The Second Tier is made up of some truly remarkable records but still aren't quite the best of the best. These are the runner ups. The second bananas. Lex Luger was a hell of a pro wrestler in the peak of the Monday Night Wars but he was never really a top line attraction compared to his contemporaries. Meet this year's Lex Lugers:
#39. Ultra St. Opera by Jupiter Styles
Jupiter Styles delivers an incredibly ambitious pop punk record that's so soft and catchy that it's tough to really consider it punk at all, save for a few fleeting moments of aggression in the latter half of the album. The first half of the record is much more in line with the likes of jangle pop indie rock like that of Neutral Milk Hotel's slower tracks or Waxahatchee's electric progressions. What's unfortunate is that it feels like much of the album is caught in the same rhythms, leaving very little distinction between tracks. Jupiter Styles successfully curates a signature sound but then almost clings to it too closely.
#38. Terror Management by Billy Woods
Billy Woods' second record released this year is another fine addition to his discography, it's just hard not to feel a little letdown after the incredible collaborative effort he released 6 months prior. His verses are great, no doubt, but without the production of Kenny Segal it just feels a lot more raw and less cohesive. It's not nearly as sharp a drop off as Freddie Gibbs' follow up to Pinata without Madlib but it's a drop off none the less.
#37. Death is a Warm Blanket by Microwave
After the massive hardcore misstep of Much Love, Microwave seems to be mixing the best elements of both of their previous records with this third outing. And for the most part, it works. The latter half of the record loses the punch of the opening but overall this is a big step in the right direction for this band.
#36. Animated Violence Mild by Blanck Mass
The influx of electro-industrial, John Carpenter inspired techno rock groups has been interesting to watch. And while I wasn't a huge fan of Blanck Mass' last record, their latest effort definitely sets them apart from the pack with an aggression and edge that a lot of their contemporaries lack. The screaming vocal tracks add a human element to a genre that has a tenancy to sound a little too pre-fabricated.
#35. A Bath Full of Ecstasy by Hot Chip
One of the last surviving synth pop staples of the mid 2000's, Hot Chip returns with a surprisingly moody jam session that infuses their brand of indietronica with late 1960's pysch rock in a way you never knew you needed. If Tame Impala is a wild Saturday Night, this is the mellow Sunday afternoon in it's wake. Spell, Bath Full of Ecstasy, and Echo are three of the catchiest tracks you'll hear this year - even if the rest of the record can wander a bit.
#34. I Am Easy to Find by The National
The National's newest album has them at their riskiest and most exploratory since 2011's High Violet. The haunting vocals floating over the brilliant digital arrangement of You Had Your Soul With You sets the tone right out of the gate that this is not going to be the easy listening you may have come to expect from the band recently. The experimentation and extended song lengths definitely stray a bit too far in the latter half of the album but still, you have to commend a band this deep into their discography for pushing themselves creatively like this. Even if the experiment starts to unravel a bit on its sprawling hour long running time.
#33. Bandana by Freddie Gibbs & Madlib
The most highly anticipated hip hop reunion in quite some time, Freddie Gibbs and Madlib's Pinata follow up has all the feels of an obligatory sequel that can't escape the shadow of it's predecessor. There are periodic glimpses of the genius they achieved on Pinata but for the most part, it feels like they failed to recapture what made that record great. The beats on Bandana don't seem to have that kind of texture or character at all. And I understand Madlib wanting to grow into a more contemporary sound but the style on Bandana is so flat that you can't help but miss what they brought the last time around.
#32. Back at the House by Hemlock Ernst & Kenny Segal
Kenny Segal has become one of my favorite producers in hip hop this year. And while Hemlock's lackadaisical pace and free flowing bars make for an ultra easy listening experience, it's hard to imagine the vocals really leaving an impression without Segal's stellar musical backing. Which is phenomenally done by the way, I was just hoping for a little more flare from Ernst on his full length debut.
