The 50 Best Albums of 2019: Part 2

Below is a continuation of Part 1 from my list of the 50 best albums of the year. If you haven’t read the first part yet, I definitely recommend doing so first. As always, my list is completely subjective and I’m personally a fan of more punk, rock, indie, ska, and hiphop.

If I didn’t include an album from 2019 that you thought was great, please feel free to comment or shoot me a message to let me know.

Note: At the bottom of the list you will find a playlist of all of the ‘Best Tracks’

25. Gang Starr — One of the Best Yet

If you’ve been missing the classic hiphop of the 90s, this album should give you some comfort. Although MC Guru passed away back in 2010, DJ Premier was able to combine all of the unreleased vocal tracks he had recorded before passing to help put out the final Gang Starr record (and first in 16 years). Despite the beats and vocals being clearly more 90s-like in style, it’s odd how refreshing the record sounds in 2019 (the several featured artists on the record help). Take a trip back to the 90s and visit (or revisit) the heyday of underground rap. [Hip Hop]

Best Tracks: Lights Out, Bad Name, and Family and Loyalty

24. Marika Hackman — Any Human Friend

On first listen, it may be easy to dismiss Hackman as just another indie pop singer-songwriter, but if you give it more of a chance, you’ll quickly see how much depth is on the record. Lyrically Any Human Friend avoids the cliches you would expect from the genre and instead focuses its energy on raw and uncensored subject matter, never feeling like Hackman is holding back with melancholic style. The album begins simply with a lightly distorted guitar following along to lo-fi recorded vocals before a chorus builds in the end and from there on we’re greeted by a vast array of different musical decisions — some songs containing heavy synth, while others maintain a soft rock vibe. This record has a lot to offer and I really recommend giving it a spin. [Indie Rock/Folk]

Best Tracks: the one, hand solo, and wanderlust

23. The Raconteurs — Help Us Stranger

When it comes to blues rock, Jack White and his related projects (such as The Raconteurs) have really proven to be the measurement stick in which to grade other blues rock artists. Help Us Stranger continues in find White in fine form and presents a bevy of toe-tapping bass-y distorted guitar thats catchiness is hard to not appreciate regardless of who you are. Between the heavier tracks, there’s plenty of more acoustic-driven songs that reach into folk territory. Older fans may be disappointed, expecting more from their first new album in 11 years and the album would likely stand out more if it seemed like Jack White and co were trying something new. But, sometimes going to the tried-and-true is the best idea, especially considering White’s disappointing last solo outing Boarding House Reach. [Blues Rock/Garage Rock]

Best Tracks: Bored and Razed, Don’t Bother Me, and Sunday Driver

22. The Futureheads — Powers

There’s something about this record that I can’t put my finger on, but that makes it a very satisfying listen. I’m not usually the biggest fan of post-punk, but The Futureheads seem to do it so effortlessly that it makes for a joyous listen. The album drips with English subtleties as well, constantly reminding you it’s an album with sensibilities akin to Britain. It’s a well-produced and well-rounded effort and we’ll see if another hiatus is in store after this album or if they’ll continue to pump out more. [Post-Punk]

Best Tracks: Jekyll, Across the Border, and Headcase

21. Teenage Bottlerocket — Stay Rad!

After a long wait to hear new (original) songs, Teenage Bottlerocket delivers with mixed results on their latest outing. While none of the songs are bad by any measure, on the contrary they’re all quite good, but that’s where they stop — there’s no truly excellent takeaway songs like on other records. What I do appreciate on ‘Stay Rad!’ is the branching out that takes place in songwriting, both in lyrical and instrumental style. The songs feel like they’re coming from road-weary travelers and guys who earnestly have something to say, all mixed together with the nerdy/goofiness that helps define Teenage Bottlerocket. [Pop Punk/Skate Punk]

Read a Ranking of Teenage Bottlerocket’s 8 Albums

Best Tracks: Anti-Social Media, Stupid Song, and I Want to Kill Clint Carlin

20. Laura Stevenson — The Big Freeze

Hauntingly beautiful and chilling, an album that I initially couldn’t get into as the stripped down nature was too much and I missed her more uptempo songs that ran closer to indie rock. With The Big Freeze, Laura takes a leap and shows the world that she can manage an album through her vocals alone — a task that I applaud her for. It’s pretty amazing to see how much she has grown as a singer throughout the years and after this album I’m even more excited to see where she goes. Will she stick with the stripped-down sound or will she go bigger on the next record? It seems like anything is possible for her. [Folk/Indie Rock]

