year in review – Continuous Thunder

2019 by the Numbers

One last post regarding music from 2019 before moving on to the new year and new decade. This post is more for the music nerds where I will break down what I listened to by genre and score. There will be nerdy charts and everything. I put these together more out of my own curiosity since I have listened to more music this year than any previous year and I wanted to see what it would look like when it was a little more organized rather than my messy spreadsheets where I track this stuff. But I think I’ve rambled on enough so the drop cap doesn’t look weird. So on to the numbers!

Genre Breakdown

Below is a table and graph showing all of the new albums I listened to broken down into five general umbrella genres:

Genre	Number
Folk/Country	79
Hip-hop	91
Rock (indie/alternative/pop-punk/etc.)	266
Pop/Other (electronic/experimental/jazz/etc.)	169
Heavy (metal/hardcore/industrial/etc.)	460

For those who don’t want to do the math, those numbers add up to 1065 new releases from 2019. Now I know that some of these categories are a little broad, the Pop and Heavy ones especially. But this was a good way to organize things for my purposes. For example, some people might not like that I grouped jazz in with the pop music, but I listened to so little jazz this year, that it didn’t make sense to give it its own category and Pop/Other was the only umbrella category where it would fit. These numbers are based on what I perceived the music to be, so there might be some differences of opinion on where certain artists should be placed. There might be an “alternative” artist I put in Pop/Other or a hard rock band I put in Heavy.

Now to address the elephant in the room, that big blue piece of the pie that represents Heavy music. When it makes up over 40% of the data it seems like I might be giving it preferential treatment. And I will admit that I am a big heavy music fan, but it’s not something I listen to excessively on any given day. So I chalk this up to a couple reasons. Over the past couple years I’ve developed a taste for genres like doom metal, stoner rock, and traditional metal. This led me to several sources where I can find a lot of the heavy music releases for any given week, and the underground for these genres is just absolutely thriving. I’m sure there’s a lot to be found in the worlds of underground hip-hop, electronic, and independent rock artists, I just don’t know where to find all that information. Maybe over time that piece of the pie will shrink a bit.

One more quick note while we’re talking about everything here, I also try to keep track of albums made by women or groups prominently featuring women. This year my final count was 150 albums out of 1065. That’s 14% of all new releases I listened to. Now, that number will likely be different for every person based on your listening tastes and habits, and the fact that a majority of the albums I listened to were from very male-centric heavy genres probably plays into this as well. The number might not be 100% accurate either because I might have overlooked a group or two. But the number is still pretty eye opening.

Score Breakdown

Moving on, below is a table and graph showing all the albums I listened to broken down into my five main scoring categories. Not everything I listen to gets a formal review (obviously), but I do still try to sort everything into these categories:

Score	Albums
Garbage (0.0-0.5)	22
Bad (1.0-2.0)	228
Meh (2.5-3.0)	624
Good (3.5-4.0)	183
Exceptional/Perfect (4.5/5.0)	8

Once again we have a pretty clear elephant in the room and that’s the massive amount of albums scored “Meh.” And this really speaks to one of the main problems with music critique, and that’s the subjectivity of music in general. I’ll probably dedicate an entire post to this one day, but the bottom line is when you’re talking about movies or video games, it’s not hard to point out objective reasons why the particular item is good or bad. With music, it’s a lot harder. People have different tastes for different styles and artists. A lot of people will probably disagree with my scores for one reason or another.

But getting back to the massive “Meh” piece of the pie. This is pretty much any album that didn’t really make a big impression on me, good or bad. That’s not to say that the albums are necessarily boring, some of them actually have some great tracks on them, but as a whole don’t really represent anything particularly special or awful. And a big part of me putting an album there is thinking “there’s an audience for this, but I’m just not a part of it.” It’s not bad, it’s just not doing it for me, and that happens to be the majority of what I listen to.

