If It's Too Loud...

The New Normal was, by far, my most played album of 2019. It possibly only slipped down from my #1 spot for the year because my eighteen month old became fairly obsessed with STL GLD, in particular 2017's "Wild Style." Considering how much I've listened to STL GLD this year, the fact that I still choose to put The New Normal on for myself is a testament to how solid this album is. The New Normal is solidly a hip hop album, but it contains elements of just about every modern music style, including rock, R&B, and indie/ambient. It contains a who's who of Boston hip hop as guest stars, including Oompa, Cliff Notez, and Latrell James, and even brings in indie musician Ghost Grl for a song. It's impossible to ignore the politics of the album, but, much like Public Enemy, you'll just get sucked in by the music even if political music isn't your thing. This album is an absolute masterpiece, and should be getting far more national attention. Songs of...

There’s nothing I can say about Billie Eilish that hasn’t already been said by others, and probably said better. And it appears she may have some staying power that no other artist with a debut album this year will come close to, so we will hear more. But for me, as someone who has dabbled in horrorcore and who is always game for something different, BE was a revelation not only because she’s young and doing something so bold and different, but because it resonates in the public zeitgeist so firmly. “Bad Guy” was a top song for me this year according to Spotify, and it’s probably second only to “Old Town Road” overall nationally. When the popular and the weird intersect, we all benefit, and I can’t wait to hear what’s next. Songs of note: “Bad Guy,” “You Should See Me In a Crown,” “Bury a Friend,” “My Strange Addiction.”

Dinosaur Jr covers are pretty standard, but I think this may be the first time I've ever seen a band cover "Don't." From 1988's Bug , "Don't" is a nearly six minute epic that is the Fleetwood Mac song of their catalog. It's an incredibly noisy excuse for a six minute long J Mascis guitar solo while Lou Barlow screams "Why? / Why don't you like me?" over and over again. Obviously, it's a classic. For Test Meat's version, the first thing you'll notice is the shorter 2:32 length. I get it. Barlow famously blew out his voice in the recording, which you can hear the exact moment of towards the end. The shorter length makes the song slightly less epic, but Test Meat did the impossible by somehow out-sludging Dino Jr. That's no easy feat. Somehow their version sounds more like a Mudhoney cover than a Dino Jr one, but we're on board either way. You can listen to Test Meat's version of "Don't" belo...

I knew I was going to love Human Question from The Yawpers as soon as I heard the lead off track, "Child of Mercy." It's a three minute burst that starts off as a down home country rock song. Sure, it's a little edgier than your typical country rock song, but it's still country rock. And then the song just explodes into this insane noise rock epic, all while still having the twang of country. I was immediately in love upon the first listen. Human Question  never quite hits this level again, but insisting that it should would be impossible to maintain. It's ten songs that blend country rock, punk, metal, and noise rock into this seemless blend. Not every song is every genre, and the songs sometimes meander into different genres one right after the other, but this album is an absolute delight to discover. Songs of note: "Child of Mercy," "Dancing On My Knees," "Earn Your Heaven," and "Forgiveness Through Pain"

This may make sense only to me, but when I think of grunge? This album mirrors what’s in my brain. There’s so much I can say about this, but I think that the way it balances a familiar sound with such a unique presentation is what works so well here. I love everything about it, which is what makes it so hard to focus on one specific aspect. All I can say is that every time I put it on, it feels new and fresh, and for the moment I don’t expect that to change. Worth a listen for everyone, but it’s absolutely a surprise favorite for me this year. Songs of note: “Traumantic,” “Traps,” “Cowboy’s Song.”

Artist : Carmel Liburdi Album : Yes! We're Open! Quick Description : Smart, fun folk music. Why You Should Listen : Liburdi knows how to make you feel like she's singing directly to you in a way few others can. Overall Thoughts : I was turned onto this folk artist less than a week ago, and her 2017 EP brought a smile to my face. Turns out she has a new album out and guess what: it’s great! It’s fairly straightforward narrative folk, and this is the type of coffeehouse delivery that might be a turnoff to some audiences, but I fell in love with it right away. If you’re not charmed by this, I might have to ask whether your heart is encased in ice. Recommendation : She could become your new favorite folkie. Artist : Georgia Maq Album : Pleaser Quick Description : Folk music with plenty of modern amenities. Why You Should Listen : This will surprise you over and over again. Overall Thoughts : This is a really interesting listen. Also a folk record at its core, the up...

I was worried that the collaboration between Marissa Nadler and Stephen Brodsky was going to end with April's Droneflower , but the pair just released a new single that includes two covers. The main focus seems to be a cover of Phil Collins's "In the Air Tonight," but Lucy Dacus just did her own version (plus, I just really don't like Phil Collins), so I'm going to focus on their version of Extreme's "More Than Words" (and not at all because I'm secretly a huge Extreme fan...) Extreme's "More Than Words" was always unfairly crammed in with hair metal, and was a fairly schlocky attempt to become every single school's prom song. But, for those of us of a certain age, we'll never be able to fully resist it. Marissa Nadler and Stephen Brodsky's version is the bizarro freak-folk, trippy, droned out version we never knew we wanted. It's kinda awkward and not always a 100% pleasant listen, but it could also be comp...