Best Tracks: Living Room, NY, Dermatillomania, and Lay Back, Arms Out

19. Heart Attack Man — Fake Blood

And down the early 2000s nostalgia trail we go… that’s how I feel listening to this album. It undoubtably came out this year, but on Heart Attack Man’s second album they’ve figured out a way to perfectly channel that turn-of-the-century era of music. With snotty vocals and arrogantly polished self-reflecting lyrics, the band comes across like a sort of lovechild between Say Anything and Motion City Soundtrack (minus the synth). I hope this band doesn’t spell a change for the scene because this style only works in small doses so unless it gets saturated, here’s to more songs from Heart Attack Man! [Pop Punk/Rock]

Best Tracks: Cut My Losses, Crisis Actor, and Blood Blister

18. Clowns — Nature/Nurture

Making good hardcore punk is a tricky thing to do and it’s even trickier to make it stand out from the rest, but that’s exactly what this Australian crew has been able to do. Each track will blast you with a wall of sound, but at some time instill just enough melody to bring uniqueness to the song. As the band’s 4th album, they’ve had time to gel well together and despite being a hardcore band, they are able to offer so much more with intricate uses of synth and other instruments here and there. Lyrically, the songs are pissed off socio-political anthems that offer a surprising amount of maturity.
[Hardcore Punk]

Best Tracks: Soul For Sale, Bland is the New Black, and I Shaved My Legs For You

17. Joey Cape — Let Me Know When You Give Up

Although Joey Cape is probably most known for being the singer of Lagwagon, he has also been putting out solo albums (this is 4th) as well as working on several other projects, one of which, Bad Astronaut, ended when drummer Derrick Plourde passed away. As we likely won’t be getting another Bad Astronaut album, I think this is as close as we’ll ever get. Where Caper’s other solos albums were predominantly singer-songwriter acoustic, LMKWYGU features several tracks with full instrumentation including percussion and electric guitar (and a little bit of synth). The lyrics are smart and well seasoned and the Caper is continuing to prove he isn’t going anywhere anytime soon. [Folk Punk/Indie Rock]

Best Tracks: I Know How to Run, Before My Heart Attack, and Let Me Know When You Give Up

16. Millencolin — SOS

Right off the bat, this record gets directly to the ‘Millencolin’ sound which means if you’re already a fan of, you’ll probably also dig this. While all of the songs are good, none of them really stand out except for “Do You Want War” which is a song you may find yourself putting on repeat. That song brings out a particular brand of energy and excitement that isn’t as prevalent for the rest of the record. Apparently the band has become really invested in brewing beer lately as several of the songs reference the brewing process. Overall it sounds like a record they wanted to make more for their existing fans and not to branch out from the territory they’re already used to — which isn’t necessarily a bad thing, but is a safe approach. [Skate Punk]

Read a Ranking of Millencolin’s 9 Albums

Best Tracks: Do You Want War, Sour Days, and Reach You

15. Fidlar — Almost Free

On Fidlar’s 3rd album they decide to get even more experimental than they’ve already been on previous albums, and although it works to varying effect it does keep the record from ever sounding stale. Album opener “Get Off My Rock” is very reminiscent of earlier Beastie Boys records, while at other times the inclusion of richer instrumentation gives songs, like the instrumental track “Almost Free”, a very Cake-like sound. Like previous albums, the subject matter is mostly involving drug use, apathy, relationships and the like — all coming through singer Zac Carper’s nasally vocals. The album’s first few tracks are definitely the best, but with so many differences between tracks, this is an album almost anyone should be able to find something out of if it to enjoy. [Garage Rock/Surf Punk]

