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

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99. Flamboyant – Dorian Electra

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98. Odds Against Tomorrow – Bill Orcutt

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97. GINGER – Brockhampton

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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)

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

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98. SHAKING THE HABITUAL – THE KNIFE (2013)

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97. SOUND & COLOUR – ALABAMA SHAKES (2015)

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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.

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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…)

Burn The Dancefloor: The Raucous History of Dance Punk

Dance-Punk may be a genre you haven’t heard of before. That might well be due to the fact it’s not a genre, and what? That doesn’t even make sense? Dance. Punk? What does the rebellious grime of punk have to do with the glamorous strut of disco, or worse, Diplo? But it is also, undeniably, a thing. Inconcrete and still the subject of much debate, yes: but the music the term is used to define stretches across two of the most iconic eras of popular music. It thrived in the New York punk underground of the late 1970s, and saw an even grimier revival at the start of the 21st century, where bands like The Strokes and the Yeah Yeah Yeahs became pin-ups for a new generation. Dance-Punk also contains some of the most confident and potent music ever laid to wax, in the form of the Talking Heads, LCD Soundsystem and New Order. 

The fact that most of its finest music was produced in two distinct periods of time, and the specificity of its New York-roots, have left Dance-Punk cocooned as a “scene”: a concept so alien to anyone who started seriously listening to music after the release of the iPhone that it might as well come etched on a scroll. The musicianship is undeniable, but exploring it can feel more like embarking on an archaeological dig. These songs and albums are enduring though: a thrilling melting-pot of ideas which span funk, punk, dance, disco, synth-pop and acid-house, producing some of the finest grooves ever recorded, all with an attitude more capital-P Punk than the so-called ‘political’ bands whose names ended upon on MasterCards. 

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One of the strongest impressions is that, in both its original form and it’s revival, Dance-Punk emerged in times where the zeitgeist was in need of some serious lightening up. One of the genres’ touchstone (more…)

Our Favourite Albums Of 2018

It’s unusual, at the start of lists such as this one, to comment upon the quantity of great music which has been released, as if there’s an exact number of good albums which can be objectively quantified. However, whilst respectfully raising a glass to those who think that little of worth has been released since Peter Gabriel went solo… 2018 has been one hell of a year for music. You could argue that there were no all-time-greats in the vein of Skeleton Tree or To Pimp A Butterfly this time around, but there has instead been an astounding deluge of diverse, idiosyncratic and powerful music released within the last twelve months. Start listening to records halfway up this list, and you’ll find music great enough to fit snuggly aside those we chose as our top ten. This list instead is a celebration then, of new sounds and ideas which still cast long shadows, while major releases from once-dominant names like Drake and Niki Minaj flew by without a splash.

2018 was a year when new zeitgeists emerged, or were set in stone. Underground hip-hop locked into a new, chopped-and-screwed groove with the abrasive and glitchy beats of Earl Sweatshirt, Shirt and JPEGMAFIA, while mainstream hip-hop from the likes of Kids See Ghosts and Travis Scott radiated exciting, psychedelic palettes. After years of threatening, jazz has found a new voice and new ringleaders in the form of Kamasi Washington, Idris Ackamoor, Moses Boyd and Sons of Kemet; finally knocking the genre out of a decades-old naval-gazing slumber and revitalising it as something as electric and exciting as ever.

It’s a cliche to even remark upon: but politically, this year has seemed rough. In the wake of a rupturing 2016, old institutions and untoppleable powers continue to exist in turmoil, and the future remains shapeless and unpredictable. A new political edge within music was forseen, but often inaccurately as the foot-stomping, beatnik protest songs of old. Many of today’s talents are much smarter than that, and musicians like SOPHIE, IDLES, Janelle Monae and Gazelle Twin offer their politics through pop and electronic music, capturing many of todays sentiments and putting them inside the music, rather than offering diatribes and false solutions atop it. On the other end of the spectrum, joyous pop music from Troy Sivane, MGMT and Kali Uchis has kept us dancing, reminding of us all the joy which can be found even within a climate which can feel increasingly hostile and remote.

This list was compiled by two music fans with nothing better to do, based only the albums they heard 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. A Whole F****ng Lifetime Of This – American Pleasure Club

a2156766988_10.jpg99. Lala Belu – Hailu Mergia

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98. Age Of – Oneohtrix Never

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