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New albums 2019 list

Fri 20 Dec Those sounds are more than just another layer of Americana cosplay: her obsession with American archetypes, once dismissed as superficial, has matured into an acute understanding of how they are created and frustration at what they conceal. A subtly defiant assertion that Del Rey is here for the long haul, no matter what. Laura Snapes Read the full review. Until this year, rapper Dave was a singles artist — he managed 11 before his debut album was released — but Black marked a sea change: serious, reflective and grown-up. An absentee father, a sibling in prison his brother Christopher is serving a life sentence for his involvement in the killing of Sofyen Belamouadden , a burgeoning, pressurised music career — it all gets mixed into an urban opera that plays out intensely, and internally. Lanre Bakare Read the full review. Alexis Petridis Read the full review. But it summoned to mind that strain of 80s pop when older musicians would reach the top end of the charts with sophisticated, modern records that used production techniques from records for teenagers, and applied them to songs unmistakably written about adult life. It was alive with possibility.
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At least the music this year was good!!! If anger is an energy, reading this list should be like chugging a can of Monster with your finger stuck in a plug socket.
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The album won't go down without a fight. As the algorithmic thinking of the streaming music era tightens its grip on the record industry and consumer listening habits, artists are still writing and recording collections of new material, releasing them as cohesive units on specific dates, and suggesting that you listen to them in a pre-established order. As a format for enjoying multiple songs and a way of thinking about creative development, it remains essential. Even with all its tumult, didn't change that. There's always good new music out there, providing the soundtrack to the highs and lows of daily life. Sometimes it comes from a new artist you've never heard of before; sometimes it comes from a reliable veteran you perhaps stopped listening to consistently. Either way, great albums make an impression. These are the best records of Like this kind of stuff? A song like the opener "imagine," with its clicking percussion and soaring hook, elegantly moves between moments of intimacy and widescreen catharsis.

The following is a list of albums released in The albums should be notable which is defined as significant coverage from reliable sources that are independent of the subject. For additional information about bands formed, reformed, disbanded, or on hiatus, for deaths of musicians, and for links to musical awards, see in music. From Wikipedia, the free encyclopedia. Wikipedia list article. This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries. List of albums released. Legion of the Damned. The Kentucky Headhunters.

In a hyperspeed world, it is increasingly meaningful to sit with the vision of one artist for an extended period of time. From drowsy hip-hop to pitch-perfect pop, albums of all genres felt more profound than ever. Synthesizing devastating breakups and calling for revolution in every style of sound, these albums went all-in on what matters. Listen to selections from this list on our Spotify playlist and Apple Music playlist. All releases featured here are independently selected by our editors.

When you buy something through our retail links, however, Pitchfork may earn an affiliate commission. British electronic producer Sam Shepherd has always exerted remarkable control over his meticulous musical output as Floating Points: With his favored instrument, the Buchla modular synthesizer, he can contour sound waves and alter circuitry to suit his needs.

But Shepherd, like the rest of us, has comparatively little control over his input, and the chaos of the past three years—Brexit, Trump—shook something loose inside him. Out came Crush, a record that vibrates with sadness and anger, buoyed by squelching melodies that flutter and pop.

The album is a wonderful scenario for an artist a decade into their career: a rewarding balance of consistency and growth, with subtle experimentation instead of the common midcareer misstep of transparently grabbing for radio play. Brown knows what works and honors it here. Sam Barker is wary of taking the easy route in getting people to move their bodies. For his debut album, Utility , Barker dug into his archives to see which of his old sketches sounded good when he stripped them back to the studs.

The result is mysterious, weightless. As a whole, Utility is an expression of what techno can be when the most obvious percussive elements go away. Throughout the record, the quartet subtly distort their sugar-pie group vocals, whisking them into frenzied disco-grrl guitars, hectic brass bleats, and fluorescent electro blips. PROTO plays like a document of the creation of Spawn, the neural network that experimentalist Holly Herndon trained to sing using her voice alongside the voices of some collaborators.

Offering nine tracks in 18 minutes, the project burns quick and bright: Mostly, Rico jumps in, commands a raucous beat, and dips before the three-minute mark. But midway through, her signature voice-cracking threats shift in tone.