Best Tracks: By Myself, Get Off My Rock, and Can’t You See

14. Diva Sweetly — In the Living Room

With Diva Sweetly’s debut album, you get to hear what it’s like when an indie rock band and an emo punk band crash into each other and create something new out of the flames of the other two. This record should be a mess and the very different styles shouldn’t work as well as they do, but something about the vocal tradeoffs between Karly Hartzman and Daniel Gorham work and benefit of the end result. Depending on which track you listen to, you’ll be greeted with a completely different experience, but regardless of the song, there’s an undeniable amount of fun to be found throughout. This is a band that’s just having a blast at the moment and don’t seem particular concerned about what genre holes they fit into. [Emo Punk/Indie Rock]

Best Tracks: Detox Island, Dark Horse Lane, and Cult

13. Good Riddance — Thoughts and Prayers

This is the first Good Riddance record to be released during the Trump era so it unsurprisingly addresses many of the issues created by his administration, albeit without ever necessarily name-dropping. This record introduces more melody and vocal harmonizing than their 2015 record while still retaining most of the previous releases’s energy. Towards the third part of the album we even get to hear the band explore a few new twists on their formula which, for the most part, turns out really well. This is another record that I’ve appreciated more and more upon further listens. [Punk]

Read a Ranking of Good Riddance’s 9 Albums

Best Tracks: Edmund Pettus Bridge, Requisite Catastrophes, and No Safe Place

12. Ceremony — In The Spirit World Now

Put on some shoulder pads, ask your hairdresser for jheri curls, and grab your Walkman™ because Ceremony is bringing back the 80s and surprisingly they do so without sounding played out. With plenty of synth to go around, the new wave/post-punk delivered on the album takes a little bit of the best from bands like Devo, Joy Division, and even The Damned while still putting their own unique stamp on it. If you’re unsure if you want to take a trip down 80s-lane I strongly recommend you give it a shot because before long you’ll find yourself wanting to dance along to all of the tracks. [Post-Punk/New Wave]

Best Tracks: Years of Love, From Another Age, and Say Goodbye to Them

11. Haybaby — They Get There

There’s something truly amazing and moving about hearing vocalist Leslie Hong go from soft breath-like vocals on the first couple tracks and then jump into a deep growl of a voice for “Witch Like Me” — a transformation that comes at the listener from out of nowhere, startling at first and then welcomed with open arms. Hong’s vocals aren’t the only thing that sets this band apart, the decision to make the bass the lead on most of the songs also gives the entire album a different vibe, something that is maybe not noticed at first, but after a couple listens is easier to focus on. [Indie Rock]

Best Tracks: Animosity, Witch Like Me, and Total Bore

10. Better Oblivion Community Center — S/T

If you’re familiar with Conor Oberst’s material (particular his solo albums) then you’ll have an idea of the type of folky, alternative country spin that he been paving a way for the last few years. As extremely talented as Oberst is, it’s Phoebe Bridgers (the other half of BOCS) that makes this album really shine. Both are great vocalists in their own right, but together they work off each other so well that listening to this record is a total pleasure. Oberst provides his sage wisdom of being in the game for years now and Bridgers brings her youthful energy and her own ingenious creativity to make one of the best indie folk records of the year. [Indie Folk]

Best Tracks: Sleepwalkin’, Dylan Thomas, and Dominos

9. Epic Beard Men — This Was Supposed To Be Fun

The duo of Sage Francis and B. Dolan have formed together to give us Epic Beard Men and on their debut album they’ve proven that the team up was a good idea. This record is the epitome of what I like about good hiphop — fun verses on top of head-bouncing beats with rhymes that don’t just cover the same old tired shit that 90% of hiphop touch on already. The record is also extremely self-aware, poking fun at themselves and shining a light on their own faults. At its worst some of the tracks are just okay, but overall This Was Supposed To Be Fun is the best hiphop record of the year. [Hip Hop]

Best Tracks: Pistol Dave, Shin Splints, and Take a Break

8. Harley Poe — Have a Great Life.

When it comes to quality folk punk bands there’s not a lot to find anymore, especially with artists like AJJ(Andrew Jackson Jihad) and Against Me! shifting their focus from the genre. Perhaps that’s why this album sounds so refreshing? It’s not that the group is doing something new for them, it’s still catchy, mostly uptempo tracks focused done on acoustic instruments and focused on dark subject matter. Even though the style has been done before, there’s still something to be said about how great dark themes played over music backed by instruments like a kazoo or a glockenspiel can deeply impact the listener and even serve as a type of therapy. [Acoustic Folk Punk]

