Every record I’ve reviewed in 2019; ranked worst to best

It has been roughly two long years since I first did a list of favourite yearly albums, and from here, my obsession with reviewing music would spring into action.

However, this will be my first ranking on albums since fully transitioning from Blogger to Medium, in a hope to reach out further to the right audience. To celebrate this change, I thought I’d go ahead and approach my ranking of albums a little differently this year.

I was surprised to find the sheer amount of albums and EP’s I’ve had the time to review in 2019, and I feel that this reflects well just how generously this year has provided listeners with such great music.

That being said, I am going to rank every single record (including both albums and EP’s) that I have written a review for in 2019; from my least favourite to most. I will also be adding all of the albums from the mini review week I had as an added bonus.

As well as ranking these albums, I will be giving each of these records their own score out of 10. And while many albums can be scored the same way, I will still be ranking each against one-another.

So without further ado, let’s start with the bottom of the barrel.

81: The Dandy Warhols — Why You So Crazy

Score: 1/10

Quite frankly, the only reason I reviewed this album was that I got paid to do it. That’s literally it. Despite looking back on a couple of the bands best hits, and enjoying them a fair bit before going into this project, I was appalled by just how shallow and bleak the whole thing sounded, and not in any way that made a statement to me either. It’s quite simply a miserable album, and will always remain impossible for me to enjoy.

80: Pet Shop Boys — Agenda

Score: 2/10

I’m not too sure what was going through my mind when I said that this four-track EP was a mildly fun listen. Looking back on it, it just seems like one of the most pretentious and washed out sounds of the year. It feels immensely uninspired, and actually manages to cover real-world issues in the most uninteresting and bland way possible.

79: Kevin Abstract — ARIZONA BABY

Score: 3/10

An album that I sort of had my hopes up for, ARIZONA BABY ended up being quite the flop. Both in terms of the albums production, as well as the lyrics, it just feels like an empty shell of a BROCKHAMPTON project. It’s certainly fair to say that Kevin Abstract, despite attempting a solo effort on this album, doesn’t shine nearly as bright as he does on any BROCKHAMPTON record.

78: Skepta — Ignorance Is Bliss

Score: 3/10

While I initially found this album okay, I would’ve expected much better from Skepta when looking back on this album, especially after his feature in slowthai’s “Inglorious”, which I still really enjoy. But even for a Grime project, this feels very by-the-numbers and it makes it a very hard album to remember vividly. I feel that the title is apt, as I should’ve ignored this album altogether.

77: Slaves — The Velvet Ditch

Score: 3/10

After the disappointment that I felt with the last Slaves album Acts of Fear and Love in 2018, I was worried when I found that the band’s next project would be a brief 4 track EP. For the most part, the anxiety I felt was validated with this project being quite similar to their last album. However, I will give credit to the EP’s first track “One More Day Won’t Hurt”, which reminded me of the Slaves that I loved. But the fun pretty much ended when that song did, which is why this EP ultimately failed at redeeming the band for me.

76: Perch — No Step

Score: 4/10

This was another album that I admittedly reviewed because it was my job at the time to do so. However, I enjoyed this album a lot more than this lists bottom album. The band in question are a local indie group, and this is something that I am admittedly a little bit spoiled with in the local area. So for me, this album suffers from being a bit unmemorable and bland for that reason.

75: Talos — Far Out Dust

Score: 4/10

This album was one that I did enjoy a little in the early days of February. However, it has somehow drifted out of my memory. When looking back on Far Out Dust, it does very much feel like your standard ballads album. With that, it came off as quite forgettable.

74: Dua Saleh — Nūr

Score: 4/10

I went into this EP as somebody who was searching for music quite frantically. Therefore, I didn’t really have any solid idea of Dua Saleh and her music. I Enjoyed this EP as much as you would with an EP from a newly discovered artist, especially the final track “Kickflip”. However, there is still plenty of room to improve for Dua Saleh, as this EP does appear to be a little bit too lo-fi to truly make an impact.

73: Mark Morton — Anesthetic

Score: 4/10

This album from Lamb of God guitarist Mark Morton showed a fair amount of promise, especially with the posthumous feature of Linkin Park’s Chester Bennington in the form of “Cross Off”. The full album kicked off with this single, which was a great way to start. However, the album only decreased in quality from there, with the second half of the album especially being unbearably dime-a-dozen.

72: The Chemical Brothers — No Geography

Score: 4/10

The Chemical Brothers can really be hit or miss for me. And for the most part, This newest studio album of theirs is a miss. While it had more of my attention in the earlier third of the album perhaps, the rest of it just feels incredibly repetitive.

