2019 was not a good year. Not only was it filled with nothing but bad news, corrupt politics, and increasing violence, it was a tough year for me. Due to some personal issues, I stopped listening to music for most of the year. Instead of the comfort and solace I usually find in music during hard times, it was a reminder of what was happening in my life. For the first time that I can remember, music was too painful to listen to. There are a lot of albums I nearly missed and that I didn’t get to talk about due to dealing with my anxiety and depression. But I’ve spent the latter half of the year catching up and it’s funny how most of the albums I listened had the same “everything is going to shit” vibe to them. So before we give a big fuck you to 2019, I wanted to share my thoughts on albums I heard this year and offer my picks for best and worst of 2019.
Worst Album of 2019:
Pink – Hurts 2B Human
Okay, so maybe the album isn’t the worst thing I’ve ever heard, but compared to everything else I listened to this year it’s bad. I listened to it a few times and felt no desire to listen to it again. I have the same issues with it as I did Beautiful Trauma. There are some decent songs, like “Hustle,” which has that classic Pink badass vibe to it, but the others feel like standard pop fodder. “Can We Pretend” sounds like it’s trying way too hard to keep up with trends with its reliance on stock electronic beats while “Happy” and “90 Days” feel so generic.
Pink’s music used to have this edginess to it. Her songs had this great “I don’t give a shit” vibe or funny attitude. Now, she sounds like every other singer on the radio. The songs don’t pack that same punch that they used to. Nothing about the album stands out. The best thing I can say about it is it continues to show what a talented singer she is, something she doesn’t get enough credit for. Otherwise, this album did nothing for me.
Album That Nearly Flew Under My Radar:
Wednesday 13 – Necrophaze
As much as I like Wednesday 13, sometimes the campy horror punk shtick gets tiring. It can make his songs boring, repetitive, and cheesy. Necrophaze surprised me with how much I enjoyed it. Continuing with the heavy metal-inspired sound he explored on 2017’s Condolences, I was hooked as soon as I heard the trilling riff of the title track. Some of the songs have a wonderfully haunting tone like “ZODIAC” and “Life Will Kill Us All”, while “Bring Your Own Blood” and “Monster” are upbeat, cheeky anthems full of dead bodies, lots of blood, and a dash of necrophilia that we love from the rocker.
Even though some of the songs aren’t as memorable as others, I still found the album a blast to listen to front to back. After 14 years, it’s great to hear Wednesday 13 moving outside of his comfort zone without completely abandoning his roots. If you want an album that’s a good time and makes you want to rock out, I highly recommend this one.
The Album That Met My Low Expectations:
Blaqk Audio – Only Things We Love
Blaqk Audio’s fourth album finds them yet again falling into the same patterns as their previous ones. Similar to 2016’s Material, the album starts strong but falters near the end. Lead single “The Viles” didn’t grip me at first, but it still made me excited for their new direction. Instead of 80s new wave and synth, this time they were going in a heavier, more aggressive direction. “Infinite Skin” and “Unstained” are also strong songs that made me optimistic about where the album was headed. But after a while, the album grows stale and starts sounding like what we’ve already heard from them: songs with frantic music, catchy hooks, and dark ambiguous lyrics about love, death, and loneliness. It just couldn’t keep me invested for the entire album.
Most of the songs are decent, but I didn’t find them exciting or fun like their other songs. Four songs in, I was ready to listen to Cexcells. Only Things We Love has its enjoyable moments, but it ends up being another lackluster affair.
Album I Had The Most Fun With:
Simple Creatures – Strange Love/Everything Opposite
When Mark Hoppus and Alex Gaskarth announced Simple Creatures it piqued my interest, especially since I’m still waiting for another +44 album, but I wasn’t expecting much. Not only am I not a fan of current Blink-182, I don’t even like All Time Low. Still, I gave it a shot and I’m glad I did. Strange Love is grounded in pop-punk, but incorporates elements of electronic music, synth, and pop. After hearing tracks like “Drug” and “Adrenaline” I couldn’t stop singing them for days. The songs are so catchy and energetic. They get you pumped up for whatever may come your way.
The duo gets more experimental on Everything Opposite. They use more electronic beats and loops and even some hip hop inspired beats. While I think the songs are a bit more memorable on the previous EP, I felt a stronger connection to this one. Songs about lost love, masking your pain, and just wanting some happiness in your life really echoed what I was going through in my personal life.
The EPs also work so well due to the chemistry between Hoppus and Gaskarth. Their voices mesh well – Hoppus is a bit more monotone and Gaskarth has a lot of melody and harmony in his vocals. And it doesn’t hurt that the songs are insanely catchy. The EPs are nothing but a good time with upbeat music, great energy, and catchy hooks. I hope we get more from Simple Creatures and Hoppus won’t let it die like +44.
Disappointing Album of 2019:
Night Riots – New State of Mind
When Night Riots quietly announced the release of their second album, I had to stop myself from screaming. Finally, the band that enthralled me ever since I saw them open for Blaqk Audio three years ago were releasing their second album. I couldn’t wait to get my hands on it. But once I listened to it, my excitement waned after the first three songs. The album is just so underwhelming. After hearing it a few times it started to grow on me but still didn’t strike the same chord as Love Gloom or the Howl EP. Some songs like “Colour Morning” and “Tokyo Diamond Eyes” are actually pretty good, but don’t feel as fun or catchy as their other songs.
