 minutes. Remember folks, this album is thirty-six whopping minutes in length. That doesn’t sound like a lot, but when your ears are being beaten and assaulted with angsty, amped-up electric guitars, then thirty minutes begins to sound like hell. And as someone who’s pretty sensitive to loud noises, I just could not take the album’s unyielding barrage of noise for longer than 20 minutes. The last ten or so minutes were painful. But I think that in short bursts, this album is a shit ton of fun, and one of the most cathartic albums I’ve ever heard.
Favorite Tracks: Morbid Stuff, Kids, Bloody Mary, Kate and Ashley, Sibling Rivalry
Least Favorite Track: Scorpion Hill
#43 Ariana Grande - thank u, next // Pop
I knew this was an album that I’d enjoy, even on an emotional level, when I heard the line “Wish I could say thank you to Malcolm/Cuz he was an angel”. As a big fan of the late Mac Miller, that line definitely tugged at my heartstrings. While this album definitely comes off as a bit melodramatic, I respect the unflinching honesty Ariana shows. It really sounds like she’s putting everything on the table, all the pent-up emotions she’s been toiling with. She talks about her relationships, her regrets, and her struggles with fame and the shit that comes with it. The songwriting isn’t anything crazy, but it’s enough to make me pay attention. The production is immaculate. I’ve never heard spacey trap/R&B beats sound so damn good. I think Ariana’s vocal performance compliments the production perfectly, and it’s like yin and yang. The only reason I don’t have this much higher is because, like I said before, the songwriting isn’t anything too special, and the album doesn’t really interest me like the albums higher up. However, this is probably one of the best pop releases of the year, without a doubt.
Favorite Tracks: needy, bloodline, make up, thank u, next
Least Favorite Track: in my head
#42 Durand Jones & The Indications - American Love Call // Throwback R&B
If there’s one word that could describe this album, it would be tender. This album is like chicken soup for the soul. The songs sound fittingly dusty, considering the album is essentially a throwback to classical R&B, a sound it nails. However, the lack of innovation does lower this album on my list, since I felt the album was missing some spice. It’s a very fun album for the summer. Jones’ vocals are beautifully mournful. Even when he sounds happy, he sounds sad. When he sounds sad, he sounds happy. It’s a weird dichotomy but I dig it. There’s just so much soul in this album that it’s hard not to feel something after listening to it. The other complaint I have is that the subject matter never really changes. We get it, Jones, you’re horny for some chick who plays hard to get. Just move on, bro. In all seriousness, I don’t really mind the repetitive subject matter, because, as I must emphasize, the instrumentation is lush and beautiful. You can hear the band’s raw instruments at work, and in general, this album’s soul is undeniably present, making it a very enjoyable listen.
Favorite Tracks: Morning In America, Don’t You Know, Circles, Sea Gets Hotter, True Love
Least Favorite Track: Court of Love
#41 BROCKHAMPTON - GINGER // Alternative Hip-Hop
Losing Ameer has, without a doubt, put a huge dent in Brockhampton’s flair. The dude was their razor edge. He was the man who came from the streets, and he had a swagger that nobody else on Brockhampton exhibited quite as confidently. But I didn’t know any of this before listening to GINGER. I didn’t even know who Ameer was at the time. This was my first BH album, and I enjoyed it a lot at the time it released. However, upon having gone through BH’s discography, the absence of Ameer begins to appear more glaring. I still enjoy this album, but none of the bangers on the album shine without him, and there’s too damn many attempted bangers for me to enjoy this album more. Where this album shines is in its sensitive side. Nobody does sensitive and sweet like Kevin Abstract. The only outlier is SUGAR, a summery banger that I adore. Overall, the album’s lack of consistency and some of the more tedious songs going on for too long lowers its position on my list. But it must be said that some of BH’s best work can be found here, somber and sweet, like a wounded bird. I love NO HALO.
Favorite Tracks: NO HALO, SUGAR, DEARLY DEPARTED, VICTOR ROBERTS
Least Favorite Track: I BEEN BORN AGAIN
#40 Megan Thee Stallion - Fever // Dirty South
The cover gives you a pretty good idea of what you’re getting into. Megan is HOT, in every way possible. She carries her sexual energy with confidence. She raps with unfiltered aggression, keeping it lighthearted but also ferocious, simultaneously. And the beats she picks are HEAT. She’s repping her corner of Houston, and she’s doing it with confidence. I never expected to love this project as much as I did, but I’m afraid I now have a crush on Megan. This project does have a couple of duds (when your project is a collection of bangers, a few duds can kill the momentum a bit) but it has enough to keep me coming back, just like them thighs on the cov–whoah. Getting ahead of myself there.
Favorite Tracks: Realer, Pimpin, Cash Shit, WAB, Best You Ever Had, Simon Says, Sex Talk
Least Favorite Track: Big Drank
#39 Anderson .Paak - Ventura // Neo-Funk
I genuinely don’t think Paak is capable of missing. I believe its down to his ear; the dude doesn’t really misstep when it comes to his sound, because the beats he sings/raps over are all just such a joy to listen to. Ventura, sonically, is a blend between summery fun and autumn melancholy. The only real issue I have with Ventura is lack of diverse subject matter. As a whole, the lyrics tend to revolve almost entirely around romance and flirtation, and while that can be fun in small doses, an entire album about it usually doesn’t do it for me. That being said, pretty much every song is catchy and well-performed (by Paak as well as the features, especially Andre 3k), so I can’t complain too much. Nobody blends funk, soul, and hip hop quite as effortlessly as Paak, and I enjoyed this album a lot.