Reviewed Albums

Of the 1065 new releases I listened to, I published reviews and scores for 55 of them. Below is a table showing how those scores broke down. There’s no fancy pie chart for this one:

Score	Frequency
0.0	0
0.5	1
1.0	1
1.5	5
2.0	6
2.5	4
3.0	8
3.5	11
4.0	14
4.5	5
5.0	0

Okay, a few takeaways from this table. First and foremost: yes, the majority of my published scores fall into the 3.5-4.5 range. The simple reason for this is that I, like a lot of other people, enjoy talking about stuff I like more than stuff I don’t like. It’s also a lot easier to tell you why I like something than why something is only kinda “meh” to me. That will become easier as time goes on, so I imagine this breakdown will change in future years. Second takeaway is that I gave no perfect scores this year. There were a couple instances where an album came very, very close, but that score is reserved for the best of the best and there can be no question in my mind that the album deserves it. And nothing I listened to this year quite made the cut.

I could break all of this down into finer data like genre breakdowns within each scoring category and how many albums by women are in each genre, but I think things have gotten nerdy enough for now. Maybe I’ll break it down more in future years. But that’s what 2019 looked like for me, let’s see what 2020 brings.

Top Favorite Albums of 2019

Alright, we made it. The final list of the year, my ten favorite albums from 2019. Unlike other sites, I do not rank my top ten. These are just the ten albums that stood out to me for one reason or another and have endured through the year as my favorites. Since half of these were not officially scored by me, score isn’t really the most important factor, but you can safely assume that everything on this list would be scored a 4.0/5.0 or higher. I also try to represent as many genres as I can. But enough explaining, on to the musics!

AM TAXI – SHIVER BY ME–I came across this album because another band I listen to were being good bros and gave it a shout out. I did not expect to find one of the best albums I’d hear all year. I previously described this album as punk attitude with a bit of heartland rock and that combination just really works for me. There is zero filler, and when you think you can predict the direction a song is going to go, they take a left turn and make you believe that’s the way you should have expected it to go all along. I wish I could go into more detail, but the bottom line is that this is just some great rock music done very well.

BRUCE HORNSBY – ABSOLUTE ZERO–After over 30 years and ten albums, veteran soft rock and Americana singer-songwriter Bruce Hornsby takes a surprisingly experimental turn on his latest album. You might expect an artist like Hornsby to just release a collection of piano ballads that old fans will buy but otherwise won’t make too many waves. Instead, he’s teamed up with Justin Vernon of Bon Iver, yMusic, and others to actually challenge himself and put out something really unique in his catalog. Even though this leans experimental, Hornsby’s strong skills in songwriting and melody still come through, making this album still very listenable. This was a surprising release, and easily one of my favorites. Watch my full review here.

FUMING MOUTH – THE GRAND DESCENT–Now for one of my favorite extreme metal releases of the year. Fuming Mouth play a combination of death metal and hardcore, but like Venom Prison, they never go full deathcore. It’s more like death metal with the raw energy and breakdown riffs of hardcore. This album just comes right out of the gate with the brutality and lets up only a few times over its 33 minute run time. Some say the band is a little one-note, but I personally think they manage to vary the dynamics from song to song enough to keep it interesting. But if we’re honest, sometimes we just want to listen to metal for some intense brutality. And Fuming Mouth brought it this year.

THE HIGHWOMEN – self-titled–I’m not entirely sure why, but I often find that in the world of modern country music, a lot of the best albums are made by women. That trend continues this year with The Highwomen. This is a collaboration between Brandi Carlile, Maren Morris, Amanda Shires, and Natalie Hemby and is a loose tribute to the Highwaymen collaborations of the ’80s and ’90s. The songs on here are inspired by folk and the sounds of previous generations of country music, but have lyrics with very modern sentiments, including what I imagine is one of very few lesbian country love songs. The songs are great, the harmonies are sweet, and every member brings something to the table that makes this album rise above other country releases this year.

THE JAPANESE HOUSE – GOOD AT FALLING–First off, shout out to Josh Scott of JHS Pedals for turning me on to this artist on his YouTube channel. Second, if I picked an album of the year, this would easily be a front-runner. Good at Falling is The Japanese House’s debut album following a quartet of fantastic EPs and it is indie pop brilliance. At times the sound reminds me of “Hide And Seek” era Imogen Heap, but it doesn’t sound dated. The songs sound fun but the lyrics cover dark, personal, and emotional topics at times. The production is spot on for every track and even when it doesn’t sound fantastic, you know that it was intentional. You don’t want to miss this one. Watch my full review here.