These are the kinds of songs you might make up in the shower, or to your pet—half-phrased absurdities too embarrassing to let out of your own head, let alone broadcast to an audience. For as fragmented as this carousel of mall punk, trap-pop, video-game soundtracks, and melodramatic Euro-trance can feel, the lingering mood is one of intimacy, of inner children mashing the pleasure button without boundaries or shame.

That Dylan Brady and Laura Les recorded most of it through remote collaboration makes sense: gecs taps into a kind of communication predicated on separateness, mining the difference between what you can say aloud in your imperfect human body and what you can express in a boundless cyberspace. In one sense, Blood Incantation are traditionalists. Was the year Thom Yorke finally got funky? With ANIMA , the year-old embraced meaty production while maintaining his taste for digital glitches and melodic sprawl, coming away with his finest solo album yet.

Aldous Harding is frequently inscrutable. Designer is a fitting headphone companion for wandering the city in a melancholy fog, but it never fades into the background. Odd lines and textures linger: an incongruous maraca, a chorus that falls away to leave Harding eerily silhouetted against sparse piano, a world map with a pin in Dubai.

Do you think Lifetones are far and away better than This Heat? Do you stand in solidarity with DJ Sprinkles in her anti-streaming stance? If, instead, parsing any of the proper nouns above makes you want to throw the whole of experimental music into the ocean, bear with me, and please give a listen to EXPORT. Blending skittering percussion with stoned-out synths and charmingly monotone vocals, EXPORT is warm and playful, a genreless exploration of rhythm.

Curry freestyled nearly every song on the album—an extraordinary feat for any rapper, made all the more dazzling by the vividness of his storytelling and the complexity of his internal rhymes. It is a privilege to spend a half hour in the singular slice of South Florida that Curry paints in his forthright verses. With ZUU , Curry kicks at the darkness surrounding him until it bleeds daylight. For their first album with legendary pop-punk label Epitaph Records, the Philadelphia quartet Mannequin Pussy swap fuzz-heavy thrashers for melodic, grand anthems of heartache and regret.

When Chicago drill first hit mainstream rap like a sonic icepick seven years ago, it was due to the distinctive, abrasive sounds of Chief Keef, Young Chop, and King Louie. But drill has always had a melodic side, and that undergirding pop sensibility has allowed the subgenre to survive in an industry always on the lookout for the next regional trend.

Polo approaches his verses with the dedication of a singer-songwriter, and his bleeding-heart sadness is more akin to country than emo-rap. It all makes for a fitting soundtrack for starting over.

Most rap songs are composed of two main elements: the rapping and the beat. My blessed boy. You shall be blessed forever. But Lilitri shows why that spotlight—that glow to bask in—is worth fighting for. She flaunts her vulnerability. She molds her desires into flexes. She is silly and silky and occasionally swaggering, not in spite of her tumultuous recent past but because of it.

Her swooping voice stitches the disparate moods together, gliding from gorgeous high notes into husky psuedo-raps, demanding to be followed as she pulls you from the dancefloor to the bedroom, from praying to partying. You become a parent with the wish that your kids outlive you. But what happens when that hope is suddenly dashed? Nick Cave confronts this reality on Ghosteen , the first album he wrote and recorded in full after the tragic accidental death of his teen son, Arthur. On "Hollywood," the double LP's minute closing track, Cave viscerally summarizes his broken heart.

Ghosteen abounds with stark moments like this that reveal the raw heart of grief. Not that the trauma surfaces in the music. If anything, Emily Alone embodies the hard-earned truth that behind every moment, however dramatic, lies another, quieter moment, transpiring without expectation or pressure.

Like the water Sprague often sings about, and by which she is so evidently moved, the music here is rippling and continuous, bedroom folk rendered with the meditative heart of new age. And so she puts her faith in trees, the ocean, her friends, and, finally, herself.

African Giant places him in the lineage of his Nigerian countryman Fela Kuti, a national treasure whose supreme musicality was inextricable from the rebellious surroundings in which it was made. Nothing, it seems—neither time, nor age, nor a shifting cultural landscape—can chip away at their self-delighted gleam, their garish sophistication, their heartbroken contentment.