Favorite Tracks: Come Home, Winners Circle, Jet Black, What Can We Do?
Least Favorite Track: Reachin 2 Much
#38 CHAI - PUNK // Bubblegum Punk
I dunno, I think I might just have a fetish for the high-pitched voice a lot of Japanese punk rock chicks sport, because this album was really damn fun to listen to. It was like a sugar rush, or a stick of cinnamon chewing gum, because it was spicy and sweet at the same time. I don’t think the punk aspects are as prevalent in the latter half of the album, but that’s not necessarily a bad thing; I just feel as if the songs begin to lack personality. The chewing gum begins to lose flavor, so to speak. However, that doesn’t stop me from enjoying the hell out of the high-energy, rock-infused jams.
Favorite Tracks: Choose Go!, I’m Me, Fashionista, Feel the Beat
Least Favorite Track: Family Member
#37 Mavi - Let the Sun Talk // Dense Lofi
Look; the Earl comparisons are inevitable. Lemme just get this out of the way. Mavi is not as similar to Earl Sweatshirt as some may presume. They’ve got very similar voices (which is one criticism I have) but Mavi’s lyrics are a lot less esoteric, and he has more passion in his voice than Earl (no dig to Earl). What shines in this album is the production. It almost feels alive, as if Mavi’s voice is a snake charmer bringing the production to life, dancing with it in harmony. There’s chemistry between Mavi and his production, and it oozes with personality. The main critique I have is that the album often feels meandering. The oddly structured songs can be interesting, but also leave the listener directionless. Maybe that’s part of the artistic vision, but it certainly leaves me disoriented. Nonetheless, I found this album very enjoyable, for Mavi’s poignant, passionate lyricism, and the slightly off-kilter, soulful, sample-based production.
Favorite Tracks: Eye/I and I/Nation, Self Love, Chiasma, Moonfire
Least Favorite Track(s): II, III
#36 Rico Nasty & Kenny Beats - Anger Management // Sugar Trap
I glanced over this when I was first getting into hip hop in early 2019 because I was all about the spiritualism, the lyricism, and miraclism. Upon getting into more varieties of new age hip hop and overall becoming a much more open-minded listener, this album certifiably slaps. Not only is Kenny’s production fittingly bombastic to match Rico’s manic energy, the lyricism is actually pretty damn clever a lot of the time and Rico definitely manages to carry the momentum of each track forward. Her energy never gets tiresome. And it’s even more rewarding when she finally shows a glimmer of warmth (as opposed to the barrage of fury) at the end of the album. Overall, if you’re into trap production, if you’re into stuff that makes you get turnt, then this album is perfect. It’s pure energy.
Favorite Tracks: Cold, Hatin’, Relative, Sell Out
Least Favorite Track: Mood
#35 Griselda - WWCD // Coke Rap
Like an order of black coffee, this is an album that’ll make your face scrunch up, and also make you want even more. Each member of Griselda delivers, and I don’t think the album ever falters in terms of just how hard it goes. The sparse, eerie boom bap beats perfectly sit in the background as you hear the three of them tell their stories. Each of them successfully convey just how cold-blooded they are. I really do not wanna fuck with any of them after listening to the project, and I suppose that’s the point. Even squeaky-voiced Westside Gunn sounds threatening. Benny’s packing his usual aggressive, slick delivery. And don’t get me started on how fucking evil Conway sounds throughout the project. All three of them have their own uniqueness, and overall this is just a really dope project.
Favorite Tracks: Chef Dreds, Moselle, Freddie HotSpot, DR. BIRDS, The Old Groove
Least Favorite Track: Bang (Remix)
#34 Quelle Chris - Guns // Conscious Hip-Hop
Politically charged and potent in its wit, Guns is one of the most well-written rap albums of the year. Quelle is in my top 5 of the decade (and I discovered him through this album) so to see him continue a decade-long winning streak is awesome. I’m gonna get my issues out of the way first, though. I know Quelle’s voice is subdued by nature, but god, he’s way too quiet in the mix, to the point where I had to strain my ears to hear him at times. Some of the songs also go on for just a bit too long. Aside from these two issues, this is a razor-sharp album, and the commentary Quelle provides on the ironies of American culture makes this one of his most unique releases to date. The production ranges from sparse to a lush form of depressing. Can I also just say that I love the cover? Overall, if you’re into politically conscious rap (that also has a sense of humor) this is an album you’re gonna wanna check out.
Favorite Tracks: Spray and Pay, Guns, Mind Ya Bidness, It’s the Law (Farewell Goodbye Addio, Uncle Tom, Box of Wheaties, Obamacare, You, Me & Nobody Else, Wyrm
Least Favorite Track: Wild Minks
#33 Injury Reserve - Injury Reserve // Internet Rap
I discovered Injury Reserve through this project, and I’m glad I did. This project has some of the quirkiest, most creative production I’ve heard. Parker Corey kills it on the production, nearly every single beat oozes with character, and dynamic. Groggs (RIP) has a great voice, both relatable and full of wisdom. Ritchie’s packing the deep voice, perfectly suited for the hooks he’s usually on. All in all, you can really tell that these three dudes love making music together, and my god, after listening to this album, Groggs’ recent passing strikes me as even more tragic. If you want some quality experimental hip-hop, that still retains its catchiness, then look no further.