71: Mujo — Hidden Forest

Score: 4/10

The weird thing about Mujo as an artist, is that they release records so often, that few of them end up standing out. That seemed to be the case with this project for sure, as a more recent Mujo album (which I didn’t end up reviewing) was released after Hidden Forest in a matter of months. In its defence, this albums serves the purpose of being background music well, but so does every other Mujo project. That being said, Hidden Forest isn’t an album that really sticks out.

70: Vampire Weekend — Father of the Bride

Score: 5/10

This album is a bit of a weird one for me. As well as that, it seemed quite long in its runtime. Despite all of this, there were very few of the 18 tracks that I continued to enjoy. Although I will add that it definitely felt like it was released at the right time, with its generally warm sound.

69: Greentea Peng — RISING

Score: 5/10

The way I feel about Greentea Peng’s latest EP is similar to the way I felt about Dua Saleh and Nūr. However, this one was enjoyable enough to rank a bit higher. I do slightly wish that more time was spent on RISING to make it a potential album, but as far as EP’s go, this effort is an OK one.

68: Ed Balloon — The Dubs

Score: 5/10

I newly discovered Ed Baloon through this album, which was why it was important that it made an impact. While I enjoyed The Dubs enough to review it, it did eventually fizzle out of my memory quite some bit. Not necessarily a bad album, just far from one that clings onto my memory.

67: The Comet Is Coming — The Afterlife

Score: 5/10

In my mind, the second album to come from electro-jazz three piece, The Comet Is Coming, was never necessary. After the sheer splendour and excitement that their earlier album offered, The Afterlife felt more like an afterthought. The majority of tracks on this thing simply feel shallow and unprogressive. I would even go as far to say that for the most part, this album just feels like bog-standard Jazz. Despite me only recently becoming truly invested in the genre, I have already heard far better than what this album had offered.

66: Drenge — Strange Creatures

Score: 5/10

with the release of Drenge’s third studio album, the band certainly had more of my attention than ay period since their fabulous debut. Although, the way that Strange Creatures was teased felt a little clunky, especially with part of an EP they released a year prior, also being included in the final album. When you take away all that was teased, it didn’t leave me with much that was new. The album’s sound was pretty okay, but still felt kind of standard.

65: Kele Okereke — Leave to Remain

Score: 5/10

An album that was a bit too lengthy for its own good, Leave To Remain still remains an interesting project. While serving as a solo studio album from Bloc Party frontman Kele Okereke, it simultaneously provided a soundtrack for a gay-marriage musical of the same name, also directed by Okereke. When you add the two together, the entirety of the project is quite impressive. But on its own, the Leave To Remain album feels a little awkward, especially in terms of Kele’s vocals.

64: Coldplay — Everyday Life

Score: 5/10

After listening to a few of the teaser tracks for Coldplay’s latest album, I was hoping that this would be their best effort of this decade. It was, but only just. Because of their previous efforts that fall in to the 2010’s being so mediocre, this one barely snags that title. Needless to say however, the majority of this album does just feel incredibly shallow. Although, the few songs that I would consider enjoyable on this album, are highly so.

63: Flying Lotus — Flamagra

Score: 5/10

The glaring issue with Flying Lotus’ latest release, is just how needlessly long the project is. Out of a total of 27 tracks, I only really enjoyed 7 of them. To sum that up, I enjoyed less than a third of Flamagra. it is indeed another case of “the good tracks are really good”, but each of them become washed out greatly by the sheer load of unmemorable music. I also noticed that all of the tracks I enjoyed featured other artists, and perhaps they wouldn’t be as interesting without them. However, I will add that the line-up of artists that star on this is incredible. From Anderson .Paak to Denzel Curry to Solange, Flamagra does have a lot of outside talent behind it.

62: Anteros — When We Land

Score: 6/10

Coming from a band with an upcoming status such as Anteros, this debut album isn’t half bad. However, the sound definitely seems a little rough around the edges still, and this is actually a rare case of the mediocre assembling of the album being the most glaring issue, and ultimately ended up detracting from the experience for me. I am still faithful, however, that the band will improve as they progress.

61: Freddie Gibbs & Madlib — Bandana

Score: 6/10

Both rap artist Freddie Gibbs and producer Madlib are all-round talents. In other words, I don’t think they excel greatly at one specific thing. Rather, they are both have a dispersed range of skill. In the case of this collaborative project Bandana, they present this fairly well. But I also feel that their all-round skillset stopped the album for being truly memorable. Instead of being incredible, it’s only okay. In addition, I wasn’t the biggest fan of the overused cocaine trope, which felt very gimmicky to say the least.

