One note, however: In addition to today's traditional release of the top music of 2019, I'll also be running a multi-part series over the remainder of the year counting down my favorite records of the decade. Look for the first installment on Thursday, December 26th.
Now, on with the business...
Top Albums of 2019
Honorable Mentions: Caroline Spence - Mint Condition; Bon Iver - i,i; Strand of Oaks - Eraserland; Erin Enderlin - Faulkner County; The Comet Is Coming - Trust In The Lifeforce of the Deep Mystery
The Radiohead frontman released his first proper solo album in a half decade, but it still carries the trademark electronic leaning indie that you would expect.
Four albums in and Sturgill Simpson has developed a tendency for breaking tendencies. That continues here with this rocking, raw, blues offering originally crafted to accompany a Netflix anime film.
While this comeback record is a little uneven, its highs are as high as any prior Vampire Weekend release. It took four new band members to replace Rostam Batmanglij, but they did it.
This sophomore release is the best soul record of 2019, flawlessly combining smooth vocals and backing big band sounds to create a classic and comfortable feel.
Half compilation and half new songs, this was a turn toward a return to form for The Hold Steady. The omnipresent debauchery never left, but the big sing-along hooks and general bar band sentiment returned with instrumentalist Franz Nicolay.
Conor Oberst and Phoebe Bridgers debuted this cryptic side-project in late January with little advanced notice and a surprise album drop.
Pony is the product of a gay Canadian country artist who is most well known for wearing a frayed mask at all times. What this record lacks in traditional twang is made up for with solid writing and song composition.
One of the latest entries in superproducer Dave Cobb's long line of golden records, Noe's debut is minimalist folk at its best. The momentum of this record should set him up for a great career going forward.
The closing chapter of Finn's solo trilogy (beginning with 2015's Faith In The Future) continues to focus on the forgotten middle class of American life. It's a more honed in and refined approach than you'll find on his full band records, but one that allows the songwriting to shine as strong as ever.
The Boss dropped his first solo record in almost two decades and it provided some of the high points of his recent work. It's more country than most are accustomed to from Springsteen, which may explain its lack of nominations for the upcoming Grammys.
Despite being anchored by the viral success of the three year old "Alaska", Rogers builds on that hype and delivers a complete package around her first hit. Based on early returns here and the company she keeps, she is on a trajectory to superstardom.
Danger Mouse seems to make most things better, and his pairing with Karen O surely fits that mold. His sparse production coupled with her nearly flawless delivery makes this record a drastic turn from her prior Yeah Yeah Yeahs work, but a worthy one.
The follow-up to a classic must be a paralyzing experience. Childers navigates the pitfalls effectively here delivering a consistent burn on Country Squire while doubling down on the psychedelic imagery and snarky wit that become so well associated with him in the past.
An artist searching for something fresh, Robert Ellis put down his guitar, dressed like Elton John, and sat behind a piano. The result was Texas Piano Man, a record that oozes rejuvenation and is one of the most fun and tongue-in-cheek albums of the year.
John Prine hadn't signed an artist to Oh Boy records in over a decade before he tabbed Kelsey Waldon ahead of this release. The Kentucky songstress delivered a package of autobiographical tunes that feel as authentic as anything released all year.
Yola announced herself as the hottest thing in Americana with this debut release. Coupling a little bit of soul with one of the most powerful voices you'll ever hear is a winning combo for this British songwriter.
Big Thief nearly put two records on this list this year. UFOF was the better of the offerings, showcasing the band operating at its most efficient and building on the momentum of prior releases.
The best pure rap record of the year, Atlanta group EARTHGANG broke out with this debut. Packed with tongue twisting bars and distinctly southern imagery, this seems like the perfect showcase for a group previously described as "Outkast with two Andres."
Undoubtedly, Pond is the younger brother of Tame Impala, and that is further enforced on Tasmania. They've been cranking out reliably good records for years, but Tasmania demonstrates a mainstream turn that should get them ever further recognition.
Supergroups are usually garbage, but I guess ones helmed by Brandi Carlile are immune from that. The songs on this collection are strong and touch unique topics for the usual country crowd. The band have been somewhat silent since this release, so the future of the project is unknown, but if this is a one and done, it was definitely a worthwhile one.
The Vandoliers sound is best summarized by the title of their debut album: Ameri-kinda. These are folk songs played by a punk band and filtered through a voicebox with a two pack habit. The band oozes high energy and plays with a reckless style that just makes you want to circle back and listen again.
Tucker's first release since 2009 is more rebirth than comeback. While most of the record was penned by the aforementioned Carlile, the songs were written specifically for Tucker. The result is a triumphant record of survival with a sassy southern flair.
I love finding something new, and this year's find was Joshua Ray Walker. From deep in the heart of Texas, he's a young guy writing country songs about a wide variety of under-explored topics on this debut record.
What happens when the prototypical sad boy isn't sad anymore? I guess he calls all his friends and puts out a record full of bangers. I have to imagine that the guest spots - Andre 3000, Travis Scott, and Moses Sumney among them - allowed Blake to pull back and devoted more to his production because it's flawless throughout. This collection stacks up favorably to Blake's spectacular early work and may even climb to the top with a little more time to marinate.
Jack White's other band emerged from a decade long hiatus sounding refreshed and better than ever. Lead single "Sunday Driver" pointed us in the direction this record wanted to go, but that was never really in doubt with this group. Help Us Stranger finds the band bringing the fuzzy distortion that is mostly missing in today's rock music. This record's garage rock sensibility is its real strength, but this is also White in his best writing groove since peak White Stripes and providing a complete package to go with his usual exemplary instrumentation.
Top Songs of 2019
As usual, there's no ranking here. Just click shuffle.
That's it for this year. Circle back in two days for the decade recap.
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