Favorite Tracks: Jawbreaker, Jailbreak the Tesla, Rap Song Tutorial, Wax On, Best Spot in the House, New Hawaii, Three Man Weave
Least Favorite Track: QWERTY Interlude
#32 Dave - PSYCHODRAMA // UK Rap
Dave’s songwriting packs a punch like very little else I’ve heard. I’ve been moved to tears by his forlorn, emotionally potent delivery two times whilst listening to the album. Dave is easily one of the best lyricists in hip-hop right now, and so it’s a damn shame the production here falters quite a lot. I really dislike the melodramatic production. I like how simple it is, to let Dave’s lyrics shine, but the lack of any hooks leaves the production sounding mostly stagnant and manipulative in just how hard it tries to sound sad. Dave’s lyricism and passion is the only thing carrying this album into greatness, because the album’s concept is pretty weak as well. The therapy session concept is inconsistent, and rather half-baked, and I really wish they’d just ditched it, because it honestly distracts me sometimes. With all that being said though, I want to address any readers left in doubt about whether they should listen to this album or not; you should. Dave’s lyricism cannot go unpraised. Lesley might be one of the best storytelling tracks I’ve ever heard. If nothing else, listen to Lesley.
Favorite Tracks: Psycho, Black, Screwface Capital, Lesley, Voices
Least Favorite Track: Disaster
#31 Mal Blum - Pity Boy // Folk Punk
I’ll admit it; I’ve got a bit of a guilty sweet spot for melodramatic emo rock. Hayley Williams can smack my head with her damn microphone. I’m all here for it. This is an album that grew on me pretty rapidly. The instrumentation is nothing spectacularly interesting, but it does provide a great backdrop for Mal to sing their ass off (with that wonderfully quirky voice), and is pretty damn exhilarating at times. Unlike other punk albums, the instrumentation didn’t grate on me, not even once throughout the entire runtime. I also would like to draw attention to the subtle but empathetic lyrics Mal’s packing. Overall, if you’re looking for a fun, cathartic, and sometimes emotionally rewarding album with head-bobbing rock instrumentation, this is the album for you.
Favorite Tracks: Things Still Left To Say, Black Coffee, Did You Get What You Wanted
Least Favorite Track: Salt Flats
#30 Matmos - Plastic Anniversary // Experimental Electronic
To me, this album represents the ingenuity of human expression. Lemme get this straight. You’re telling me that every single element in every single song is derived from plastic objects? Forget the execution, that idea sounds insane. I’m in. And boy does this album deliver. Because not only is the recording quality top-notch (to the point where the clacking of billiard balls is orgasmic to my ears), the production is rhythmically and melodically satisfying. Honestly, there’s probably some environmental themes in there, but I just had fun listening to it, and marveling at the GENIUS. I mean, these dudes made a beat out of a riot shield. Now THAT’S cool.
Favorite Tracks: The Crying Pill, Silicone Gel Implant, The Singing Tube, Collapse of the Fourth Kingdom
Least Favorite Track: Interior With Billiard Balls and Synthetic Fat
#29 Denzel Curry - ZUU // Florida Trap
A love letter to Carol City, Florida is an apt description for this absolute BANGER of a project. Christ Jesus, this album never really lets you rest. The production is almost always on full tilt, going harder than Connor McGregor when he slapped Mayweather’s bald head. In its short runtime, this album manages to pack more fun than almost anything else I’ve heard all year. Denzel has not missed on a project yet, and while there are some ‘meh’ points (like AUTOMATIC) every full-length song goes too damn hard not to bop your head back and forth. I believe the kids would refer to it as ‘lit’. And I would concur. RICKY is genuinely one of my favorite singles of 2019. You can feel the love Denzel has for his hometown, and a love letter in the form of one trap banger after another is rather fitting.
Favorite Tracks: ZUU, WISH, RICKY, SPEEDBOAT, P.A.T
Least Favorite Track: AUTOMATIC
#28 SAULT - 7 // Neo-Funk
After listening to this album on the whim (a reddit recommendation) I had to know who ‘Sault’ was, and apparently the internet is mystified just as much as I am. As far as anyone knows, they’re a British band who blend groovy funk with dance music. And yeah, I can get behind that. This album is a lot of fun, from beginning to end, and it’s down to the fantastic instrumentation, which seems like it’s lightning caught in a bottle during a jam session. The vocals are tight as hell, as well, and sound artfully strained. There’s some political imagery at play here, and the music almost sounds dystopic; like it’s predicting doomsday. But with all that said, it’s still very catchy funky music, that has the raw elements of jazz thrown in for good measure.
Favorite Tracks: Pretty much all of them to be honest
Least Favorite Track: N/A
#27 100 gecs - 1000 gecs // Hyperpop
Sonically, this album is like a jelly bean overdose. I think I got that from a youtube comment, and I couldn’t agree more. I don’t really know what I was expecting listening to this thing, and it wouldn’t have mattered, because nothing would’ve prepared me for just how fucking weird it is. It’s effortlessly insane, and even though it’s trying hard to be that way, you can’t hear it. I have no issue believing that Dylan Brady and Laura Les go around punching horses in real life. I have no issue buying into the idea of Laura Les making fun of some dude for not having a bigger truck than her. Honestly, I don’t want to talk about the music too much, because I swear to god this album is better if you have no idea what you’re getting into. Oh yeah, and if you don’t like it, it’s only twenty-three minutes long. Your pain will cease quickly.