#31. breathe by Tiny Moving Parts
This group has been wrestling with how to incorporate their intricate instrumentation into full on pop-punk stadium rock for the last couple of releases but this time I think they got the formula just right. The articulate arrangements of guitar and drums are still in tact but the pop aspect feels fully embraced and utilized to its fullest potential. Not quite on A Wilhelm Scream's level, but definitely on that same trajectory.
#30. Four of Arrows by Great Grandpa
This is a massively powerful record from a group I hadn't heard much of before this year. The sound reminded me a lot of Hop Along, but only if they played pop ballads like Six Pence None the Richer. Which can definitely get a little sappy if you're not in the mood for it. But if you are, this record is the perfect companion to sob along with.
#29. Arizona Baby by Kevin Abstract
It's kind of mind boggling to hear how singular and flat Brockhampton's latest releases have sounded when their ring leader puts a record with this kind of charisma out on his own. This record has so much more personality and hooks galore with Joyride and Peach being two of the best tracks of the year. The record may take a few too many chances to maintain a solid consistency but overall, it's nice to hear Kevin taking chances with at least one of his musical endeavors.
#28. All Mirrors by Angel Olsen
I gotta admit, as eloquent and majestic as the sweeping production sounds with Angel's captivating vocal presence as the focal point, I do miss the indie rock sound of My Woman just a tad. These arrangements and vocal performances are absolutely remarkable but stylistically, I just prefer her old direction. Still a standout album nonetheless.
#27. Morbid Stuff by PUP
Over the last 5 years PUP has become a staple in the pop punk scene and with their third LP, they only further cement their place as one of the most consistent acts going and while still pushing their sound into unexpected new places. Morbid Stuff is at once their most pop-influenced record but also their darkest in terms of lyrical content. The vocals have always had an air of dark humor but it's never been this outright and in your face. The juxtaposition of dark, unspeakable material with unshakable melodies makes for a perfect marriage.
#26. Defeater by Defeater
Hardcore as a genre doesn't tend to age well. But apparently no one's told Defeater because their fifth record is among the best material they've ever put out. The extra time between albums has given them time to construct a focused yet dizzying pulse of energy and chaos that the group couldn't quite capture on their previous two releases.
#25. Cadaver Circulation by Krypts
Krypts deliver one of the absolute heaviest records of the year with a beautiful medley of atmospheric sludge that erupts into chaotic death metal at a moment's notice. The intertwining elements of death and doom give the album an astoundingly grim and distinct tone that feels bottomlessly heavy and yet maintains an uncommon pulsating energy throughout it's entirety. A looming aura of dread hangs over the entire proceedings but rather than lull you into a trance with repetition, the cavernous echoing drums and humming crunch of the guitars cut through to build an even more menacing experience.
#24. The Lost Boy by YBN Cordae
Although it's his debut album, YBN Cordae exhibits the confidence and composure of a seasoned vet. And not only does the record boast one of the best singles of the year in Have Mercy, but it's also got a level of consistency that some rappers never achieve - let alone on their first LP. Absolutely no filler to be found here, just a flow and soulfulness that makes YBN one of the most promising new acts this year. And the features from Pusha-T, Chance, and Anderson Paak are spot on - it's the perfect encapsulation of the neo-soul, conscious hip hop he's cultivated here.
#23. Schlagenheim by black midi
The latest group on this current kick of Protomartyr / Iceage stylized post-punk revival, black midi's debut record feels like a frantic meltdown of carefully orchestrated tempo changes and indescribably off-beat grooves that resonate in an oddly enticing collection of rhythmic dissonance. I hesitate to call it math rock because that title seems to suggest a pre-calculated design, where this feels much more genuinely reactionary and organically composed. And even though it's their debut, they've quickly established themselves among their genre contemporaries with their innovative blend of ever escalating emotion and an ability to curate such successful hooks almost entirely instrumentally.