LITTLE SIMZ – GREY AREA–This is not only the best British rap album of the year, but the best rap album of the year in general. The first thing that grabbed my attention was Inflo’s production, pulling obvious influence from jazz rap of the ’90s but with enough forward thinking to keep it from just being a throwback sound. Then there are the lyrics. Simz delivers smart and conscious lyrics in fantastic flows. The features are all great too. Every guest delivers something that adds to the song instead of feeling tacked on. This is the rap album where everything fell into place; the beats, the flows, and the features all work together and every gamble payed off.

NICK CAVE & THE BAD SEEDS – GHOSTEEN–Nick Cave and company continue the themes of 2016’s Skeleton Tree and conclude the trilogy started by 2013’s Push the Sky Away. This album finds Cave still processing the grief of losing his son, and while the lyrics are still dark and poetic, the music has taken on a more hopeful feel. Vintage synths and strings and the occasional piano dominate the soundscapes created by long-time Bad Seed Warren Ellis. This album isn’t exactly easy to listen to, and it takes a few spins to really dig in. But once you do, the beauty of the work as a whole becomes apparent. Read my full review here.

THE OFFERING – HOME–Here is a band whose sound is so hard to nail down that they misleadingly get categorized as power metal on some websites. A more accurate description, and I’m not joking, is a combination of death metal, deathcore, groove metal, hard rock, heavy metal, metalcore, nu-metal, power metal, prog, and thrash. I know that sounds like a metal version of that game kids play where they mix every kind of soda at the fountain, but believe me when I say that the end result tastes way way way better. I don’t know how these guys do it, but they make it work. The songs are the right amount of catchy and brutal, and, oh yeah, they pull it off in a fucking epic 14 minute album closer! My words will never do it justice. You’ll just have to hear it for yourself.

PALADIN – ASCENSION–Rounding out my metal picks for the year, and speaking of clever blending of sub-genres, we have this album by Paladin. Now, they don’t go quite as crazy as The Offering, but what they accomplish is almost as impressive. Ascension flawlessly blends the styles of power and thrash metal. Within each song, they jump from thrash to power metal bits multiple times, vocally and instrumentally. But the transitions are never jarring in an awkward way. If it’s jarring at all, it’s more in a pleasantly surprising way. And the jumps change from track to track. One will have thrash verses and power choruses, where another will have thrash choruses and power solos. It continues to impress me every time I listen to it. Watch my full review here.

SHEER MAG – A DISTANT CALL–Sheer Mag is a band that is rather unapologetically inspired by ’80s power pop. But they’re more than just an ’80s cover band or an uninspired throwback. They take the things that make you love ’80s music and turn them into solid rock songs. You get hints of glam, Cheap Trick, a dash of punk, and a pinch of Judas Priest. Top it of with Christina Halladay’s awesome voice, and you’ve got one fun rock album. The songs are catchy and they remind you of the best tracks from the past without sounding like cheap ripoffs. It’s like the first time you heard The Darkness back in 2003.

Honorable Mentions of 2019

Before we get into my top favorites of the year, I’d like to mention some albums that are good in their own ways but didn’t quite make the cut. These are albums that represent some kind of special achievement, a better-than-expected comeback, or albums that impressed me in one way but weren’t really exceptional for one reason or another. Not much else to say beyond that, so on to the musics!

AS CITIES BURN – SCREAM THROUGH THE WALLS–As Cities Burn finally give their fans the album they’ve been waiting 14 years for! No, I didn’t count wrong. Not only is this their first release in 10 years, but it’s the first since their 2005 debut to feature original vocalist TJ Bonnette. This reunion also brings harsh vocals back into the mix, but this isn’t just an attempt to recreate Son, I Loved You at Your Darkest. This album pulls inspiration from their entire catalog. The frantic, mathy hardcore of 2005 is traded for competent post-hardcore with mature, but distinctly As Cities Burn songwriting. Watch my full review here.

BACKSTREET BOYS – DNA–On their first album in six years, the Backstreet Boys actually try to bring their sound up to current trends. The result is better than you’d probably expect. I’m not saying it’s great, because there are some tracks here that sound incredibly dated and others that just plain aren’t that good. But a Backstreet Boys album in 2019 could have been a lot worse than this. Part of the reason I think it went this well is the group is talented enough vocally to apply themselves in a lot of different situations. It’s one of the reasons they’re one of the few bands from their era still releasing music as a group.

