If It's Too Loud...

Lots of other good albums came out this year, and these are the ones that were my favorites but didn't make the final cut. * STL GLD - The New Normal * Tami T - High Pitched and Moist * Angel Olsen - All Mirrors * HANA - HANADRIEL * Tacocat - This Mess is a Place * Abigail Lapell - Getaway * Bikini Sleepover - Bikini Sleepover's First Sleepover * Sofia Talvik - Paws of a Bear * Lula Wiles - What Will We Do * Potty Mouth - SNAFU * Defoe - Too Soon to Cry * SASAMI - SASAMI * Clara Baker - Things to Burn * Julia Jacklin - Crushing * David Wax Museum - Line of Light * Alex Lahey - The Best of Luck Club * Odessa - All Things * Infinity Crush - Virtual Heaven This was an interesting year musically, with a pretty strong gap between stuff that was awesome and stuff that didn't have the same staying power. Plus, the trend toward seven song albums, more EPs, and one-off singles (thanks to the way streaming is changing the way most people listen to music) mean...

Stef Chura's Messes came very close to cracking my top 10 of 2017, and I always wish that it could have. As highly anticipated as her follow up, Midnight , was, I couldn't predict how much it was going to completely blow me away. While Messes was and still is a truly great record, Midnight expands on that while branching out in completely different and unexpected directions. A song like "Method Man" is a perfect example. While Chura has always played with while dismantling the standard singer/songwriter template, "Method Man" keeps the barest bones of the genre while turning it into this huge indie rock song with this meandering guitar that holds it all together until it flames out towards the end. Midnight is the perfect example of an artist growing in such an unexpected but compelling way. Plus, the album ends with a Billy Idol cover, and that's always a good thing. Songs of note: "Method Man," "All I Do is Lie," "Sweet Swe...

I knew I'd love Queendom of Nothing when I heard it was coming out. I knew I'd love some songs when I saw them this past summer. I didn't expect to adore this album the way I did over the last portion of the year. "Drive," in and of itself, is a killer track. I didn't believe anything they did could top "Down by the Lake" from their also-wonderful debut, but "Drive" comes close. The remaining seven tracks continue along the same dusty road, with gorgeous harmonies and a surprising lack of filler material. The band felt like they were coming into their own for their debut full-length, but this is an album from a band that seems like they're coming into their own and understanding the power they wield. The Wolff Sisters should be one of the biggest acts in folk/Americana right now, and hopefully they're able to break out of the northeast and become the huge act they should be. For now, it can still be our greatest kept secr...

2019 was the year I rediscovered my love of hip hop. If you had told me last year that I would become obsessed with a hip hop concept album about the effects of modern war on soldiers, I doubt I would have believed you. But Complicate Your Life with Violence is brilliant on all levels. Broken up into three parts (recruitment, war, and the aftermath), this album is obviously best listened to as a whole, but the individual songs are highly listenable on their own. I was somewhat familiar with L'Orange before this release, but had never heard of Jeremiah Jae before. The pairing is perfect. The duo have crafted an album that has a laid back vibe while still being intense. Complicate Your Life with Violence is perfect for lapsed old school hip hop fans without being a throwback at all. It's both smooth and perfectly produced while being more than a little uncomfortable. It's like a more smooth and modern version of classic Public Enemy. Songs of note: "Behavior Report,...

Spirit Family Reunion has a lot going for them anyway, but has been a favorite of this blog arguably ever since we saw them open for David Wax Museum way back in 2011. This latest album was a long-awaited follow-up to another album we loved of theirs, and not only did it meet those expectations, but exceeded them. Spirit Family Reunion has become a band that is not only a celebration of old-style folk and bluegrass, but embraces the sound and expands on it. The lineup is larger, the instrumentation more complex, but they still have a washboard and they still play infectious songs that will not leave your head or your psyche without significant effort. From the opening track of Ride Free , "One Way Ticket," you get a great idea as to not only what they're trying to accomplish, but how far they've come. Easily one of the best of the year, and one that rarely left my rotation. Songs of note: "One Way Ticket," "Whoopie Ti Yi Yo," "Gradual...

Back in 2016, Julia Jacklin's fantastic album Don't Let the Kids Win  just narrowly missed out on being in my top ten of that year. In hindsight, it probably should have. This year's Crushing was even better and is my third favorite album of the year. Crushing is a much better showcase of what we love about Jacklin, but more confident as a musician and songwriter. In a short time she has mastered this blend of singer-songwriter Americana meets indie rock. Her show back in April at Great Scott could have also helped me become so obsessed with Crushing  this year. Seeing the relatively quiet song "Head Alone" turn into a complete anthem for the young women in attendance with the line "I don't want to be touched all the time / I raise my body up to be mine" was a powerful moment. There's a reason she jumped from the 220 capacity Great Scott to the 900 seat Somerville Theater in November. Crushing is a huge moment for her, and we all need to jump o...

I don’t think I’ve ever loved an album I disagree with more. First, put the politics aside: Leyla McCalla is a master at blending genres and sounds to create a truly unique experience on every piece of music she has been a part of. The Capitalist Blues succeeds in having so many different musical ideas mesh so well into a cohesive unit where the upbeat laments feel just right alongside the slower and more deliberate pieces. It’s an album at the right pace and the right time. Thematically, as noted: I don’t agree with the message. But when we have an era of truly cringeworthy protest anthems and political music, it is worth noting that McCalla succeeds in making music with meaning worth listening to. The desired tone is struck perfectly, and it ultimately becomes one of those unforgettable albums I kept going back to all year long. Songs of note: “The Capitalist Blues,” “Lavi Vye Neg,” “Aleppo”

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.”

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.”

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”

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”

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...

We were both huge fans of Stella Donnelly's 2018 EP Thrush Metal , and her full length from earlier this year did not disappoint. Beware of the Dogs is an album of quiet but often angry songs decrying misogyny, middle aged men, and just men being scum in general. Jeff and I are definitely not the target audience for this, but Beware of the Dogs  is such a great album that two middle aged music fans can't help but love it. Donnelly is part of a great Americana and alt-rock movement coming from Australia, and we simply can't wait to hear more from her. Songs of note: "Old Man," "Allergies," "Tricks," and "Boys Will Be Boys"

I am personally particular about my rap music these days. Not really a fan of most of the really popular stuff these days, and, really, we're more of a Run the Jewels and STL GLD (the latter of which is likely my #11 this year) crew here for newer rap music. Enter Little Simz. This album kind of blew my mind when it came out in the spring, I revisited it in the summer and fell in love all over again, and then realized that not only is it a solid album, but it's really one of my favorites this year. The title gets the mood of this perfectly: Simz's delivery matches perfectly with the sort of monotone, understated instrumentation, and the full result is something that just continually grabs my attention every time I hear it. It's a complete package that I don't want to miss a moment of instead of a series of moments, and I feel like this in particular has been criminally overlooked in a year with some decent rap releases on a whole. Songs of Note: "Selfis...

I'm going to out myself a bit here. I've never really gotten into Conor Oberst, and only this year has Phoebe Bridgers really clicked with me. But for some reason the combination of the two in Better Oblivion Community Center completely connected with me. Sometimes it just works that way and you swear two artists were always meant to work together. Better Oblivion Community Center  is filled with these incredible heartfelt folk-adjacent songs that take everything that is great about Oberst and Bridgers and amplifies them as a duo. This is one of those albums that I really, really liked when it was released in January, and that has only grown each time I've revisited it since. Songs of note: "Didn't Know What I Was in For," "My City," "Big Black Heart," and "Service Road"