#22. Modern Mirror by Drab Majesty
Drab Majesty recreates the 80's synth goth aesthetic of early Depeche Mode, Cure and New Order absolutely brilliantly with their ethereal production and lush echoing vocals. It's the kind of music you'd imagine the characters in Blade Runner listen to. Albeit a bit derivative, it's still distinctly enjoyable and the atmosphere created by the layers of dream pop instrumentation make this one of the best sounding records of the year.
#21. Sky Coffin by Dowsing
Receiving the stamp of approval from Asian Man Records' Mike Park is quite the badge of honor for a group like Dowsing to carry and despite being four LP's and 7 years deep into their career, there's still a raw energy and excitement that Dowsing carries with them. Sky Coffin is a no frills midwestern emo record that has all the angst and urgency of a self produced demo. And yet it never quite feels amateur either. It's intentionally unpolished, which makes it feel all the more precious - like a band you're just now stumbling upon for the first time.
#20. basking in the glow by Oso Oso
basking in the glow is an incredibly clean and crisp indie rock record that sounds like peak Band of Horses gave up their folksy cabin in the countryside for a loft apartment in the city. And while it's polished sheen makes for an incredibly easy listen, it's the slightly roughed up acoustic track, one sick plan, that stands out for that very reason. With a production this slick it's a welcomed dose of personality that allows the lyricism to shine in a way that can often be muted in this kind of album.
#19. Two Hands by Big Thief
Big Thief's second record this year gave me a startling dose of deja vu - back to 2015 when Beach House surprised me with the atmospheric slow burn Thank Your Lucky Stars two months after the massively over-hyped Depression Cherry. Big Thief has pulled off the same thing here following up their overly polished and sterilized indie darling with a much more raw and powerful record stripped of all the pretense that drove me away from U.F.O.F. Abandoning the flat and ethereal dream pop for crisp and raw indie rock with the vocals out in front rather than buried under layers of ambient noise makes this album pop so much more effectively and completely won me over after I had all but written them off 5 months ago.
#18. Cuz I Love You by Lizzo
As we close out a decade of powerhouse women breaking into and dominating pop music, Lizzo lands among the most dynamic personas we've seen emerge in quite some time. I'll admit, she definitely bludgeons you with her message of big girl empowerment but her performance is so remarkable that it's impossible to really hold it against her. And besides, there are plenty of worse things to write a pop record about. Cuz I Love You is jam packed with banger after banger and some incredible features from Missy Elliott and Gucci Mane to top it off as one of the most triumphant breakthrough arrivals of a pop superstar in recent memory.
#17. Purple Mountains by Purple Mountains
David Berman's final musical endeavor is a testament to his endearing legacy of clever and candid lyricism wrapped in a brutally honest alt-country, indie rock ballad. What could have easily been taken as an uncomfortably introspective farewell is delivered with so much humor and self-actualized hope that even at it's most dire, there's a feeling of sarcasm soaked optimism that's absolutely infectious. Maybe I'm the Only One for Me is obviously a dark concept to wrestle with but David wears it like a badge of honor, sounding like he's taking a bit of his own advice and finally learned to love himself.
#16. Seeker by Mikal Cronin
I always feel like a great album needs to have great opening and closing track. But Seeker's opener, Shelter, is one of the worst starts to a really good record I've heard in some time. It's over produced in the worst way and really sets a bad tone for a record that otherwise, is the best material Cronin has put out. As the record progresses the glossy production is stripped away for a more raw, garage rock feel. Like California's sun bleached answer to Jack White and the kind of stripped down indie rock record you would have expected in the Raconteurs or Black Keys returns. Mikal Cronin outdoes them both with classic rock riffs, sing along choruses and the most complete record of his career. Just push passed that opening track and you're all set...