BILLIE EILISH – WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?–Billie Eilish has been getting a ton of hype this year and it will probably upset some people that this album is an honorable mention and not on my final year-end list. And look, I pretty much agree that she is a very exciting and promising voice for the future of pop music, especially considering she’s only 17. I think she has the potential to put out some really fantastic albums, but this just isn’t doing it for me like it is for other people. Don’t get me wrong, it’s a fantastic debut for a young artist, but I think the best is yet to come from Billie Eilish. Watch my full review here.

THE GLOAMING – 3–The award for the prettiest album I’ve heard this year should probably go to this one. The Gloaming is an Irish folk band that tries to modernize the music by incorporating elements of contemporary classical, post-rock, and minimalism. The results aren’t necessarily ambient, but very beautiful and pensive tracks with sparse arrangements. Another carryover from post-rock is long songs with many on this album being over seven minutes, but none of them overstay their welcome. It’s an excellent album for both active listening and just playing in the background.

JEFF GOLDBLUM & THE MILDRED SNITZER ORCHESTRA – I SHOULDN’T BE TELLING YOU THIS–Jeff Goldblum continues his venture into the realm of jazz musicians with his second album, this one being a proper studio album. His backing band returns and the album features several guest vocalists, including Miley Cyrus, Sharon Van Etten, and Fiona Apple. Goldblum only offers his own voice to one track, deferring to his talented guests for most others. In a similar fashion, his piano playing is beyond competent, but he’s content to sit back in the mix and let other members of his band take the solos. There are a few clever mashups of pop lyrics with jazz instrumentals. The only thing missing is the banter with the audience and the guests like we got on The Capitol Studios Sessions. Read my full review here.

MATMOS – PLASTIC ANNIVERSARY–Matmos, a group famous for building their songs from samples of everyday objects, turns their focus to plastic. Creating an entire album from plastic items is not only a creative challenge but an environmental message. At first, that might make this sound like a novelty record with a heavy-handed agenda, but the result is some truly impressive electronic music. Matmos effectively try their hand at various musical styles including IDM, industrial, and even Samba, all using items like vinyl records, silicone implants, billiard balls, and a riot shield. It’s very impressive for a group to continue challenging themselves like this so deep into their career and still turn out really compelling music. Watch my full review here.

POSSESSED – REVELATIONS OF OBLIVION–And the winner of the band that waited the longest time between releases goes to the OG death metal band Possessed who put out Revelations of Oblivion thirty-two years after their last release of new material. Now, the only original member is vocalist Jeff Becerra (I know, I’m disappointed Larry LaLonde didn’t come back too), but he really does keep the original spirit of Possessed (hehe, spirit) alive in this new iteration. Usually, when a band comes back after an extended break the results leave a bit to be desired, but Revelations doesn’t suck, which is quite the accomplishment.

PRINCE – ORIGINALS–This is a collection of demos of songs that Prince wrote for other artists. If I’m perfectly honest, I wasn’t too familiar with many of these songs. And some of the ones I was familiar with, I didn’t know Prince wrote them (Manic Monday? Really?!!?). Even though these are demos, they are fully fleshed out performances of these songs, sometimes rivaling proper studio releases. Truly a testament to Prince’s perfectionism. I know you’re wondering, and yes, “Nothing Compares 2 U” is on here, and it’s just as amazing as you’re imagining. It’s just so interesting to hear how these songs were originally envisioned by their writer.

STARBOMB – THE TRYFORCE–Starbomb is a collaboration between comedy band Ninja Sex Party and YouTube gamer/artist Arin Hanson (a.k.a. Egoraptor). The collaboration is really not too surprising given that Danny from NSP is Arin’s co-host on the YouTube gaming channel Game Grumps. Starbomb’s sound takes the ’80s synth inspired sound of NSP and puts rapped lyrics about video games over it. The Tryforce is the group’s third (and possibly final) album and their best so far. The production has gotten better and so has their songwriting, which has transitioned from fitting as many dirty jokes as possible into a song to clever lyrics and wordplay. Comedy music is pretty niche already, making it all about video games narrows the demographic even more. But if you’re into either of those, you don’t want to miss this.