Of course, they sound goofy at first. And of course, when the surface dressings fall away, Ezra Koenig is writing as searchingly as ever about lasting happiness, low-grade fear, and the certainty that if bad times are here, worse times are on the way. No matter how long they go away, Vampire Weekend will always return perfectly out of time. For No Home Record , she worked with producer Justin Raisen, whose credits include the Kim-indebted brooder Sky Ferreira and experimental shapeshifter Yves Tumor, and the pair conjure a dissonant, avalanche-sized sound.

No Home Record shows that the year-old Kim is still hellbent on chasing new musical ideas, wherever they may lead. Years ago, the idea of Tyler making music this intimate and reflective seemed like a stretch, but on IGOR , he gives in to the grown-up uncertainty that eventually comes for us all.

On Reward , Le Bon proves herself to be a canny architect of another kind: one gifted at making dense sonic arrangements feel somehow weightless. These songs are intimate and personal, with Le Bon carefully leveraging a broader, deeper palette of instrumentation than on past work. Her layers of guitars, synths, saxes, and more make Reward feel lavish but never overstuffed. With everything in its just-right place, Le Bon's precise touches on Reward are prizes in their own right.

Every generation gets the teen-angst avatar it deserves. For kids raised under the threat of mass extinction, of course a dead-eyed year-old whispering about night terrors, benzos, suicide, and the climate crisis over a post-genre stew of trap beats, dubstep drops, and twee-ish bedroom pop would be hailed as a savior.

As the planet becomes more crowded, studies suggest the most surefire way to limit your impact on a world buckling beneath our self-made weight is to have fewer children, or even none at all. The music is a wryly nostalgic nod to the moment in history just before we as a species fully understood how quickly life on Earth as we know it might collapse.

Surveying a wounded forest, Hval finds spirits stronger than God: herself, her friends, the continuums of art and ecology. And, finally, she finds liberation in feeling equivalent to an annual plant, blooming once briefly and then fading into the forest. The Practice of Love asks more questions than it answers: Are we more responsible to ourselves or to our species? What value is conforming in a world where norms have ruined us? Are you hearing these songs, or spying on them?

With compassion and understanding, Immunity helps you access your unfinished self, the one you paved over just to make it through. Since first emerging as a prodigious one-man songwriting machine earlier this decade, Alex Giannascoli has remained tapped into an ever-flowing stream of idiosyncratic excellence.

House of Sugar is his most ambitious and immersive album yet. Inescapable spirals of desire—whether for control, companionship, or instant gratification—are manifested as voids desperate to be filled. You can hear its selflessness in the myriad tones, instruments, voices, and happy accidents that come and go, subverting ego while sidestepping excess.

The songs follow an elusive—and affecting—dream logic. His simple arrangements for guitar, strings, and percussion are filled with purpose: Every new note and lyric is in service of communicating a pure thought. He sings about clear water flowing from his pen, and a second riff emerges, lighter and more delicate, a cool stream burbling just out of sight. Eventually he leaves words behind entirely, sinking into cascading acoustic guitars and the soft tinkle of chimes.

Homecoming: The Live Album —the musical companion to her retina-popping Coachella live film—boasts a whopping 40 tracks that fuse soul, hip-hop, gospel, and go-go with live skits and confessional interludes, as brassy marching bands and black drumlines give dap to the cultural traditions of HBCUs. By the time Big Thief released U. But not five months later came Two Hands , which is as much an exorcism as its predecessor. Warmed by humming amps and the presence of four bodies pressed in close, the album unspools as effortlessly as a campfire session—stray counterpoints, offhand vocal harmonies, tiny details dancing like shadows on the treeline.

At a time when it feels like no patch of ground is immune from either flood or fire, Two Hands draws a circle and creates a refuge there. Brittany Howard named her debut solo album after her older sister, who died when Brittany was eight years old. The magnetic scrappiness doubles as a bracing alert. The music exists on an expanded scale, too, with producer Slot-A helping guide the proceedings from cosmic soul to garage-rock grit and on through to Chicago house.

Stories of depression and despair are easier to take with full knowledge of the happy ending. Purple Mountains , the final album of new music from David Berman, released 26 days before he took his own life at age 52, offers no such luxury. The best way to hear these songs now is to listen to them in that spirit—to assume Berman was fighting fire with fire.

He searched for the perfectly turned phrase to articulate pain because it helped him feel less of it; he added jokes because the absurdity of life is funny.



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