60: Desert Sessions — Vols. 11 & 12

Score: 6/10

Desert Sessions is a pretty impressive collaboration of many artists that I’ve enjoyed over the years. However, this project fails to really come together as well as I would’ve hoped. One might argue that each track is unique, but to me it just feels messy. There was a lot of imagination behind this album, sure. But the execution simply wasn’t that great.

59: Beck — Hyperspace

Score: 6/10

Beck’s latest effort, Hyperspace, is a dreamy technicolour project, which at face value was quite enjoyable for me. However, it did definitely feel like there was a lot missing from the project. For one of its particular genre, it wasn’t an awfully deep or layered one. After a few listens, I admit this project went slightly stale, but for now, still stands as a decent effort.

58: Black Futures — Never Not Nothing

Score: 6/10

When it comes to the combination of electronic and heavy rock, Black Futures’ anticipated debut effort feel a bit too tied to that style. It doesn’t really push any boundaries in my opinion, but I suppose it is excusable for a debut LP. I only hope that we get to see more of how Black Futures really stands out for the rest on their next album, whenever that may be.

57: Rammstein — RAMMSTEIN

Score: 6/10

The first Rammstein album that we’ve had in about a decade, also managed to be the biggest fall from grace in 2019. Somehow, I regarded this album as a 10/10 project back when I first listened to it. but throughout the following months, I enjoyed it less and less, until there were only a few tracks that continued to stick with me.

56: Jack Peñate — After You

Score: 6/10

Jack Peñate’s After You was essentially my gateway into his music, despite being so long overdue. However, I’m very glad that I freed up some time to listen to his older albums, as this brand new musical approach that Peñate has taken in this project is seemingly steering the artist in an exciting direction. Despite this project on its own becoming quickly overshadowed day-by-day, I am still looking forward to seeing what he does next.

55: Alfie Templeman — Don’t Go Wasting Time

Score: 6/10

This was a sweet little project that filled a bit of the void I felt after longing for a good DIY album. The trouble was though, that it felt very brief. I’m also not sure about the unlikely mixture of Mac DeMarco and Friendly Fires influences, and would of rather just had one or the other. Needless to say though, I still enjoyed it.

54: DJ Shadow — Our Pathetic Age

Score: 6/10

I have no idea what was going through the mind of DJ Shadow when he decided to structure this album the way he did. In short, this album is split into two halves; the first half being a purely instrumental and less memorable side, and the other half enlisting the help of featured artists. I found the latter to be a tonne better, and was confused as to why the more boring side took priority. This duality between a great half, and a below-average one combine to an album that is very middle-of-the-road.

53: Catfish and the Bottlemen — The Balance

Score: 6/10

I knew from the moment I listened to Catfish and the Bottlemen’s newest record, that it would end up the most “alright” album of 2019. It’s really bog-standard indie, but to be fair, it’s very good bog-standard indie. I would say that on this list, The Balance is the bookmark which separates the good from the bad.

52: Sampa The Great — The Return

Score: 6/10

This album felt to me like it had a tonne of potential. So much so that I thought it could’ve been amongst the very top. So I was slightly disappointed to find that it didn’t quite live up to that. Sampa’s vocal style is slightly hard to accustom to as a listener, and this album is littered with quite a few unmemorable tracks. This album, however, does indeed have the spirit behind it, as well as a great narrative.

51: Ho99o9 — Cyber Warfare

Score: 6/10

A successor of sorts to 2018’s Cyber Cop, the next effort from hardcore punk group Ho99o9 does indeed surpass the former in my mind. In terms of sheer relentless ferocity, it does very well. Although, I do still feel that this album was a bit of a mixed bag.

50: TOOL — Fear Inoculum

Score: 6/10

I would say that while TOOL’s first album in well over a decade is indeed my least favourite in their discography, I still wouldn’t truly regard it as a bad record. In terms of setting the tone in a lot of tracks, Fear Inoculum does very well. But I would agree that there are quite a few vital pieces of TOOL’s aesthetic missing on here.

49: Foals — Part 2 Everything Not Saved Will Be Lost

Score: 6/10

The second hals of a 2-part project from Foals this year, this records begins on a heart-racing high. I would say that tracks 2 through 5 was the real highlight of this project, as everything following that was heartbreakingly mediocre for Foals. The only things that truly stop this album from stooping lower on the list would be the earlier tracks, as well as its ties with Part 1.

48: Malibu Ken — Self-titled

Score: 7/10

This album had a certain quirk that stuck with me, but whether it detracts from or adds to the album I still cant determine. I’m not sure if I’m particularly fond of the vocal style, and I think that the DIY electronic style production is a bit overplayed at this point, but other than that, this album was pretty enjoyable.

47: Bakar — Will You Be My Yellow?