VAMPIRE WEEKEND – FATHER OF THE BRIDE–Six years after capping off a fantastic trilogy of albums with Modern Vampires of the City, Vampire Weekend return with their fourth album. Representing a bit of a stylistic shift for the band, the album pulls inspiration from genres like Americana and jam bands like Phish, but it still has a sound that is very distinctly Vampire Weekend. With only a couple exceptions, the compositions on this album are a bit more relaxed, but their lyrics are still just as dense as they’ve ever been. The album is a bit long and as such, there is some filler, but there are some real gems on here. “Harmony Hall” in particular is one of my favorite singles of the year. Watch my full review here.

Great Heavy Albums of 2019

Much like last year, the majority of all the music I listened to this year fell into what I call heavy genres. These include heavy metal and all of its sub-genres as well as other stuff that might not necessarily be considered “metal” but is still heavy. Examples would be things like hardcore, industrial, the black metal inspired electronic of Gost, and the brutal experimental noise of Lingua Ignota. This year, heavy music accounted for over 40% of everything I listened to, which translates to over 400 albums. It didn’t seem fair to limit this to what managed to make it to my overall favorites list, so here are ten other heavy albums that I believe are worth your time.

COFFINS – BEYOND THE CIRCULAR DEMISE–Death/doom metal is a genre I’m pretty new to, so my enjoyment of death/doom albums pretty much comes down to the sound and how well it can keep my interest. This Coffins album does a very good job combining the brutality of death metal and the crushing heaviness of doom. They know when to take it slow and when to speed things up, and they choose their riffs wisely for each case. There’s also this weird sound that I’m not sure if it’s some instrument or some kind of vocal processing, but it works and it’s one of the ways Coffins is setting themselves apart.

DREAM THEATER – DISTANCE OVER TIME–The prog metal pioneers return yet again with their 14th album. It also happens to be one of their shortest with the standard version clocking under an hour of run time. Despite the length, there’s no shortage of impressive musicianship to be found, as can be expected from Petrucci and company. What’s most impressive is that they avoid a lot of excessive self gratification and give us some very tight and focused metal performances instead. And this one gets nice and heavy with some decent riffs and solid grooves on some passages. They’re among the best and this album just continues to prove that. Watch my full review here (yes I know the intro is creepy).

FEVER 333 – STRENGTH IN NUMB333RS–I’m not sure why, but nu-metal is trying to make a comeback. But if it means we get more bands like Fever 333, it might not be such a terrible thing. This is a very angry and visceral brand of rap metal that I can’t help but compare to Rage Against the Machine at times. Not just in sound, but also in message. Instead of shallow, tough-guy bravado, Jason Aalon Butler sings of the injustices and difficulties he’s witnessed and experienced as a person of mixed race. This album will really get your blood pumping in more than one way.

GYGAX – HIGH FANTASY–As this band’s name implies, they are heavily inspired by tabletop RPGs like D&D. While that sounds supremely nerdy, even to me, these guys are just about the best old-school hard rock band I’ve heard this year. They’re so old school that I almost wouldn’t consider them heavy metal, but some of their riffs push it just over that line. For a little more reference, they give off some heavy Thin Lizzy and Blue Oyster Cult vibes at times with their rhythms, guitar tones, and dual guitar leads. So if you’re itching for something new in that wheelhouse, give Gygax a try.

HIGH COMMAND – BEYOND THE WALL OF DESOLATION–This decade has seen a bit of a renaissance of crossover thrash come bubbling up from the underground. The success of bands like Power Trip has allowed more great bands to come into the spotlight. High Command is one of those bands. Despite the name and album art seeming more appropriate for epic metal or stoner rock, they deliver some wonderfully punishing thrash riffage. The lyrics however have more in common with bands like Iron Maiden or Sabaton, telling stories of medieval fantasy battles. Look no further for good thrashy fun.

I BUILT THE SKY – THE ZENITH RISE–I know I literally just talked about this one at the end of November, but as far as instrumental guitar music goes, it really is the best of the year. This is a genre that is really difficult to stand out in, especially now that the internet has been flooded with bedroom musicians and producers. Rohan Stevenson excels because he holds to the guitar philosophy that man cannot survive on shredding alone. Yes, he’s very talented and his shredding is impressive, but what really impresses me are the hooks and melodies between the solos. I Built The Sky is one to watch in the new school of instrumental metal music.