Favorite Tracks: money machine, stupid horse, ringtone, gecgecgec
Least Favorite Track: I Need Help Immediately
#26 Hemlock Ernst & Kenny Segal - Back at the House // Jazz Rap
Before anything, I just wanna commend Kenny Segal for producing some of my favorite records over the last year. Dude’s been on fire, and I cannot wait to hear what he does next. And as for Mr. Ernst? The poet? The free-flowing white guy? I dig him too. This album is exactly what its title suggests. It feels like coming back to a childhood home, finding it abandoned, and then sitting on the front porch with a beverage or a smoke in hand. The lax, smooth instrumentals sound like a quiet, melancholy sunset. Ernst sounds more reflective than any other rapper I’ve heard in a long time, and while his poetic style can get a little tiresome, the way he delivers his bars is pretty damn beautiful, and it’s hard not to get sucked into his overbearing literariness. Above anything else, this album will make you take a breather.
Favorite Tracks: North to South, Messy, Addicted Youth, Stone Soup, Back at the House
Least Favorite Track: Bless the Fire
#25 Loyle Carner - Not Waving, But Drowning // Chill Rap
Man, I don’t think there’s another album out there that has the same effect on me as this one. Loyle Carner might be my favorite UK rapper right (even though he’s not the highest on the list) simply because of the vibe he manages to exude on this project. The beats he chooses are peaceful and melancholic, and gives him the ability to just sit with his thoughts, and translate them into music. I could listen to Loyle talk about anything. He sounds like an old friend you haven’t seen in years. You talk to them and you see how much they’ve grown, but you feel melancholy because you each missed out on each other’s lives. Loyle’s voice is so damn pleasant on the ears. The only criticism I really have is that some of the fat could be trimmed from the 16 tracks, and that Loyle’s flows are a little bit generic. Otherwise this album is a damn joy to listen to.
Favorite Tracks: Dear Jean, Angel, Ice Water, Krispy
Least Favorite Track: Desoleil
#24 Your Old Droog - Transportation // East Coast Hip-Hop
Droog is a pretty unique voice in hip hop. It’d be easy to call him the white Joey Badass, which is why I’m going to do that. In all seriousness, I enjoyed this project a lot more than I would’ve ever expected. I’d heard one of Droog’s other projects (he had 3 release in 2019) and it didn’t do it for me, because there was no emotional weight behind Droog’s lyrics, and I sensed that there was more under the surface. Plus, the production was painfully tedious. This project is in my opinion the perfect Droog project. He raps about his life living in the big apple, his regrets, his dreams, and honestly, if there’s one album that captured who Droog is at his core, it’s this one. Train Love is one of my favorite songs of the year. The production on this album is grimy and beautiful at the same time, and flows smoothly from one track to the next. The sample interludes don’t bother me, either. They feel fitting for each song’s vibe. Transportation is just a great boom bap album in general, and it turned me from a Droog doubter to a Droog fan.
Favorite Tracks: Under the Train, SS YOD, Train Love, 207
Least Favorite Track: Loosey Spot on Wheels
#23 Aesop Rock & Tobacco - Malibu Ken // 8-Bit Hip-Hop
Anybody who knows Aes’ style by this point knows that to enjoy his music, one must submerge themselves into the chaos. One must understand that though the words are large, the meaning is usually simple. One must write a review of the album that sounds snotty as fuck and pretend to understand anything about Aesop Rock’s music. This album…is weird. The lyrics are esoteric as fuck, so I won’t bother pretending that I know what he’s talking about. What I can vouch for is the glitchy, 8-bit production featured across this project, courtesy of TOBACCO. I’m sort of a sucker for this kind of production, since the first kind of music I ever made was techno music with my little brother. Generally, if you can get behind Aes’ enormous vocabulary and if you’re into largely synthetic production, you’ll fuck with this. As I did.
Favorite Tracks: Corn Maze, Tuesday, Sword Box, Suicide Big Gulp, Purple Moss
Least Favorite Track: Acid King
#22 Rapsody - Eve // Conscious Hip-Hop
Rapsody displays a level of classiness that makes me immediately take whatever she says seriously. The confidence she exhibits in her womanhood is charismatic, and the way she puts up other women all makes her an incredibly likable rapper, and when you’re likable, it makes me listen more closely, no matter what. And I think Rapsody understands that, because rather than taking the trite route of putting men down to put women up, Rapsody demonstrates a love for women AND men of color. She criticizes masculine norms without being condescending (when she really doesn’t owe any semblance of respect) and I think it makes her arguments more nuanced. My only real critique of the album is that the beats, generally, are pretty mediocre. There are, of course, great beats on this thing, but a lot of them just don’t do it for me. One thing I really like about the project is the concept; every song is named for an influential black woman. If you want a phenomenal conscious rap album, then this will most definitely blow your socks off.
Favorite Tracks: Cleo, Serena, Ibtihaj, Iman, Hatshepsut, Sojourner, Afeni
Least Favorite Track: Oprah
#21 JPEGMAFIA - All My Heroes Are Cornballs // Internet Rap
I still couldn’t really describe Peggy’s style to anyone off the top of my head. I haven’t been a fan for very long, to be fair, but once you listen to this thing, you’ll know exactly what I’m talking about. This is a damn fun album, in contention for one of the most engaging I’ve heard in 2019. There’s not a whole lot of missteps, which I chalk up to Peggy’s ability to constantly keep the audience engaged with weird ear candy, tight melodies, catchy flows (albeit a little repetitive), and never overstaying his welcome. While I do believe the project kind of falters a bit after the first 4 or so tracks, nearly every song is dynamic, well-structured, and zany as hell. I also like that there’s a running theme about personal walls (“you think you know me”) and a ton of internet references.