Score: 7/10

If I could find the most apt word to describe this newest EP from UK artist Bakar, it would be “sweet”. If you listen to the track “Hell ’n’ Back” especially, this EP really warms the soul. While it neither increases or decreases my love towards Bakar and his music, I still regard Will You Be My Yellow? as a solid EP.

46: Bring Me The Horizon — amo

Score: 7/10

In my mind, Bring Me The Horizon’s amo was one of the earliest albums for me to look forward to. The teasing for this album in late 2018 was also brilliant, and I even regarded “MANTRA” as one of that year’s best tracks. However, the finished project was conflicting to say the least. The Deathcore turned Metalcore group take an even more pop-inspired approach than their prior album, 2015's That’s The Spirit. I do appreciate this change in direction, but I still feel that the band themselves felt conflicted about this, as the album is a badly blended mixture of really softer and heavier tracks. There are quite a few great tracks on amo, but I don’t feel that it works incredibly well as a whole album.

45: Lana Del Rey — Norman F**king Rockwell

Score: 7/10

Despite Norman Rockwell being unarguably a solid 2019 album, I do still think of it as overrated. From the abundance of tracks on this thing, I feel that there were few that really gripped me. There are possibly a few too many overblown and slightly dreary ballads that only brush past my memory on occasion. On the flip-side, tracks like “Doin’ Time”, “The greatest”, and the title track are incredibly memorable and elegant songs.

44: BROCKHAMPTON — GINGER

Score: 7/10

I was hoping for an album that was a slight improvement upon last years iridescence. However, I found GINGER to be roughly the same in enjoyability. It’s certainly a decent record, but as of now the boyband are still yet to surpass the SATURATION series.

43: Men I Trust — Oncle Jazz

Score: 7/10

I certainly enjoyed this album, and my introduction to Men I Trust, for having a dreamy atmosphere which stays consistent through a versatile range of melodies and moods. I feel that this album still falls a little into being part of the quantity over quality club, but the handful of tunes I enjoyed were certainly solid enough.

42: FKA twigs — Magdalene

Score: 7/10

I would actually say that I regarded this newest album from FKA twigs as an artistic improvement upon her debut, LP1. Despite taking a much more textured and downbeat approach than her last album, it rarely feels boring. I think that there is enough creative prowess on this thing to certainly place it as a solid album.

41: Psychedelic Porn Crumpets — And Now For The Whatchamacallit

Score: 7/10

When I listened to this album for the first time, it definitely took me by surprise. I think a good way to describe it is that it was the opposite of a disappointment. It does still feel a bit too tied to psychedelic rock traditions. Nevertheless, it was still a highly enjoyable experience.

40: SOAK — Grim Town

Score: 7/10

In terms of the creative process behind SOAK’s Grim Town, I absolutely love it. The way that she translates her mental state into the albums titular town is brilliant. It may have been simply the fact that I listened to it a bit late, or the fact that it feels quite similar to the local indie scene at home, but this album just fell short of being unforgettable. Nevertheless, it is a very heartfelt and enjoyable project.

39: The King Blues — 38 Minutes

Score: 7/10

In terms os narrative, the newest project from one of the most underrated bands of all time, The King Blues, really excels. Telling the interesting story of the false bomb threat that terrified the people of Hawaii for, you guessed it, 38 minutes, made the experience almost feel like a musical soundtrack, with lead singer Jonny Fox acting as a narrator of sorts. The most genius thing about this album in my opinion, is how the band even manage to make the duration of the album 38 minutes. I would say that the music itself is a tiny bit standard, but the way this album was conceived was expertly done.

38: KAYTRANADA — BUBBA

Score: 7/10

I certainly enjoyed BUBBA as a brilliantly atmospheric and funky dance project, but it does slightly suffer from the thing that affects a lot of dance albums, that being it still feels like a quick fix. Will I be continuing to listen to this album for years upon end? I’m not sure. But what I can tell you, is that BUBBA is certainly worth your time right now.

37: Billie Eilish — WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

Score: 7/10

Another album that feels expertly done, Billie Eilish’s studio debut has taken the world by absolute storm this year. I feel that in this case, the mood of the album is incredibly consistent, rather than the structuring/narrative. However, I do still find the album as overrated as Norman Rockwell. I don’t feel like this album is phenomenally unique compared to projects from other solo pop artists this year, but I can still appreciate the spooky undertones, as well as numerous bops.

36: Free Nationals — Self-titled

Score: 7/10

Obviously coming into this album as an Anderson .Paak fan, I wouldn’t say that this album quite made the same impact for me as the likes of Oxnard or Ventura. However, I feel like the Free Nationals have definitely gotten their style down to a fine thread. I love many of the moods this album creates, as well as how they made use of all the different vocal styles from features and members alike.