KING GIZZARD & THE LIZARD WIZARD – INFEST THE RATS’ NEST–One of two albums released by King Gizzard in 2019, and the better of the two in my opinion. This album finds the psych rock chameleons trying their hand at thrash metal, and they do a pretty dang good job. Keeping with their psychedelic foundations, this album is produced to sound more like an early thrash album from the late ’70s with heavy Motörhead influences. The lyrics tell an apocalyptic sci-fi story of life after the Earth’s climate collapses and how the same greedy practices exist even after they’ve caused irreparable damage. Not every King Gizzard experiment lands, but this one certainly does.

LITURGY – H.A.Q.Q.–Yes, it’s another album I just covered in November, but this thing made a big splash when it landed. With H.A.Q.Q. Liturgy continues to push the boundaries of what black metal can do. Depending on who you ask, that’s a really good or really bad thing. Either way, you can’t deny how brutal and heavy these tracks are, using their musical heft to emphasize the emotional weight of Hunter Hunt-Hendrix’ lyrics. The way they incorporate classical instruments like chimes, glockenspiel, and harp is genius, and piano interludes serve as nice little retreats from the insanity before diving back in. Overall it’s just a very satisfying and cathartic experience. Read my full review here.

POUND – ••–This is easily one of the most unique releases that I heard all year. Pound is a guitar and drums duo who play what they call “experimental, instrumental grind, math, dbeat, and sludge.” But hints of prog and djent show up from time to time. Guitarist Ryan Schutte plays a 9-string baritone, so there’s no lack of low end. Riffs zig and zag all over this album, but it’s not all prog weirdness. There’s a bit of melodic structure here too. You won’t find them on Spotify, but if you’re looking for something different, the whole album is on their YouTube channel, or find them on Bandcamp.

SUNN O))) – LIFE METAL–This wasn’t a particularly fantastic year for slow metal, but we did get not one, but two Sunn O))) albums this year. Of the two, I prefer Life Metal. I know a lot of purists aren’t big fans of it because it’s less experimental than their previous work, but I personally love it for being a more back-to-basics approach. It’s also about as positive or uplifting as a Sunn O))) album can be. The second album, Pyroclasts is also very good, but it’s more meditative and improvisational. If you like your metal slow, it doesn’t get much slower than this.

Great Albums Made by Women in 2019

Last year, in an attempt to make myself a little more woke, I challenged myself to create a list of albums that highlighted great music made by women in addition to my normal list of favorite albums from the year. My decision to do it again was reinforced by the fact that I listened to over 1000 albums this year and less than 15% were by women or groups fronted by women. That number might be different for you, but on average I believe women make up a severe minority of the music that gets consumed. There’s a lot of great music being made by women that deserves to be highlighted, so take a look at what I’ve put together here and maybe add one or two into your rotation.

ARIANA GRANDE – THANK U, NEXT–This album was released only about 6 months after Grande’s previous album, Sweetener. And it was a pretty tumultuous 6 months. Ex-boyfriend Mac Miller had passed away and her engagement to Pete Davidson was called off. Much of thank u, next appears to be inspired by these events with direct references to her exes, ending relationships, and the ways that she coped with them, both healthy and unhealthy. Lyrically this is Grande’s most personal and vulnerable album, an aspect that is reinforced by the fact that there are no featured artists. This is easily the best album that she’s released so far.

BETTER OBLIVION COMMUNITY CENTER – self-titled–This group is a collaboration between singer-songwriters Phoebe Bridgers and Conor Oberst. The former being one of the most promising and exciting songwriters to come up in the past few years and the latter being indie folk and emo royalty. The album claims to follow a concept, but it must follow it very loosely. The important thing is this is one of the best collections of folk rock tunes released this year. Bridgers has yet to really disappoint me in anything she’s involved in, and Oberst sounds like he’s genuinely having fun. It’s certainly one of the most interesting things he’s been involved in for awhile.