Favorite Songs: Jesus Forgive Me I Am a Thot, Kenan vs. Kel, Beta Male Strategies, Grimy Waifu, Post Verified Lifestyle, DOTS FREESTYLE REMIX
Least Favorite Song: BasicBitchTearGas
#20 Kirin J Callinan - Return to Center // Sophistipop
Callinan is another one of those delightful weirdos whose music emanates gravitas, but is obviously just taking the piss out of everything. This album is a cover album, sort of, although to be perfectly honest I didn’t do a whole lot of research into how he spun these covers. I’m a simple man. The instrumentals are fittingly dramatic, Callinan’s performance is mesmerizingly strange, and it all comes together to create a genre-bent project where nothing is ever as it seems. This is one of those albums that I’d rather not give too much information on. It’s better to just go in blind.
Favorite Songs: Life is Life, The Homosexual, It Takes A Muscle to Fall in Love, Rise, Vienna
Least Favorite Song: Return to Center
#19 Tyler Childers - Country Squire // Appalachian Country
“I listen to everything except for country.” Not anymore, motherfuckers! Ever since I got put onto Tyler Childers, I finally have something to talk about with country-heads. Not much else, granted, but this album is too damn good for me not to give country music more of a shot, at least more than I used to. Like most, I’m averse to the smarmy brand of radio-friendly ‘bro country’, permeating the mainstream like fleas on a homeless dog. Luckily, there’s this weirdo (who a friend of mine said looked like a history teacher) and his name is Tyler Childers. I’ll cut straight to the point; Tyler’s voice is twangy, like the instrumentation, and the songs are cohesive as fuck. In fact, it almost sounds as if the whole album was played in one take, that’s how immaculate the transitions are. And mother of god, the backing band is fantastic. I think I fell in love with the fiddle after this album. Childers’ lyrics are also pretty vividly written, and are exactly what I’d always dreamed country could be. I foolishly never gave country a shot, and honestly, if you’re going to try to dip your toes into the genre, this is a good place to start. It definitely opened MY mind.
Favorite Tracks: Country Squire, Bus Route, Ever Lovin’ Hand, Peace of Mind
Least Favorite Track: Matthew
#18 Stormzy - Heavy Is The Head // Pop Rap
This album is basically the first Spiderman flick, but instead of a white kid from Queens, it’s the grime icon Stormzy, who I got to know through this album. Might seem like a weird comparison to draw, but I promise it’ll make sense. This is an album in which it definitely feels like there’s something for everyone. There are grandiose anthems, in which Stormzy proclaims his power and influence as one of the top-selling artists in Britain. There are more grimy bangers, where Stormzy talks about his origins, and juxtaposes them to where he’s at now. And then there are the more sensitive, reflective songs (my favorites) where Stormzy reminds himself to take responsibility. With great power comes great responsibility. I told you he was like Spiderman. Overall, the themes in the album are executed flawlessly, the production never feels meek, and Stormzy has an irresistible level of confidence that makes it difficult to not listen, even if his flows are a little bit run-of-the mill. The one critique I have is that I wish some of the fat was trimmed, but other than that, this album is one great song after the next.
Favorite Tracks: Audacity, Crown, Do Better, Wiley Flow, Pop Boy, Superheroes
Least Favorite Track: Own It
#17 Blu & Oh No - A Long Red Hot Los Angeles Summer Night // Hardcore Hip-Hop
What a storytelling masterpiece this album is. The plot is woven throughout the whole project with such precision that I’m genuinely taken aback by it. Never have I seen the concept album delivered in as mesmerizing a way as this. The plot is harrowing, and there were a lot of points in my listening that I was legitimately on the edge of my seat, wondering what would happen next. Blu is a fantastic storyteller; the way he rides a beat, and conveys his emotions as the protagonist is pretty goddamn amazing. Much credit should be afforded to the soundtrack to the plot, of course. Oh No’s production blends jazz, soul, and west-coast in a way that perfectly encapsulates the cinematic nature of the album. It truly feels like A Long Red Hot Los Angeles Summer Night. The only issue, in my opinion, is that the production and mood of the album can get a little stale at points; I don’t feel like there’s enough dynamic in the energy. It’s like a high-stakes action movie with no breaks in between. Though maybe this just adds to the suspense. You tell me.
Favorite Tracks: The Lost Angels Anthem, Round Bout Midnight, Champagne, The Robbery, Straight No Chaser, Stalkers, Pop Shots, Murder Case, Facing Time
Least Favorite Track: Made the Call
#16 Kevin Abstract - ARIZONA BABY // Indie Rap
Believe it or not, this is not the only album on this list that’ll feature a gay black man staring into your soul with a strange expression on their face. I’ll start by saying this; taking off my nostalgia goggles was more difficult for this album than anything else. This album carries so many great memories with it. It reminds me of my ex girlfriend, it reminds me of my roommates, it reminds me of those hot days in boarding school, sitting in my room and doing nothing. It reminds me of hanging out with my friends, hiking our way to town to buy a pizza. This album is the quintessential summer album for me. The production is sweet, wistful, and longing. Kevin’s voice fits like a glove, and the album reminisces about the good times and the bad times. Barring the nostalgia I have for this album, my main criticism is that some of the songs just sound a bit bland. The highs make up for it, but there’s still some fat on this thing, and some lost potential. But the four best songs on the album are pretty much perfect songs for me, each carrying their own distinct memories. Overall, if you want an album that’ll make summer feel more important, and maybe make you cry a bit, this is the album for you.