35: YONAKA — Don’t Wait ’Til Tomorrow

Score: 7/10

YONAKA is a local group that were recommended to me by a friend of mine. But despite being another one of many local bands I know of, YONAKA truly stand out with their professional sounding blend of pop and rock. The ballads on this thing really grew on me over the second half of the year, and I feel that Don’t Wait ’Til Tomorrow is a good enough debut to promise the band a very bright future.

34: Slipknot — We Are Not Your Kind

Score: 7/10

While this album wasn’t completely the Slipknot revival I was honestly hoping for, We Are Not You Kind definitely gave its best shot. In comparison to the likes of 2014’s 5: The Gray Chapter, this album is undoubtedly better. There are in fact, a selection of tracks that do feel very true to the classic Slipknot we all know and love. Maybe the album was just a little bit too hyped up, and while it (for the most part) didn’t quite live up to that hype, I see it as a very good album nonetheless.

33: Danny Brown — unowhatimsayin?

Score: 7/10

After how much I enjoyed Danny Brown’s 2016 masterpiece Atrocity Exhibition, My hopes were sky high for the next project. What we got, admittedly, has me feeling conflicting emotions towards it. While I felt slightly disappointed that this album went so far from the Atrocity Exhibition aesthetic, I do appreciate the change as well. To put it metaphorically, Atrocity Exhibition is like a night out, while uknowhatimsayin? is more like the morning after, with more sober and stripped back beats. That may just be a matter of personal preference, but I still found this record to be a highly enjoyable one.

32: James Blake — Assume Form

Score: 7/10

The first big album of the year for many, James Blake’s Assume Form was my first proper introduction to the artist. I had liked some of his features beforehand, for the likes of Kendrick Lamar and Travis Scott. I still didn’t really know too much of what to expect going into this, which made it all the better when I discovered that it was really damn good. The soft, cold and in-the-feels melodies made Assume Form a perfect January release, and I found it very effective in connecting with me.

31: Jordan Rakei — Origin

Score: 7/10

I think I first discovered Jordan Rakei with his feature on Nightmares On Wax’s “Typical”. Ever since then, I have wanted to hear an album from this guy. His silky, fluid vocals really are a treat to the ears, and for the most part, Origin is equally as much. I would say that this album felt to me like the summer equivalent to James Blake’s Assume Form, as both seem similarly moody. But while this album takes a while to fully wake up, I decided to rank this higher than Assume Form, for being a great summer-jam album.

30: Rex Orange County — Pony

Score: 7/10

I really enjoyed the uplifting nature of this project, both in terms of the narrative, lyrics, and the serenity of the various strings used in many of the songs. Rex Orange County certainly puts himself across as a real sweetheart, and that in turn, makes the album as a whole, one that feels very good to listen to.

29: Cage The Elephant — Social Cues

Score: 7/10

I wasn’t expecting a tonne from Cage TheElephant’s latest album, as I can appreciate that they have settled quite comfortably into their signature indie formula. Having said that however, Social Cues still delivered. With quite the versatile range of moods, this album had much more of my attention than the likes of 2016's Tell Me I’m Pretty. Social Cues is another very solid project, from a band who hasn’t really done much bad in their whole career.

28: Soilwork — Verkligheten

Score: 7/10

This was truly the first album of 2019 that I really anticipated. Soilwork’s Verkligheten made the melodic metal band a lot more accessible and current in my opinion. Many of the new tracks, along with the teasers, are very solid additions to the extensive Soilwork discography (this band have been making music since the late 90's!).While I still think 2013’s The Living Infinite remains my favourite Soilwork album, this new project has been the most I’ve invested in the band since.

27: Kesagake — Anyone For Tea?

Score: 7/10

I must say that I would’ve been extremely proud of the local hard metal band band Kesagake for putting out their first album regardless, but the fact that Anyone For Tea? is as good as it is, makes me burst with joy. The Nu Metal aesthetic is used so well in this project, despite being rarely used by other bands nowadays. I suspect that this would be for fear that they may not pull it off very well, but Kesagake pulls it off…very well! Anyone For Tea? is both a relentlessly brutal, and incredibly fun album, and I would highly recommend it to all shapes and sizes of metalhead.

26: Friendly Fires — Inflorescent

Score: 8/10

Continuing the theme of fun albums, you’d be hard-pressed to find a 2019 release as fun as Friendly Fires’ Inflorescent. It is what I find to be the quintessential summer album this year, with its bright, colourful, and scorching hot production. Many of its tracks feel synonymous with my summer, and for that, I will remember this one fondly.

