My Top 20 Albums Of 2019 (Plus Lists From Stan & Jay)

As I did with my Top 20 Tracks of 2019 list, I'm scaling back my list to 20 in the hopes that the tighter restrictions will make me sharpen my focus. That's a trait I need to work on since I feel like sometimes I'm too generous in reviews, eager as I am to find things to get enthusiastic about as a listener. Also, maybe more than in the last few years, this year saw a bunch of big artists show up on My Top 20 Tracks of 2019 list, but not here. I think a case can be made for a bunch of great songs being found on the Sleater-Kinney and Liam Gallagher albums, to use two examples, even as one comes away underwhelmed by the entire records.

Stan Cierlitsky and Jay Mukherjee are also contributing lists, and there's lots on theirs that I loved as well. So I think, between the three of us, we've got a lot of good stuff covered.

So, here we go, in no particular order, really.

Kenixfan's Top 20 Albums of 2019

1. The Oracle by Angel Bat Dawid

I say that this list has no order to it but, really, the truth is that The Oracle by Angel Bat Dawid is the album that most impressed me this year. With Angel Bat Dawid playing and recording every instrument here herself, minus the drums on one track, the album becomes more than simply a fantastic jazz album (which it is). I mean, how on earth does one mimic the spirit of improvisation integral to jazz when the same person is playing all the instruments? Angel Bat Dawid can answer that question. And as I tried to express in my review, the music here is transcendent, uplifting, mournful, contemplative, and utterly unlike so much of what I spent time listening to in 2019. For that reason, this release on the superb International Anthem label, deserves special praise.

2. All Mirrors by Angel Olsen

In terms of pop music, this one moved me more than much of what I heard in 2019. I was a borderline fan of Angel Olsen before, having reviewed a few things of hers that came my way, but now, after losing myself in All Mirrors, I consider myself a devotee. From the enveloping "Lark" and on to the swirling title track and beyond, every cut here takes Angel's obvious talents as a vocalist to a new level.

3. Where Future Unfolds by Damon Locks - Black Monument Ensemble

Another masterpiece from the International Anthem label, Where Future Unfolds by Damon Locks - Black Monument Ensemble is a far-ranging, epic jazz record. It's one which encompasses the styles of multiple sub-genres, and the work of dozens of musicians, in the service of something larger than just a record. Inspiring and stirring, the music here seems to transcend easy labels, and, like the best material from the late Charles Mingus, one feels like one's hearing something truly spiritual unfold here. Play "From a Spark to a Fire", featuring clarinetist Angel Bat Dawid, below and see what I mean.

4. Purple Mountains by Purple Mountains

The late David Berman's Purple Mountains is a nearly perfect record, and one which, even if he had not tragically taken his life shortly after its release, would have been hailed as a masterpiece. Stan reviewed it here, but I think it's safe to say that Jay and I love this one just as much.

5. How to Live by Modern Nature

Modern Nature features members of Woods, Ultimate Painting, and Sunwatchers, but the band's music sounds nothing like the tunes of any of those acts. The band's full-length debut, How To Live, earned a rapturous review by me earlier this year, and I remain transfixed every time I play this one. Good luck trying to pin any genre label on this.

6. Ex Voto by Versus

The return of Versus made me, and loads of other fans, very happy this year. I've loved the band's music for decades, and Ex Voto, their newest release, feels both familiar and a progression of the Versus sound. It's hard to write about them impartially, and I probably failed when I reviewed it with a rave, but there's something about this music that still thrills me, and the interplay of the players remains a marvelous thing to see live. Now if only Versus would play D.C. again!

7. Chastity Belt by Chastity Belt

Coming off some difficult patches, Chastity Belt surprisingly returned in 2019. The resulting album, Chastity Belt, was, like most of their releases, the sort of thing that seemed to speak to an attentive listener in a way that very little else does these days in terms of American indie. In that sense, as I may have explained in my review of the record, Chastity Belt feel like this generation's Galaxie 500 in some ways.

8. Grass Stains and Novocaine by Seablite

I know that they're not a shoegaze band, but they're probably listened to a few shoegaze bands, so it's fair to say that Seablite know exactly how to tackle that most tricky of genres. Grass Stains and Novocaine is more Lovelife than Scar, and if you get those references you know exactly what I mean. I loved the album, a fact I made clear when I reviewed it, and I can only wait to hear where Seablite go next.

9. Paper Suit by Nicole Yun

The debut full-length from Eternal Summers singers Nicole Yun was a nice surprise this year. Drawing on shoegaze, Nineties alt-rock, and earlier indie forms, Nicole crafted one of the most listenable records of 2019. Paper Suit deserves a lot of attention.

10. Titanic Rising by Weyes Blood

The newest Weyes Blood album, Titanic Rising, is lush and enveloping. It is, as I said in my review, a release that owed a bit to Seventies singers, even as the ornate production hinted at artists from an even earlier era, like Van Dyke Parks and The Walker Brothers. Titanic Rising is a record to get lost in. I love it.

11. The Seduction of Kansas by Priests

While D.C.'s Priests are going on some indefinite hiatus, as of their Tweet last week, we're left with an impressive legacy of music that pushed the post-punk form in exciting new directions, and tunes that challenged what could be considered harDCore, or a least music that remained in its lineage. The Seduction of Kansas took stylistic chances that the band hadn't taken before, but some of the tracks, like "Jesus' Son", felt more abrasive and fiery than even the band's earliest singles felt.