Best Tracks: Bloodsucker, Eat Shit and Die, and Music for Teenagers

7. Craig Finn — I Need a New War

I’ve always enjoyed Craig Finn’s solo material, but thought he really shined the most when playing with The Hold Steady, but lo and behold, he finally outdid himself this year and his solo album turned out far better than The Hold Steady record (also released this year). Sure, this album never gets a rambunctious as THS or features the same level as instrumentation, but that’s perhaps what makes I Need a New War work? The music itself, while good, is never the focus. Instead, you’ll find yourself getting carried away in the stories Finn unfurls before you — lyrics so rich that you feel as if you’re living the experiences yourself. Finn has always been a great storyteller, but this album sees him going to a whole new level. [Indie Rock]

Best Tracks: Blankets, A Bathtub In The Kitchen, and Something to Hope For

6. Pixies — Beneath the Eyrie

When I heard that Pixies were releasing a new album this year, I thought I might like a song or two, but there would be no chance that it would make my year-end list (let alone be ranked this high), but this album blew me away. Their 3rd record since reforming in 2004, I didn’t really care for the other 2, but this one doesn’t have a weak song on it. All the tracks are distinctively Pixies, but there’s a goth-like, sort of creepy vibe throughout the entire album which is only heightened by the strong presence of the bass in the mix. Speaking of production, I think this record sounds perfect, maybe not perfect for other bands, but for a band with Frank Black on vocals, everything goes together perfectly like puzzle pieces. [Alternative Rock/Surf Rock]

Best Tracks: On Graveyard Hill, St. Nazaire, and Catfish Kate

5. Lagwagon — Railer

In 2019, Lagwagon sound just as charged up and ready to go as they did back in 1992, which luckily was partially the goal of this album — an album less focused on overthinking and instead relying on the band’s initial instincts and craftsmanship in the studio. The end product leaves us with some soon-to-be classics; songs that take an introspective look at a successful musical career while paying homage to the early days by way of signature riffage. One of my favourite takeaways on the record is the sense of harmony found throughout the songs, from the group vocals on “Jini”, to the guest vocals on songs like “Dangerous Animal”, and even the chilling intro of “Parable” by (I believe) Cape’s daughter. But, as great as the first half is, the b-side does seem to take a noticeable dip with songs that are still good, but less memorable (including a Journey cover). As opposed to most of the band’s other offerings Railer seems to give fewer chances to catch your breath and in turn, vocal melodies takes somewhat of a backseat. [Punk Rock/Skate Punk]

Read a Ranking of Lagwagon’s 9 Albums

Best Tracks: Bubble, Dangerous Animal, and Jini

4. Vampire Weekend — Father of the Bride

Before I talk about the music itself, I first want to mention how awful the album cover art is. Almost a negative amount of energy must have gone into making it, and why put “SONY MUSIC” so prominently? And why not follow the similar artistic format of the past 3 records for continuity? Alright, with that out of the way, let me talk about the music. This was an album that I didn’t actively want to enjoy as much as I did, but it’s one that has such subtlety charming melodies that it’s near impossible not to appreciate it. Father of the Bride is a record that was clearly well thought-out with each and every note, line, instrument carefully planned and placed. The 6 year timeframe since the previous Vampire Weekend record clearly gave the group time to make exactly the record they wanted and even though it clocks in at almost an hour, you never notice it — it’s well-paced and has just enough differences between tracks to sound noticeably different without a significant change. The guest vocals (particularly from Danielle Haim) really compliment Ezra Koenig’s own voice to add further depth to an already thick record. The production quality is crystal clear, but without ever feeling forced, instead playing like the labour of love the album is. [Indie Rock]

Best Tracks: Harmony Hall, How Long?, and Bambina

3. Bedouin Soundclash — MASS

I’m so happy to have Bedouin Soundclash back. After disappearing for 7 years, 2017 saw the first new song trickle in with several more singles released in 2018 — all in all 7 songs were released which now make up the first half of MASS. Bedouin Soundclash’s style is one that has always been harder for me to define as they include many elements into their music, giving them a very worldly sound. The songs on this album include a vast assortment of instruments, ranging from bare-bones tracks with light percussion and acoustic guitar all the way to featuring a full orchestra (on the live song). Jay Malinowski’s signature vocals steer the album as always, vocals that always contain an underlying layer of sadness despite the generally positive lyrics. My only real criticism of the album is that the previous songs released in 2017/2018 seem to be the best tracks, making the second half pale somewhat in comparison. [World/Reggae]