25: Dream State — Primrose Path

Score: 8/10

I found this album truly special for serving almost as a therapy for many of its listeners, or at the very least something to relate to. Everything about Primrose Path simply feels so genuine and sincere, and the fact that Dream State have done this perfectly, while making an album full to the brim with emotion-packed bangers, makes Primrose Path more than deserving of the praise and respect it has garnered.

24: Jafaris — Stride

Score: 8/10

While other rap albums this year eventually ranked higher, Stride certainly showed a tonne of promise regarding Irish up-comer Jafaris. And as one of the earlier rap albums to really make an impact with its narrative and composition, this albums teases the potential of Jafaris really getting far with his music, and being somewhat of an innovator in the process. Stylistically, it indeed feels very Kendrick Lamar of Buddy inspired. That being said, it was clear why I enjoyed this album as much as I did. It is a truly moving work of art at times, with many under-appreciated bangers scattered throughout.

23: Tei Shi — La Linda

Score: 8/10

It surprised me just how quickly Tei Shi’s La Linda rose in the rankings, despite being released close to the years end. However, the sheer vocal talent and amazingly wondrous production on the majority of songs really make this album all the more deserving. Stylistically, it feels very similar to Ariana Grande’s Thank U, Next, also released in 2019. Although, I find this album far more interesting and adventurous in its sound. I love how Tei Shi also pays homage to both her Canadian and Columbian heritage, by mixing up both Spanish and English lyrics on the album. It is such a gorgeous and spellbinding project, one that speaks of how musically talented Tei Shi is.

22: Frank Carter & the Rattlesnakes — End Of Suffering

Score: 8/10

With their third album, Frank Carter & The Rattlesnakes have released what I’d argue to be one of their most accessible albums to date. While I reckon I still prefer their previous two project to this one, those are indeed hard albums to top. Previous albums aside, End Of Suffering is certainly a generous lick of new paint for the bands style, and I can safely say that they emanate a far catchier aura, especially with tracks like “Heartbreaker”, “Crowbar” and “Kitty Sucker”. I am still quite confident that while this album’s style is only slightly less up my alley, it is definitely a step in the right direction towards the band finding a signature style. I also wanted to add some extra points, for the fact that End Of Suffering has my favourite album cover of the year.

21: Blood Orange — Angel’s Pulse

Score: 8/10

What impresses me so much about Blood Oranges Angel’s Pulse, is that it wasn’t necessarily advertised as anything that special. Being labelled as a “mixtape”, and following so closely to 2018’s Negro Swan, I would admit that I didn’t go into this project with the highest of hopes. To my surprise however, I found that there are a generous handful of tracks on this thing that could’ve been dropped straight into Negro Swan, and nobody would’ve noticed anything unusual about them; they are just as good, if not better than many of the Negro Swan tracks. On top of this, the track list is just as versatile. With all that considered, I believe this project is deserving of being amongst 2019’s finest, as Negro Swan was for 2018.

20: Dorian Electra — Flamboyant

Score: 8/10

Considering that this album was the very last one that I reviewed this year, with it being my seventh and final mini review, Dorian Electra’s Flamboyant has come a very long way. I am honestly really surprised at myself that I swerved this one til the very end. There is a level of true innovation and uniqueness that feels sililar to 2018’s OIL OF EVERY PEARLS UN-INSIDES by SOPHIE. However there is arguably a more accessible, and far catchier nature to Flamboyant. A glamorous and in-your-face project that holds absolutely nothing back. I adore it!

19: Xiu Xiu — Girl With Basket Of Fruit

Score: 8/10

I think this was the first album this year that really made that sort of special impact. Girl With Basket Of Fruit is a really surreal and highly unnerving album, with numerous tracks that are simultaneously enjoyable for their artistry, and disturbing as hell. I mean, if you have a song about real life lynch mob victim Mary Turner, you could perhaps kind of estimate the extremity of what this album has to offer. If you’re looking for a project to really engrave itself into your memory, this is the one.

18: Kanye West — JESUS IS KING

Score: 8/10

Not only on of the most anticipated albums of not only this year, but almost the last year and a half, ever since Kanye’s announcement of Yandhi. While that album never came to fruition, what we got instead was JESUS IS KING. I was a little skeptical about the idea of this album having zero profanity, and a heavy emphasis on Kanye’s cleaner, more Christian side. however, all I wanted deep down was an improvement upin the very basic and very brief 2018 album ye. And an improvement it most certainly was. I don’t feel that the Christian nature of JESUS IS KING detracts from Kanye’s musical style in any glaring way, and there are still countless tracks that gave me a similar feel to the likes of 2016’s Life Of Pablo. Another great addition to the mostly brilliant discography of Kanye West.