DIALITH – EXTINCTION SIX–Symphonic metal is a difficult genre to pull off. There’s a balance you have to strike between the orchestration and the badass metal riffs. Dialith strikes the balance right where I like it with a bit more emphasis on the metal. Their orchestration doesn’t sound like it’s played on a cheap keyboard (an especially impressive accomplishment when you remember that this is an unsigned band). Finally, but certainly not least, vocalist Krista Sion has a beautiful, near-operatic voice that complements the music without over-singing. The songs are never overblown or over-done. No one element tries to steal the spotlight from the others. Overall it’s a very impressive debut.

LANA DEL REY – NORMAN FUCKING ROCKWELL–I used to be a pretty outspoken critic of Lana Del Rey when she first came onto the scene and accusations of her being inauthentic flowed freely. Over the years though, my opinion has softened as she’s turned herself into something of a real deal. Her songwriting and stylistic choices have only gotten better over time and Norman Fucking Rockwell is where they really go to the next level. Cries of insincerity go right out the window track after track, bolstered by the quieter instrumentals on this album. There are a couple missteps, but it does have just about the best Sublime cover I’ve ever heard.

LIZZO – CUZ I LOVE YOU–I know it’s kind of “the thing” to like Lizzo right now but truth be told, if you’re going to do pop rap, this is the way to do it. Lizzo is an incredibly solid songwriter and you can quickly tell that there’s some decent substance here. Her lyrics are full of feminist and positive messages delivered without a patronizing tone. The instrumentals are inspired by funk, soul, and disco of the ’70s and ’80s with a couple clear nods to Prince. These aren’t songs that exist to just be hits, deliberate care was put into them. Like I said, this is pop rap done right.

MOLLY TUTTLE – WHEN YOU’RE READY–I mentioned Molly Tuttle’s album earlier this year, and it’s managed to remain one of the most impressive country and Americana albums of the year. Like I mentioned in that video, Tuttle is a very talented guitarist and songwriter. She’s not only the first woman to win the International Bluegrass Music Association’s Guitar Player of the Year award, but she’s one it two years in a row. Her playing is on display on a couple tracks, but it’s also there in many others for those who listen for it. Her songwriting is impressive as well, so even casual listeners will enjoy this.

PRONOUN – I’LL SHOW YOU STRONGER–Pronoun is a bit of a one-woman indie-pop band project by singer and songwriter Alyse Vellturo, and it’s some of the best damn guitar pop I’ve heard this year. I’m not quite sure exactly what genres and decades intersect on this album or where, but I think I hear some ’80s thrown in there with some early 2000s indie pop and a couple others. The real draw on this album for me though are the hooks. Some of the guitar hooks on here are just so strong that I have to stop what I’m doing to listen, and sometimes I’ll even play the song again. I’ll definitely be looking for Vellturo’s future releases.

TALLIES – self-titled–Speaking of solid indie pop, we have Tallies with their self-titled debut. This is like a modern take on new wave with some surf tendencies. Reverb and jangly guitars abound with single-note leads played throughout the tracks. I’d compare them with Real Estate or maybe DIIV with some more modern surf like Best Coast thrown in. The new wave influences come in with some clear nods to bands like The Cure, especially their more pop leaning tunes. It’s great music for a summer cruise with the top down.

VENOM PRISON – SAMSARA–I wasn’t going to let you go without mentioning at least one more metal album on this list. Venom Prison mix death metal with elements of hardcore without going full deathcore, and it’s some truly brutal stuff. A true highlight of the band is vocalist Larissa Stupar. The female voice always brings a unique quality to harsh metal vocals, and Stupar’s is especially powerful. Her lyrics take the traditionally dark and disturbing themes of death metal and use them to bring the horrors of misogyny and rape culture to light (that is, when you can understand her). They also tackle subjects of fascism and mental health, making this not only a brutal album, but a socially aware one.

WEYES BLOOD – TITANIC RISING–I’ll be honest with you, I didn’t get this one at first. This album was getting so much hype and I just wasn’t seeing why. After a few listens it finally hit me what an accomplishment this album is. The production here is just absolutely spot on. Weyes Blood just nails that Carpenters-esque ’70s soft rock and makes it sound timeless rather than retro or dated. Natalie Mering’s sentimental and somehow hopeful lyrics guide you through the struggles of life in the modern world. This is easily one of the prettiest albums of the year, and I can’t believe I almost missed it.