Favorite Tracks: Joyride, Georgia, Baby Boy, Peach
Least Favorite Track: Use Me
#15 Little Simz - GREY Area // Hardcore Hip-Hop
This project features one of the tightest tracklists I’ve seen on a rap album in a while, at only songs with basically nothing faltering even in the slightest. I legitimately love every single track on here. Simz has an incredibly confident delivery, and I love how effortlessly she’s able to change her rhymescheme or flow without it sounding awkward. The beats, while somewhat derivative, are also a great backdrop for the conscious and introspective bars Simz spits. This album apparently came from a state of confusion; a quarter-life crisis, if you will. For Simz, writing this was therapy, and I can hear it. She sounds self-assured and powerful, and it makes for an incredible concise and well-made album.
Favorite Tracks: ALL OF THEM
Least Favorite Track: N/A (None of them) [seriously]
#14 slowthai - Nothing Great About Britain // Freaky Rap
I never expected to draw this comparison, but Slowthai is the British Danny Brown. After properly listening to this album, I never expected to both laugh at Slowthai’s bitter sense of humor and open my eyes in horror at the shit he details having gone through. Slowthai’s embodies the reckless spirit of somebody who’s been pushed to the brink of survival ever since childhood, and is now lashing out with cutting wit and ferocious indignance. Slowthai doesn’t send out any particular message, he just tells you what he’s gone through, the environment he was brought up in, and leaves you to draw the political conclusions. This is, without a doubt, one of the most chilling albums of the year, because it doesn’t even seem like Slowthai takes his life as seriously as it sounds. If he does, then the humoristic deflections make it all the more haunting. I cannot relate to this album at all whatsoever, and that makes me very fucking grateful.
Favorite Tracks: Doorman, Crack, Missing, Northampton’s Child
Least Favorite Track: Gorgeous
#13 black midi - Schlagenheim // Math Rock
Took me a while to board the Math Rock train, but I’ve begun to take my first tentative steps into the genre. This album is powerful, in some deep, primal way. I don’t know what it is. Maybe it’s the lack of regard for the usual pop formula, maybe it’s the weird vocal intonations, maybe it’s the constantly shifting rhythms. Whatever it is, it reaches into a very specific part of my soul. The furious guitars, the manic percussion, it’s all so captivating. It’s like watching a psycho unfold in the street, spouting predictions for the end of the world. I can’t look away.
Favorite Tracks: Pretty much all of them
Least Favorite Track: N/A
#12 billy woods & Kenny Segal - Hiding Places // Abstract Hip-Hop
The cover of Hiding Places depicts what I believe to be a dilapidated crack house, and in a sense, I think it fits with the atmosphere that Kenny and Billy seek to construct. Kenny’s beats are foreboding and eerie. I almost feel like I’m sitting around a fire, hearing Billy spin these abstract tales of his life in the hood, and his childhood. There’s a lot of reflection in this project, though it’s difficult to decipher Billy’s poetry. I can’t claim to have that ability, but I do know that like good poetry, even if I don’t understand the full meaning, I can still find some solace in the imagery, and in the emotions conveyed by the words. I can hear the pain in Billy’s voice, the outrage. I can feel the palpability of the loss he feels. Hiding Places, to me, is something akin to a letter written before someone goes off on their own. It’s the soundtrack to a dark period of self-discovery.
Favorite Tracks: All of them
Least Favorite Track: N/A
#11 Jeremiah Jae & L’Orange - Complicate Your Life With Violence // Sample-Based Hip-Hop
I’m gonna come right out and say it; I think Jeremiah Jae’s writing is near Kendrick’s level. It’s got breadth, it’s got the nitty-gritty details that keep you on the edge of your toes, it’s got the poetry and it’s got the unpredictability. L’Orange’s production is also one of the most sonically satisfying I’ve heard; he manages to take a pretty established sound in hip-hop and keep it fresh. I love sample-based hip-hop, and you better believe I loved the WW2-themed samples. Jeremiah tells extremely autobiographical stories, but still manages to sound like he’s your comrade on the front lines, explaining to you, the rookie, how the world will proceed to work from now on. Awesome beats, awesome writing, and an incredibly focused theme that never loses momentum, up until the very end.
Favorite Tracks: ALL OF THEM
Least Favorite Track: Ummmmm nah
#10 Dorian Electra - Flamboyant // Electropop
At once composed and chaotic, masculine and feminine, well-put together and rowdy, this album cover pretty much describes the music in this album to a T. Dorian is one of the most interesting artists out there right now, and their music is reflective of that. Their brand of electropop is my favorite in a year that saw a good few solid projects in the same vein. I really liked how Dorian approached the topic of masculinity, which is a prevalent theme throughout the album. Not only does Dorian challenge the idea of masculinity, they also challenge heteronormativity with equal aplomb. Even if you don’t care for Dorian’s lyrics, it’s hard not to bop your head to the dynamic and synth-heavy production. It’s like dance music for queer nerds. I can get down to it. All in all, this is one of the best pop albums of the year, and 2019 was a huge year for pop in a lot of ways.