17: Lil Nas X — 7 EP

Score: 8/10

I feel very proud of Lil Nas X for coming as far as he did in such a short time. After the great amount of attention, garnered for the now notorious “Old Town Road”, I couldn’t help to worry that Lil Nas X would be one more one-track-pony. However, his 7 EP quickly put my worries to rest. I’m actually really glad that we didn’t get another track too similar to “Old Town Road” on this effort, as Lil Nas X proved to many that he was capable of more than the country-rap gimmick, while still having a cyber/western crossover kind of atmosphere for the EP. This project sure made me excited to find just what else this clearly innovative artis would be capable of in the future.

16: Post Malone — Hollywood’s Bleeding

Score: 8/10

After seeing just how great Post Malone actually was in his live performance at Reading & Leeds, I was excited to listen to his newest album. Once I got to listen to the full project for the first time, I loved it just as much as I thought I would. Hollywood’s Bleeding is definitely Post Malone’s moodiest and most emotional project to date, and I feel that this sort of aesthetic suits this artist perfectly. There is a generous amount of tracks on this thing, but it still feels like a lot of time and effort was put into this album for sure. I truly hope that Post Malone continues to pursue this kind of style on future projects, as I feel like he has truly reached his prime on this album.

15: JPEGMAFIA — All My Heroes Are Cornballs

Score: 8/10

While I thought of 2018’s Veteran as a bit of an overrated album, All My Heroes Are Cornballs is a different story for me. This album absolutely blew me away with its unpredictable, surreal nature as well as its quirky charm. This album is just so consistently out-there, that the full experience stands as an unforgettable staple of 2019.

14: Denzel Curry — ZUU

Score: 8/10

Denzel Curry had a similar effect on me as JPEGMAFIA, in which he too had a 2018 album which I wasn’t too into in the form of TA13OO. However, ZUU really does feel like a top-notch rap album that carries the essential type of high-energy that has made so many other rap albums so good throughout history.

13: Sundara Karma — Ulfilas’ Aplhabet

Score: 8/10

There is such a fun and flamboyant atmosphere created by Sundara Karma’s second album, Ulfilas’ Alphabet. Considering that this album came out the same week as another album, which is higher on this list, meant that it certainly could’ve been overshadowed completely. However, Ulfilas’ Alphabet is simply a really upbeat and enjoyable album, whose warm atmosphere got me very excited for the summer to arrive.

12: Foals — Part 1 Everything Not Saved Will Be Lost

Score: 8/10

Seen as the last Foals album to come before this one was released way back in 2015, it is certainly fair to say that this album was highly anticipated by myself. Part 1 Everything Not Saved Will Be Lost made the bold decision to make a slight return to an older Foals feel, one that reminded more of 2010’s Total Life Forever than 2015’s What Went Down. And aside from simply being a great relief to hear new music from a band that I have enjoyed so much this decade, but it is also a genuinely amazing piece, with dozens of tracks that effortlessly carry through that epic foals atmosphere.

11: Machine Gun Kelly — Hotel Diablo

Score: 8/10

Considering the controversy that rap artist Machine Gun Kelly got himself into regarding his clash with Eminem, many thought that the rapper’s career was over. Honestly, when this album was suggested to me, I was skeptical for that kind of reason. However, Hotel Diablo came as a genuine surprise with the realisation that there were so many talented and meaningful flows on top of some amazing production. Along with this, this album has quite a few great features too. MGK proved to me, and hopefully countless others, that he can rap circles around Eminem today.

10: Amyl and The sniffers — Self-titled

Score: 8/10

This incredible debut is truly the most genuine and raw punk album I have listened to in literal years. Amyl and The Sniffers’ self-titled album is plainly and simply raw, explosive punk, which feels very respectful to a much earlier style of punk, than the more modern take that we see from bands like Slaves or Frank Carter & The Rattlesnakes for example. As a result, this album is an incredibly exciting and effortlessly engaging record.

9: Anderson .Paak — Ventura

Score: 8/10

Given that Anderson .Pakk had already released the incredible Oxnard in late 2018, I wasn’t expecting another stellar project for a while. But .Pakk surprised us all with not only another full album, but one that I for one might even prefer to Oxnard! Ventura takes a much more serene and sparkly approach than Oxnard’s feel-good but slightly grittier aesthetic. But one of the things that I love most about this album, was the time of its release. It was the first day of the year that truly felt like Summer, and that same day was when I listened to this incredible album for the first time. Ventura is a soaringly beautiful piece, with some marvellous features, and euphoric production.