Everything I’ve Reviewed So Far in 2019

Below is a table showing all of the albums I’ve reviewed so far this year on Facebook and YouTube before transitioning to this site. Hopefully it gives a sense of the variety of the music I review and what I consider to be good and bad. Because there are so many I haven’t included any text explaining my score. But if you are curious about a score or my reasoning, feel free to leave a comment and I’ll do my best to reply.

Artist	Album	Genre	Score
Old Sea Brigade	Ode To a Friend	Folk/Ambient	3.0/5.0
Soilwork	Verkligheten	Alternative metal/ Melodic death metal	2.5/5.0
Tallies	self-titled	Indie rock/Alternative/ New wave	3.5/5.0
Afterlife	Breaking Point	Alternative metal/ Nu-metal	1.5/5.0
Switchfoot	Native Tongue	Alternative	2.0/5.0
Malibu Ken	self-titled	Alternative hip-hop	4.0/5.0
Papa Roach	Who Do You Trust?	Hard rock	1.5/5.0
Pedro the Lion	Phoenix	Indie/Emo/Slow-core	3.5/5.0
Fever 333	Strength in Numb333rs	Alternative metal/ Post-hardcore/ Nu-metal	4.5/5.0
Toro y Moi	Outer Peace	Indie pop/Electronic/ Chillwave	4.0/5.0
Rival Sons	Feral Roots	Rock/Hard rock	3.5/5.0
Say Anything	Oliver Appropriate	Emo/Pop-punk	3.5/5.0
Backstreet Boys	DNA	Pop/R&B	3.0/5.0
Bring Me The Horizon	amo	Hard rock/Electronic rock	3.0/5.0
Better Oblivion Community Center	self-titled	Indie folk	4.0/5.0
FIDLAR	Almost Free	Garage punk	2.5/5.0
American Authors	Seasons	Alternative pop	2.0/5.0
Cherry Glazerr	Stuffed & Ready	Indie rock	2.5/5.0
Beirut	Gallipoli	Indie folk/World	3.0/5.0
Astronoid	self-titled	Post metal/ “Dream thrash”	3.0/5.0
Ariana Grande	thank u, next	Pop/R&B	4.0/5.0
Panda Bear	Buoys	Experimental pop	1.5/5.0
Beast in Black	From Hell with Love	Power metal	3.0/5.0
Florida Georgia Line	Can’t Say I Ain’t Country	Pop country	0.5/5.0
SWMRS	Berkeley’s On Fire	Skate punk	4.0/5.0
Dream Theater	Distance Over Time	Progressive metal	4.5/5.0
The Claypool Lennon Delirium	South of Reality	Psychedelic rock	3.0/5.0
Gary Clark Jr.	This Land	Blues rock	1.5/5.0
Weezer	self-titled (Black Album)	Alternative pop/rock	2.0/5.0
The Japanese House	Good at Falling	Alternative pop/ Electronic	4.5/5.0
Townes Van Zandt	Sky Blue	Folk/Country	3.5/5.0
Karen O/Danger Mouse	Lux Prima	Alternative rock	3.5/5.0
Matmos	Plastic Anniversary	Experimental/ Electronic	4.0/5.0
American Football	self-titled (LP3)	Indie rock/”Midwest emo”	4.0/5.0
Bad Suns	Mystic Truth	Indie rock/Alternative	3.0/5.0
Billie Eilish	When We All Fall Asleep, Where Do We Go?	Pop/Electropop	3.5/5.0
Periphery	IV: Hail Stan	Progressive metal/ Djent	4.0/5.0
Bruce Hornsby	Absolute Zero	Pop rock/Experimental	4.0/5.0
Grand Magus	Wolf God	“Epic power doom metal”	2.0/5.0
AJR	Neotheater	Alternative pop	1.5/5.0
Vampire Weekend	Father of the Bride	Indie rock	4.0/5.0
Paladin	Ascension	Power metal/Thrash metal	4.5/5.0
Apex Manor	Heartbreak City	Indie rock	2.0/5.0
As Cities Burn	Scream Through The Walls	Post-hardcore	3.5/5.0
Madonna	Madame X	Pop	1.0/5.0
Tycho	Weather	Ambient/Electronic	4.0/5.0
Of Monsters & Men	Fever Dream	Alternative/Electronic rock	3.5/5.0