12. Un-becoming by J. Robbins

The debut release under his own name saw J. Robbins moving far afield from the sounds of Jawbox. Un-becoming might not have sounded like those harDCore legends, but it did sound a tiny bit like Robbins' own Channels. However, what's on Un-becoming was uniformly excellent power-pop laced with flashes of chamber rock, all done up with the finesse of a Jason Falkner or Jon Brion release.

13. Fireraisers Forver! by Comet Gain

Comet Gain, perennially underrated Brit band, delivered one of their most energetic releases in years with Fireraisers Forever! in 2019. In a year of Boris and Brexit, "We are All Fucking Morons!" seemed like a pretty good thing to write. Pretty sure that Jay, reviewer of this one for the site, might put this in his list too.

14. Til The Morning by The Catenary Wires

Amelia Fletcher (Heavenly) and Rob Pursey are The Catenary Wires and the band's latest release, Til The Morning, was one of this year's best indie-pop releases. Tuneful throughout, this is the sort of record that makes you realize just what a treasure Amelia Fletcher remains.

15. Act Surprised by Sebadoh

Act Surprised was a fantastic record, which wasn't too much of a shock. But what was surprising about the latest from Sebaodh to reviewers like me was the extent to which the band's sound had been sharpened and refined. So much of what's on this one feels brighter and more direct than some of what the group offered up in the past that I"m not entirely acting surprised when I rave about this.

16. No Home Record by Kim Gordon

The debut solo album from Sonic Youth legend Kim Gordon wasn't entirely what anyone was expecting. And all throughout No Home Record one could hear Kim Gordon redefining the manner in which NYC art rock could be mixed with something more accessible. The release is brash and uninviting in spots, but it's also one of the smartest, riskiest records of the year.

17. The Coming Collapse by Foxhall Stacks

The debut album from new D.C. super-group Foxhall Stacks felt like it was a long time coming, but the resulting record was worth the wait. The Coming Collapse was an extraordinarily punchy brand of power-pop, and one of the loudest records of 2019. That said, the players here -- Jim Spellman (Velocity Girl), Brian Baker (Dag Nasty, Minor Threat, Bad Religion), Peter Moffett (Government Issue), and Bill Barbot (Jawbox) -- were clearly having a whole lot of fun making something this energetically catchy and accessible.

18. Dogrel by Fontaines D.C.

The debut from Ireland's Fontaines D.C. came with a lot of hype. Luckily the hype was all deserved. The brash and clamoring post-punk here on Dogrel was entirely invigorating and oddly inspiring. I mean, when was the last time a band sounded this ready to really shake things up, and possibly start a riot?

19. Jeanines by Jeanines

The debut album from Jeanines, Jeanines, sounds like someone picked the brains of a generation or two of indie-pop fans and came up with the most perfect blend of C86 stuff that one could ever wish for. That shouldn't be too surprising considering that this band is on Slumberland Records, but it is sort of amazing just how pefect Jeanines is in terms of delivering short bursts of indie-pop, fuzz-rock gold.

20. Dunedin Spleen by The Verlaines

The new one from New Zealand legends The Verlaines was the densest release the band had offered up in quite some time. The tunes on Dunedin Spleen were smart, catchy, and full of real emotion, traits that the best Graeme Downes compositions have always had. The album was also loaded with tracks with big hooks, and Dunedin Spleen was also the kind of release that seemed super-generous in an era of disappointing indie from other artists.

BONUS: Hammered Hulls by Hammered Hulls

Neither a single nor an album, the debut three-song EP from harDCore super-group Hammered Hulls needed to be on one of my lists this year. Mary Timony (Ex Hex, Helium), Alec MacKaye (The Faith, The Warmers), Mark Cisneros (Des Demonas, The Make-Up, Deathfix), and Chris Wilson (Titus Andronicus, Ted Leo and The Pharmacists), created an unholy racket during their live debut at the Black Cat anniversary gig in 2018, and this 2019 EP is just as raucous. I can't wait to hear what comes next from this crew.

Stan Cierlitsky's Top 20 Albums of 2019

1. Purple Mountains by Purple Mountains

2. It Won/t be Like This All the Time by The Twilight Sad

3. U.F.O.F. by Big Thief

4. i,i by Bon Iver

5. This (Is What I Wanted To Tell You) by Lambchop

6. Groove Denied by Stephen Malkmus

7. This is Not a Safe Place by Ride

8. Two Hands by Big Thief

9. Igor by Tyler the Creator

10. Anima by Thom Yorke

11. Bananas by Malcolm Middleton

12. Beneath the Eyrie by The Pixies

13. Are You From The Future? by Spearmint

14. Radiant Dawn by Operators

15. Nothing Hurts Forever by Newmoon

16. Deceiver by DIIV

17. If Confronted Just Go Mad by The Twang

18. The Soft Cavalry by The Soft Cavalry

19. I Am Easy to Find by The National

20. Tiny Changes: A Celebration of Frightened Rabbit's 'A Midnight Organ Fight' by Various Artists

Jay Mukherjee's Top 10 Albums of 2019

1. Westkust by Westkust

2. Magic Johnson by The Black Watch

3. Vita Eterna by Black Swan Lane

4. Fireraisers Forever! by Comet Gain

5. Eton Alive by Sleaford Mods

6. Kings and Queens / Knaves and Thieves by The Ocean Blue

7. Sunshine Rock by Bob Mould

8. Dogrel by Fontaines D.C.

9. Guesswork by Lloyd Cole

10. Inferno by Robert Forster

[Photo of Angel Bat Dawid by Alejandro Ayala]