Favorite Tracks: Career Boy, Guyliner, Live By the Sword, Adam and Steve
Least Favorite Track: freaky 4 life
#9 Danny Brown - ¿uknowhatimsayin? // Alternative Hip-Hop
To me, this album is like a well-written episode in a black comedy. I see Danny as the hapless protagonist, trying to grow past old demons and outrun the monkey on his back. And it made even more sense when I read into the influences on the project; Danny took inspiration from classic comedians, like Richard Pryor (you can see it in the look he adopted for the album cycle). As a result, the lyrics are both strikingly poignant, and really fucking funny. Overall, the character arc exhibited by Danny over the course of his career is perfectly exhibited in this tightly packed album. The production is a great combination of the usual grimy electronic Danny Brown flair and a soulful, more old-school hip hop palate. This album feels cinematic, it feels deeply personal, and the lyricism is brilliant.
Favorite Tracks: ALL OF THEM
Least Favorite Track: FUCK YEAH DANNY BROWN THERE AINT NONE
#8 Lizzo - Cuz I Love You // Pop
I’m gonna come right out and say it; this is the best pop album of 2019, without a doubt. Lizzo’s sassy, charismatic personality is infectious, and will make anyone, even a skinny nerdy Jewish kid like me, feel sexy. The instrumentals are lavish, and though there’s clearly some homage to pop-soul of the past, it never feels excessive; Lizzo does a great job of bringing in a more modern flair to it. And her voice, my god, her voice. When Lizzo hits an extended high note I get shivers down to my toes. Goddamn. The woman’s singing talents know no bounds. Nearly every single song is made an absolute BOP because of the phenomenal production and singing (plus she got BARS too!). The album is smooth, sexy, and tons of fun. Anybody who claims not to be enjoying themselves listening to the album is either lying to themselves or deaf. Probably.
Favorite Tracks: Cuz I Love You, Juice, Jerome, Crybaby, Exactly How I Feel, Lingerie
Least Favorite Track: Heaven Help Me
#7 Freddie Gibbs & Madlib - Bandana // Hardcore Hip-Hop
There’s so much going on in this album that it almost feels like an action-packed thriller of a movie. Unlike most action films, though, the protagonist (in this case, Freddie) doesn’t feel like a caricature of themselves. Freddie is one of the most blunt rappers out there. The album celebrates, laments, and reflects on Freddie’s come-up and then escape from the coke game. Madlib curates Freddie’s stories with lavish, cunning beats; both sinister and ornate, which fit perfectly with the stories Freddie weaves effortlessly. The samples are all executed to perfection, Freddie’s flows are perfect, and what I hear in this album is the seamless merge of a rapper and a producer each at the top of their game. There’s very little I can find fault with (aside from one anti-vax bar), and overall, I think that the cinematic nature of the album makes it one of the best in the year.
Favorite Tracks: All of them, basically
Least Favorite Track: If I had to pick one, Soul Right.
#6 King Gizzard & The Lizard Wizard - Fishing For Fishies // Boogie Rock
If you’re looking at the name “King Gizard & the Lizard Wizard” and assuming that this is music for pretentious music nerds, you’re absolutely correct. But for once, the music nerds aren’t picking something insane. This is an incredibly fun album. It’s probably the most fun album of the year. The songs are catchy, harkening back to an older style of rock. It’s like Elvis if he wasn’t racist. Oh, and also if he had access to some glitchy, more electronic synthesizers. This album has an environmental theme, but honestly, I barely understood the lyrics the first time I heard the album and I still found it pure fun. If you want something to make you dance for fifty minutes, and then promptly think about the end of the fucking planet, then this is the album for you.
Favorite Tracks: ALL OF THEM
Least Favorite Track: NONE HAHAHAHAHAHA
#5 FKA twigs - MAGDALENE // Art Pop
The sound of Twigs’ vocal performance remains ingrained into my brain even to this day. She just sounds so broken. It’s like she’s been through a manipulative relationship and she’s crying into the microphone, over these cinematic, morose beats. All in all, this album, like few others on this list, is a sonic experience. Some of the tracks can be enjoyed on their own, but it’s clear that Twigs intended for this 9-track album to be consumed as a cohesive project. The overarching story escapes me, but every song features emotionally disturbing production, haunting vocal chains, and a visceral cry for help. Twigs opened her heart up, and got hurt deeply. And this album sounds like a heart being shattered into a million pieces.
Favorite Tracks: ALL OF THEM
Least Favorite Track: SERIOUSLY, NONE OF THEM
#4 Alex Cameron - Miami Memory // Odd Pop
There are many weirdos in my library, and one total nutjob to rule them all. And his name is Alex Cameron, Australian musician extraordinaire, this guy doesn’t even pretend to be genuine. His first two albums were him playing a character, the character being a washed-up musician. But this album is more personal, and you can definitely feel it. This was my first exposure to Cameron, and I didn’t really know what to think until I dug a little deeper. This album is dedicated to his romantic partner, actress Jemima Kirke. Most of the songs feature Alex playing a hyper-masculine abusive douchebag, which is, as you may expect, hilarious. The last song, Too Far, features him going more sensitive, and it’s probably the best song on the album. Alex’s voice carries a lot of emotion, even when he’s being sardonic, and the instrumentals are weird (I can’t really describe them, you just have to listen to it yourself) but highly enjoyable. Nearly every track is catchy as fuck, and almost all of them have been stuck in my brain at one point or another. At worst, this album will leave you laughing. At best, it’ll leave you thinking about masculine norms or something.
