Our Favourite Albums Of 2019

This final End of Year list of the decade reads like a microcosm of the chaos of the nine years which went before it. Here there are pop albums made by underground musicians who can’t have expected anyone near a chart to hear them, R&B records made by rappers, pop records by rock bands and a million experiments in sound: from an album made of the sampled sounds of pieces of plastic to bluegrass revival. We are now in a place where it doesn’t seem absurd to place bandcamp sweethearts next to house DJs and chart-topping millionaires because we all listen to music on platforms which have them just a click apart anyway. 

We leave the decade with new icons whose names are scattered throughout this list: musicians like Blood Orange, Tyler The Creator, FKA Twigs, Danny Brown and Charli XCX who we simply hadn’t heard of ten years ago, and the behind-the-scenes revolutionaries like the producers of PC-Music who started the decade pastiching commercial music from their bedrooms and ended it writing the genuine commercial hits of today, reshaping the sound of chart music for the better. We also leave this year with new stars, from Billie Eilish to Little Simz and Floating Points, who we may well be speaking of in the same terms in ten years time. We celebrated the 80th anniversary of Blue Note records (which the header of this year’s list pays tribute to) while passed icons Miles Davis, Prince, Leonard Cohen and Arthur Russell had works unearthed which added to the depth of their legacies. We lost a few heroes too: João Gilberto, Scott Walker, David Berman, Kieth Flint and Bushwick Bill being just a few names among many. Many of the narratives which have emerged around music journalism are represented here, from the burgeoning London jazz scene, the reggaeton revolution and the grime takeover, but some of the most telling stories are not: the unstoppable ‘Old Town Road’ for example was a history maker specifically because it has nothing to do with albums. Most of all though, music is a perpetual provider of hope – giving voice to the forgotten, allowing the ideas of the future to be taken for a spin, providing resilience in the face of tyrannical forces, or simply daily reassurance from songwriters who capture the essence of what’s means to be alive and – in clubs, gigs and living rooms – make the living fun.

This list was compiled by a music fan with nothing better to do, based only the albums I managed to hear this year, featuring bias and ignorance of critical consensus. It is instead based solely on the music which impacted us, and which we enjoyed and listened to the most. From top to bottom, we consider all of these albums to be produced by incredibly talented individuals whose music this year will provide pleasure and inspiration for many more to come.

100. Plastic Anniversary – Matmos

Image result for Plastic Anniversary - Matmos

99. Flamboyant – Dorian Electra

Image result for Flamboyant - Dorian Electra

98. Odds Against Tomorrow – Bill Orcutt

Image result for Odds Against Tomorrow – Bill Orcutt

97. GINGER – Brockhampton

Image result for ginger brockhampton

(more…)

Sorry Scholar’s 100 Favourite Albums Of The Decade

Our hundred favourite albums released between January 1st 2010 and today: 

100. DIRTY PROJECTORS – LAMP LIT PROSE (2017)

A1kruzrrapL._SL1500_

99. WE GOT IT FROM HERE… THANK YOU 4 YOUR SERVICE – A TRIBE CALLED QUEST (2016)

09e256ce885fe6b3cf181239c3b3231c.1000x1000x1.jpg

98. SHAKING THE HABITUAL – THE KNIFE (2013)

18c86f4b4b24ce6dc38b58b09aef1076.1000x1000x1

97. SOUND & COLOUR – ALABAMA SHAKES (2015)

7e74759d5590e89838c9ca9d7d06d4c1.1000x1000x1.png

(more…)

The ‘New’ Iranian Stand-Off Is Just Business As Usual for the USA

In recent months, news coverage has again become dominated with reports from Iran, with President Trump and his counter-part President Hassan Rouhani stuck in a now-familiar war of words in response to Trump escalating sanctions against the beleaguered Gulf nation, with Rouhani recently calling the Trump “mentally retarded”. Retarded… maybe not. Simple? Most definitely. Yet the US administration’s latest escalations with Iran are not the birth of a new conflict but exhaustively predictable behaviour from a nation which has been behaving this way for decades, even when it was ruled by much sharper minds than Donald J. Trump.

It is notable that Iran can take credit for being one of the few prizes for aspiring rulers of any international hegemony which has resisted subservience to America, the dominant world power. The country has become economically crippled and a fundamentalist, autocratic Islamic theocracy along the way. The Republican administration of 2019 has not radically hardened America’s response to their resistance: Democratic and Republican administrations alike have pursued the same neo-realist approach which requires rebellious, resource-rich and strategically important states such as Iran to be brought in line or duly punished. (more…)

#MeToo in Indie Music, and the Pinegrove Example

In a year which has heaped upon us a depressing deluge of exposés of revered figures in our popular culture, from Michael Jackson to Rolf Harris (okay, not always that revered either…) there are few of us music fans who haven’t been touched by the dilemma of separating art from the artist. In music especially, it has become impossible to ignore that fact that some songs which have formed the soundtracks to some of the best days of our lives were made by humans whose actions we abhor. In the last week, many Morrissey fans may have found themselves struggling to listen to his new LP over a different moral quandary, thanks to his appearance on The Tonight Show Starring Jimmy Fallon wearing that badge.

At least the medium, sound, was always innocent in all this: there are no liberal chords and fascist riffs. Imagine that you come across a 1970s flamenco album on a spurious random internet blog, you download the ZIP file and find that it touches you deeply. You don’t speak Spanish, but the music is joyous and you want to share that joy, by hijacking playlists at parties and sending a link to your mother. Then, years later, you make the mistake of sharing your little find with a Spanish-speaking friend, who is shocked to find you endorsing an old album with lyrics which can be best described as rampantly fascist. You are horrified, but what are you meant to do? It’s too late, you’re already in. You may loathe the politics, but nothing has inherently changed about the music itself.  (more…)

Vampire Weekend and the Originality Myth Holding Rock Down

In a decade when more art is released in a month than could be considered properly in a lifetime, and every song recorded in the past century is just a quick Google away, our ideas of originality are changing. Once true uniqueness – the conquest for the unseen and unheard – was one of the first aspirations of art, but now it’s all laid bare: every source of inspiration, every melody borrowed from an unknown artist from the other side of the world or remembered in a dream. In 2017, Robert Shore’s book Beg, Steal and Borrow helped to shatter the myth of originality in art, and even more-so remove the stigma of weaving your influences together to make something new: a newfound embrace of artistic copying and pasting. 

In the art world, it was the 20th Century fashion for collages which put originality on the back-burner, by stitching together other works from across mediums (as if a millennium of painters copying Greek statues shouldn’t have done that already). Hip-hop’s sonic collages did the same for music, with producers digging crates in order to find samples and create a hot beat.

blog_2018_08_17_a_hamilton_appealing_pako_campo.jpg
Just what is it that makes today’s homes so different, so appealing? Richard Hamilton (1956)

However, when it comes to music made by more traditional bands, the perception seems to remain that there is a direct correlation between the talent of an artist and the extent to which their work can be considered ‘original’ to them. (more…)