#15. The First Glass Beach Album by Glass Beach
The most unique sounding debut this year, Glass Beach delivers a quirky and infectious mix of anthemic art pop and indie rock that sounds like The Unicorns wrote a musical sequel to Yoshi's Island. The playfully lonely lyrics with whimsically manic instrumentations make for a one of a kind listening experience that's hard to really pin down to any one genre. It's a refreshingly exciting and engaging exploration for a band setting out on their maiden voyage and I can't wait to see what strange new directions they decide to take their sophomore effort if they were already this fearless with their first LP.
#14. Natural Everyday Degradation by Remo Drive
Remo Drive's follow-up to their breakout success Greatest Hits is a bitter entanglement of navigating a deteriorating relationship and while there are some really beautifully heart-wrenching moments captured, it's hard not to miss that element of fun that made their debut so easy to revisit. Not so much a breakup album, but more of a "should we stay together?" album - diving into the subject incredibly thoroughly and bringing a lot of depth to an incredibly difficult situation. But it also makes the record a little more one dimensional as a result. The band seems to be fully leaning into their 80's new wave influences and growing as a power pop group, it just happens to be pushing into an unexpected darker direction at the same time.
#13. Why Hasn’t Everything Already Disappeared? by Deerhunter
After experimenting with some different sounds on their last two records, Why Hasn't Everything Already Disappeared? finally gives us the true psych pop follow up to Halcyon Digest we've been waiting 9 years for. But it's definitely better late than never as the record sounds as focused and concise as they've been since they're seminal 2010 release. Element and What Happens to People may be two of the best tracks they've ever released and highlights a record that finally proves these indie-ectro pop rock veterans have plenty of gas left in the tank.
#12. Infest the Rats’ Nest by King Gizzard and the Lizard Wizard
After the uncharacteristically soft Fishing for Fishies, King Gizzard returns with a stoner thrash space odyssey that's as fun as it is furious. A darker, scuzzier Gizzard similar to what we heard on Murder of the Universe but with more of a 70's heavy metal undertone and an apocalyptic, doomsday narrative. But still, their contagious energy make this listen more fun than grim - like a funhouse more than a torture chamber. Which fits their personality great. A self serious metal album from this band wouldn't work. This, however, does.
#11. Ventura by Anderson Paak
While it wasn't terrible, Paak's follow up to Malibu (last year's Oxnard) was definitely a pretty massive letdown. But less than a year later, he's rebounded with a much more down to earth neo-soul endeavor that restores all of the goodwill Malibu bought him. Anderson is back to his surf rap funk roots rather than trying to force West Coast hip hop into the mix. And yet still, Ventura isn't a stylistic retreat or safe play for Paak. The album plays to Anderson's strengths while expanding and spotlighting a newfound ability to cultivate slower and more emotionally developed material. Tracks like Make It Better and King James showcase a growth with Paak that puts him back on track as one of the most exciting innovators going today.
View the Rest of the 2019 Tiers Here:
#music #aoty #albumreview #bestof2019 #albumoftheyear #AndersonPaak #Ventura #KingGizzardandtheLizardWizard #Deerhunter #RemoDrive #GlassBeach #MikalCronin #PurpleMountains #Lizzo #BigThief #SilverJews #OsoOso #Dowsing #DrabMajesty #blackmidi #YBNCordae #TheLostBoy #Krypts #Defeater #PUP #MorbidStuff #AngelOlsen #KevinAbstract #ArizonaBaby #GreatGrandpa #TinyMovingParts #HemlockErnst #KennySegal #Bandana #FreddieGibbs #Madlib #MadGibbs #TheNational #HotChip #BlanckMass #Microwave #billyWoods #JupiterStyles #AsianManRecords #Skatepunk #NewWave #NeoSoul #Soul #Pop #PowerMetal #Goth #Soul #Folk #Jazz #sludge #BluesPunk #PostPunk #Hardcore #Metalcore #acoustic #singersongwriter #poppunk #Grunge #Prog #Metal #Slime #HipHop #Rap #Emo #Punk #Midwest #electronic #Indie #Alternative #internetkilledthevideostore