Favorite Tracks: ALL OF THEM
Least Favorite Track: Except for… Other Ladies
#3 Lingua Ignota - CALIGULA // Neo-Classical Extreme
I have not ever been in an abusive relationship. I cannot claim to understand or even fathom what comes afterwards. CALIGULA shines a light on the seething, all-consuming fury that one feels towards their abuser. Lingua Ignota, in this album, takes on the character of the goddess of vengeance. She represents the desire to destroy all that causes her pain. At least, that’s what I got out of it. You know the music’s intense when even the artist finds some of the songs unlistenable. It’s cathartic in the most raw, painful way imaginable. Like ripping off a scab, this album is searing in its rage. The combination of classical-sounding, grandiose strings with the metallic, fear-inducing thrashes of metal make for one of possibly the most heart-pounding musical experience I’ve ever had. This album is not for the faint of heart.
Enjoy!
Favorite Tracks: ???
Least Favorite Track: ???
#2 Weyes Blood - Titanic Rising // Baroque Pop
This album is Weyes Blood submerging you into her lost psyche. This is an extremely intimate look into a fragile emotional state, and I almost feel as if I have to talk about the album delicately, as if it’s made of porcelain. This genuinely feels like an artist transferring their very consciousness into the sonic medium. I can feel Weyes’ confusion over the future, as well as the present. The instrumentation emanates a longing for a simpler time. As someone who fell in and out of love, this album reaches into the very crevices of how I feel about my first real relationship, and for that reason, I cried multiple times listening to it. The instrumentation is absolutely gorgeous, for that record, and Weyes’ voice is sultry and silky in the best possible way. It sounds fragile to its very core. This is an album for when you feel like the entire world makes no sense. It’s an album for when you feel the universe doesn’t care about you. This is the sonic equivalent of feeling like everything has gone wrong and you’re left with nothing but yourself and your conflicting thoughts.
Favorite Tracks: A Lot’s Gonna Change, Andromeda, Wild Time, Picture Me Better, Nearer to Thee
Least Favorite Track: N/A
#1 Tyler, the Creator - IGOR // Lofi Funk
I’ve put off writing about this album for a very long time out of the simple fear that I wouldn’t be able to capture what exactly makes this album a ‘perfect’ album for me. And I say perfect in quotes because I do not think, by any means, that this album is flawless. Rather, it represents everything that I love about music, and it represents all the positive (and negative) change that I’ve undergone in the last year or so. I’ll readily admit that my nostalgia-tinted goggles are on high saturation for this one, but I don’t think it affects my opinion of the music itself. Because I remember listening to this album for the first time, very vividly, and realizing that this was one of my favorite albums of all times.
And after countless times relistening, and countless hours spent obsessing over it, I know that it’s probably my most cherished album of all time, and will probably continue to be so.
Now I’m gonna get a little personal. Ever since I was about 9 years old I’ve suffered from some form of anxiety. I’ve never been diagnosed. I’m not diagnosing myself. I just know that it’s pretty hard for me to find happiness that lasts.
This anxiety came to a fever pitch in early 2019, when I seriously contemplated suicide. I felt lonely, isolated, and above all worthless.
Things started taking a turn for the better in the months that followed. I met my second girlfriend. I started appreciating the friendships that I had, and I started taking life less seriously. Which was a good thing. I’d been wracked with anxiety for a long time about my laissez faire approach to school and my inability to form long-term relationships. To take life easy was a nice change of pace.
IGOR came out at a time when my happiness was at its peak. Everything in my life was pretty much exactly how I wanted it. I was in a sexual relationship with someone that I loved, I had a deep connection to my roommate, I was surrounding myself with people that made me feel appreciated, and I was taking charge of my own life. I was participating in extracurricular projects and I’d just made my big theatrical debut as the goofy yet lovable Robert, the lead role in a comedy called Boeing Boeing. I was coming into my own, and damn, it felt good.
IGOR was my soundtrack for much of the summer and the months that came before it. The synths and vocals on the album made me feel at home. There was an undercut of tragedy on the album, but I didn’t care about that. I just loved how the album made me feel in between the moments of happiness and relaxation.
Then I learned that moving away from Israel was no longer a possibility, but a certainty, and my heart broke.
In the summer that followed, I spent much of it in flux. The songs EARFQUAKE and I THINK no longer made me smile, they made me cry, because they reminded me of how deeply I’d fallen in love with my girlfriend, who I wouldn’t be seeing for a long time. I can vividly recall the song coming on in my shuffle while I was in bed in a foreign house, and me slowly breaking down sobbing as I thought about everything I’d left behind.
And once the shaky despondence eroded, I was left with a feeling of restlessness. I imbued myself with false motivation. I made music unsteadily, and released a mixtape. All the while thinking that as soon as I immersed myself back into Los Angeles, everything would fall into place.
It didn’t.
The songs NEW MAGIC WAND, PUPPET, and WHAT’S GOOD reflected my frustration with my new location. I hated my new school and everyone in it, through no fault of their own. I struggled adapting to the new environment, and I’m still not completely over it.
My relationship to my (ex) girlfriend is shaky. I call her my ex because it’s unreasonable to call someone so far away your partner. I still love her, but it’s exhausting and a little heartbreaking to text and call her instead of being physically there. The songs GONE, GONE/THANK YOU and ARE WE STILL FRIENDS? now make me cry more than I ever thought they would. I know she’s still there and I can always call her, but it’s not the same, and at a certain point, one needs to accept that the erosion of a relationship, no matter the bond, is inevitable. Especially when you’re young, immature, and carefree.
It doesn’t feel appropriate to talk about the album’s sounds and lyrics after all of that. If my emotional journey in companion to this album doesn’t convince you already, then I don’t know what to tell you.
It’s a really good album. Thanks, Tyler.