It's a weird feeling when you realize one of your "new" favorite bands has been around for ten years. Ten years seems to mark the decline of most bands, when they start releasing music that is a shell of what they used to, the exception being Tom Petty's masterpiece Wallflowers. Somehow, Hallelujah the Hills waited until their tenth year to release their (so far) best album, I'm You. They took their almost neo-folk meets indie rock epic sound and just amplified it. It's somehow weirder but more accessible at the same time. You get the feeling that Hallelujah the Hills have gotten completely comfortable with themselves as a band and are just going to do whatever they want from here on out. If that's the case, count us in. And honestly, this album should probably be charting higher for me, but I'm always hesitant to add albums that came out within the past month while the shiny new sheen is still on them for me. I have a feeling I'll be revisitin...

This is the album I listened to the most this year, and nothing else came close. It caused me to reconsider Phoebe Bridgers (who I liked and now love), made me wish I was in a band again, made me happy music like this exists in the world, and on and on and on. I can’t nail down all my favorite things. It may be the prevalence of the parallel harmonies. It might be that you can clearly hear the contributions in songwriting from both Bridgers and Conor Oberst. It may be that the stories told in these songs are ridiculously relatable. It may be that this was basically a surprise release and all of the extras that come with that. What I do know is that it’s great, and has some of the best pure songwriting out this year. Songs of note: “Dylan Thomas,” “Didn’t Know What I Was In For,” “My City,” “Dominos”

Photo via Facebook Wednesday December 4 was one of those crazy nights in the Boston area where there are more amazing shows than you could think possible in a single night. Lightning Bolt was in Cambridge playing The Sinclair. Lucy Dacus and Haley Heynderickx were at Royale. Up in Portsmouth, NH Mannequin Pussy were playing. On a normal night I wouldn't be hesitant at all about a Thurston Moore experimental noise show, but when there was this much competition it was hard not to have a bit of FOMO before the show even started. The crowd knew we were in for a non traditional concert seeing as the set up didn't include a microphone. There was no need since this would be an instrumental performance. The rest of the band (which included Steve Shelley (also formerly of Sonic Youth) and Deb Googe (My Bloody Valentine)) were set up facing Moore, and he was set up facing them. Throughout the show Moore acted more as a conductor or bandleader than a traditional rock frontman, letti...

Being a dad in my forties, it's really hard to admit that I'm into a band called Mannequin Pussy, particularly when your tween daughter asks what you're listening to. But that's just how great Patience is. It makes me ignore how awkward their name can be in family situations. Songs like "Drunk II" (which is the song of the year by far) may be more pop leaning than I normally enjoy, but there's just enough of an edge to suck me in completely. What is truly magical about Patience is that Mannequin Pussy pull off being pop and punk effortlessly. This is very different than being pop punk, which is a whole separate genre. The songs on Patience are edgy, noisy, and filled with heart and attitude while being incredibly accessible. Not many (or really any) other bands could pull that off. Songs of note: "Drunk II," "Drunk I," "Who You Are," and "Clams"

Cherry Glazerr was one of my earliest favorites this year, with the only song I really and truly kept on repeat for much of the year in “Wasted Nun.” What made this better than their previous efforts? I couldn’t tell you for sure, but there was a polish here that was lacking before, the songwriting (which has always been the strength of this act) felt tighter, the themes more pronounced. I truly couldn’t get enough of this. Loud and unapologetic without lacking something to say, it didn’t wear out its welcome for me and still hasn’t. I’m very glad this album exists, and I think CG has become one of my favorite current acts in the process. Songs of note: “Wasted Nun,” “Ohio,” “Stupid Fish”

Photo by Matt Draper Shopping are ridiculously prolific, but somehow it always seems like we've been waiting forever for new music from them. In February our long two year wait since 2018's The Official Body will end with a new album, but for now we have a new song, "Initiative."  The three members of Shopping may live on different continents now (Rachel Aggs and Andrew Milk are in Glasgow while Billy Easter is in Los Angeles), but the band reconvened in London to record the new album in ten days. "Initiative" doesn't rewrite the band's musical formula: It's incredibly catchy and danceable post punk. According to the press release, the song is about "...  governments who shirk responsibilities but place the blame on individuals."  You can watch the video for "Initiative" below. All Or Nothing , the new album from Shopping, will be out February 7 on FatCat Records. You can pre-order a copy here . For more on Shopping, c...

For their 2019 album The Seduction of Kansas , Priests toned down the noise from their 2017 album Nothing Feels Natural for a more dance leaning sound . That is typically the fastest way for me to lose interest, but considering I'm putting The Seduction of Kansas as my #8 album of 2019, it obviously didn't turn me off. That's because The Seduction of Kansas doesn't lose any of Priests's edge despite having a more palatable sound. And it's still plenty edgy and weird: It doesn't take much to be more pleasant sounding than Nothing Feels Natural. "Jesus' Son" is still a guitar driven song, even if it's easy to dance to. The title track may be a straight up disco jam, but it's a dark, not exactly non-discordant one. Priests may be the only band to ever get more mainstream and weird at the same time. Songs of note: "Jesus' Son," "The Seduction of Kansas," "I'm Clean," and "Good Time Charlie...

A sign of how great the best music of this year has been? At one point in my list, this was my #1. Marika Hackman's third album definitely has a different feel than her first two. I went from a low-key fan to low-key obsessed thanks to this album, which is a cohesive and interesting listen that's equal parts sexual and sophisticated. There are layers here I didn't expect, songs here that lodged themselves in my head for weeks, and imagery that stuck with me long after I was finished listening. It's one of the albums I recommended more than any other this year, as well. To Hackman's credit, this seemed to be a breakthrough release for her, with "Hand Solo" getting some radio attention and more people talking about her than I saw for her last album. Still, this is an album that feels isolated and personal even with such an expansive intent. I'm glad it exists, and every time I listen to it I'm reminded as to why it's a favorite. Songs...