Best Tracks: Born Into Bad Times, Clock Work, and Better Days

2. Strung Out — Songs of Armor and Devotion

A new Strung Out album is always cause for celebration, and while this isn’t my favourite of theirs, a bad SO album is still better than most everything else that comes out. So what does this new record do well? Jason Cruz’s lyrics are overall pretty good and his vocals provide a new delivery, different than on previous albums, most notably on the first few lines of the opening track. You can tell he is putting a renewed strain on his voice that he hasn’t attempted before — perhaps due to age or perhaps a desire to add another level to Strung Out’s existing sound. The biggest question for me coming into this record was how RJ Shankle going to fit in to Jordan Burns lofty shadow, a drummer well known for his extreme skill behind the drums. After several listens, I can confidently say that Shackle does a solid job filling Burns’ shoes. The album is energetic, it’s technical, and it proves once again that Strung Out are one of the best bands out there.
[Punk Rock/Melodic Hardcore]

Read a Ranking of Strung Out’s 9 Albums

Best Tracks: Daggers, Demons, and Rebels and Saints

1. PUP — Morbid Stuff

First of all, I love this band and I think they are almost single-handedly making sure quality melodic punk music doesn’t die out, while still placing their own stamp on the genre. Their first album came out of nowhere, being both scrappy and immediately accessible. Then they followed that up with an album that was surprisingly even better than their debut and now, in 2019, they’ve surpassed all expectations and made their best record yet. There isn’t a single thing I can criticize on this record — every track is gold. The production is well done without ever sounding over-produced and each instrument shows up clearly in the mix. The track order is perfect with a nice clean guitar intro on the middle track “Scorpion Hill” and album closer “City” verging into chaotic nonsense without losing focus. Despite how great everything on the record is musically, it’s probably the lyrics that sell me the most on PUP — lyrics that are both clever while also being simplistic, never attempting to show-off to the listener. I mean, the album begins with the line “I was bored as fuck, sitting around thinking all this morbid stuff, like if anyone I had slept with is dead”. The pinnacle of writing on the record comes from “See You at Your Funeral”, but I’m always going to be a sucker for petty songs about jaded ex-partners and this is one of the best. Just go listen to this record already. [Melodic Punk]

Best Tracks: See You at Your Funeral, Kids, and Blood Mary, Kate and Ashley

Playlist of all of the ‘Best Tracks’:

https://open.spotify.com/playlist/7iyUoB18mVUy3qOkiEseD8?si=IvLAAGRZSKW1blFLjIM6xA

What announced albums to look forward to in 2020?

• Beach Slang — The Deadbeat Bang of Heartbreak City (10/01)
• Field Music — Making a New World (10/01)
• AJJ — Good Luck Everybody (17/01)
• Anti-Flag — 20/20 Vision (17/01)
• Bombay Bicycle Club — Everything Else Has Gone Wrong (17/01)
• of Montreal — UR FUN (17/01)
• The World/Inferno Friendship Society — All Borders Are Porous to Cats (17/01)
• Mura Masa — R.Y.C. (17/01)
• Wolf Parade — Thin Mind (24/01)
• Black Lips — Sing in a World That’s Falling Apart (24/01)
• Frances Quinlan — Likewise (31/01)
• Sløtface — Sorry for the Late Reply (31/01)
• Green Day — Father of All…. (07/02)
• Worriers — You or Someone You Know (06/03)
• Weezer — Van Weezer (15/05)

Artists that should/might release an album in 2020:

• The Offspring
• The Suicide Machines
• Run The Jewels
• NOFX
• Western Addiction
• Against Me!
• Dead To Me
• The Aquabats
• The Lawrence Arms
• RVIVR
• Night Birds
• Descendents
• Mad Caddies
• Modest Mouse
• Bigwig
• Banner Pilot
• Dillinger Four