8: Beirut — Gallipoli

Score: 8/10

This album shifted about in the rankings quite some bit. But once I really took a step back, and remember just how consistently uplifting this album has been from almost the very beginning of the year. Gallipoli is unbelievably grand in its sound. It’s so versatile and so regal. Many of the tracks just send shivers down my spine with how majestic they sound. A truly special album in my eyes.

7: Michael Kiwanuka — KIWANUKA

Score: 9/10

Once I gave this album enough listens, KIWANUKA simply began to feel more and more meaningful each time. To say that this album will effortlessly lift your spirits is somewhat of an understatement. A touching story of self-acceptance, where every chapter overflows with creativity and heart. Michael Kiwanuka feels like somebody who genuinely wants to spread his love far and wide with this phenomenal record.

6: slowthai — Nothing Great About Britain

Score: 9/10

One of the elements that make this album so unforgettable and impactful, is just how accurately it represents the feelings and aesthetics of Great Britain. Coming from a Northampton native, he is certainly qualified to speak on the behalf of Brtain’s majority. I also loved all of the British 90’s kid references thrown in for good measure. In Addition, Nothing Great About Britain did an amazing job of introducing slowthai and what he is about. I have loved watching this artist rise to wider popularity this year, and he is honestly one of my favourite new artists of 2019. Furthermore, I realise that Nothing Great About Britain is my favourite debut album of the year.

5: Liam Gallagher — Why Me? Why Not.

Score: 9/10

Liam Gallagher’s second solo effort is exactly what the former Oasis frontman needed to do to follow up his previous album As You Were. To this day, I still regard that album as a marvellous return to form, after such a long hiatus from Liam, and it instantly overshadowed the likes of his brother Noel’s work under Noel Gallagher’s High Flying Birds. With the announcement of Why Me? Why Not., my only hope was that it was a clear improvement, and a clear improvement it most certainly was. Liam not only sounds even more true to the traditional Oasis formula than As You Were, but there seem to be many other influences from the likes of The Verve and The Stone Roses. When all is said and done, this album is a true love letter to Britpop, as well as one of my favourite records of this subgenre.

4: Weyes Blood — Titanic Rising

Score: 9/10

My introduction to the discography of Weyes Blood, Titanic Rising is a stunningly gorgeous record, one that continuously grew on me each and every day from the moment I first listened to it. While there are quite a few different moods found on this album, the underlying theme is beautifully melancholic. There are so many tracks that send shivers down my spine and leave a lump in my throat with how melodic and heartfelt they all sound. The fact that this album represents a great chunk of my 2019 soundtrack is well and truly deserved.

3: Little Simz — GREY Area

Score: 9/10

The moment I listened to Little Simz’s GREY Area, I knew it was incredibly special. I had enjoyed bits and pieces of what Simz had to offer before this album, with her previous album Stillness In Wonderland being a pretty solid project. But the UK rap artist really hit it out of the park with this newest record, and many others seem to agree. The rawness, the emotion, and the truly gritty nature demands that listeners take this album seriously. There are some really meaningful topics covered in this album, all of which feel both very insightful into the mind of Simz, as well as relatable for many. This record blew me away, And I knew from the very moment I set it to my ears, that it would deservingly be close to the top spot.

2: Tyler, the Creator — IGOR

Score: 9/10

While I thought that 2017’s Flower Boy was the true piece of work to show for how far Tyler, the Creator has come since his Odd Future days, This album came along and blew me away once more. It would be hard to argue that IGOR will be reponsible for cementing the genius of this artist in the history books. Tyler is a true legend of our time, and this album is glorious proof of that. The solidity of this albums premise, its aesthetic, and all of the other creative bits and bobs involved makes this one of the most fully realised musical pieces of the decade. And, in case your wondering, IGOR somehow managed to slip past Flower Boy, as my new favourite Tyler album.

1: The Comet is Coming — Trust In The Lifeforce Of The Deep Mystery

Score: 10/10

Words genuinely fail to describe just how colourful, exciting, and truly innovative both this band and this album is. The Comet Is Coming’s Trust In The Lifeforce Of The Deep Mystery is an absolutely perfect album. I was skeptical at first that because it is a mostly instrumental album, that it lacked substance and would eventually grow stale, but a big hell no to that! This album only got more, and more, and more exciting as time went on. It filled me with so much spirit to listen to any of the given tracks on this thing; every single one of them slaps! This album is universally enjoyable, regardless of what your’e into. It is quite simply, enjoyable music for everyone. I also hold this album responsible for getting me fully into the Jazz genre, and any album that can do such a thing is god tier. I am certain that I will be continuing to listen to this album for many more years to come, without it ever losing its invincible entertainment value.

That concludes my lists for 2019, but list week isn’t quite over yet. Stay tuned to discover my favourite songs and albums of the whole decade.

Thank you for reading.