Most of the album feels flat and bland. And it seems most of the fanbase agrees since the band mysteriously canceled their tour without warning and haven’t even spoken about the album since its release. The thing that made their first releases so much fun was how vibrant, energetic, and flirtatious they were. Very little of that is present here. Even though some of the songs are decent, there’s very little here that makes me want to revisit New State of Mind.
Album I Didn’t Like At First But Came Around To:
Madonna – Madame X
Madonna is the Queen of reinvention. She’s not afraid to take risks and try something new, even if it doesn’t always work. And that’s exactly what she does on Madame X. The album isn’t for everyone. Personally, I think 2015’s Rebel Heart is better, but this is still a solid album. It just took me a while to get into. The album is a mixed bag inspired by trapt music, her time in Portugal, and American politics, which has some questionable results. One minute she has seductive songs like “Crave” and “Medellin” or songs about partying like “Faz Gostoso.” The next she’s talking about gun control and fighting for those whose voices go unheard. Her messages are well-meaning and deserve to be heard, but sometimes they can get lost in her weird wordplay or other songs about clubbing.
There are some excellent tracks here like “Batuka,” which features The Batukadeiras Orchestra, a collective of all-female drummers or the disco-infused “God Control.” But other songs like “Dark Ballet” and “Bitch I’m Loca” have cheesy lyrics, way too much autotune, or questionable direction. I still have no idea what’s going with the breakdown on “Dark Ballet” and for me, it ruins the song.
Despite its flaws, it’s a strong album that shows Madonna is willing to experiment at a point in her career where she could easily release the same album over and over or rely on her biggest hits. It’s not an album I would listen to regularly, but I appreciate what she does on it.
Album of the Year:
Slipknot – We Are Not Your Kind
This is the one album that absolutely blew me away this year. As soon as I heard the opening choir on “Unstained” I knew I was in for a hell of a ride. This is Slipknot at their best. Not only do songs like “Nero Forte,” “Red Flag,” and “Birth of the Cruel” show they can still be as ferocious, brutal, and vibrant as they were 20 years ago, they also take risks with their sound. “Spiders” sees them going in a lighter direction with its melodies, vocals, and tone taken from pop music. They explore a softer side with the acoustic melody and vulnerability found on “A Liar’s Funeral.” At this point in their career, they could easily crank out the same style album and make fans happy. Instead, they’re willing to challenge themselves and get out of their comfort zone.
And while Corey Taylor has always been one of metal’s best vocalists, he outdoes himself on this release. There are moments when his voice is so gentle it makes you want to cry and others where it sounds like his throat is being torn apart, like on “Solway Firth.” The album also feels like an experience. The way songs and interludes flow into one another make it feel cohesive, not just a collection of songs put on a disc. During a time when most artists are focused on making strong singles for streaming, it’s a treat to get an album that grabs you by the throat and doesn’t let go until it’s over. We Are Not Your Kind proves Slipknot still has the anger, ambition, and drive that made them stand out 24 years ago.
Most Heartbreaking Album:
Cage the Elephant – Social Cues
Cage the Elephant is a band that’s constantly evolving. Though they haven’t abandoned their rock roots, they’ve moved away from the wild, unchained, chaotic music found on their first two albums. They continue experimenting with their style on Social Cues. The album is a mix of old and new. Songs like “Broken Boy” and “Tokyo Smoke” have the psychedelic rock vibe they’ve previously explored, but others like “Night Running” and “House of Glass” see them playing with synths, electronic beats, and reggae-inspired grooves. These are the songs that intrigued me the most. They stood out for their weird, unexpected style, while others like “Love Will Find a Way” and “Dance Dance” sound similar to what they’ve done before.
The band also gets more personal here than they have in the past. Inspired by frontman Matt Shultz’s divorce, songs like “Ready to Let Go,” “Black Madonna” and “Goodbye” deal with the highs and lows of a relationship on the brink of ending. He also addresses the anxiety, depression, and paranoia that comes with fame on tracks like “Social Cues,” which is one of the best on the album. Unlike past records, this one is very painful. You hear the hurt, regret, sadness, and frustration as Shultz sings. And it’s a pain that resonates with you.
Though I found some songs to be just okay, it’s still great to see Cage the Elephant try to push their boundaries this far into their career. I’ll always miss the crazy, wild sound of their first two albums, but I look forward to what they’re going to do next. I like the album, I think it’s better than Tell Me I’m Pretty, but it didn’t hit me the way Melophobia or Thank You, Happy Birthday did.
The Album I Didn’t Think I Would Like:
Blink-182 – Nine
Ever since the release of California, I’ve been on the outs with Blink-182. I just don’t care about the band like I used to, and I find their new stuff bland and boring. I felt no excitement when they announced Nine. But out of curiosity, I decided to check it out and to my surprise, it didn’t suck. Rather than rehashing riffs and singing songs about how lame it is being a teenager, they go in a heavier direction. Songs like “Generational Divide,” “Black Rain,” and “I Really Wish I Hate You” are full of fire and energy that was lacking on their previous album. These songs are fun, have better music, and better songwriting. The lyrics aren’t amazing or groundbreaking, but they’re at least genuine. They talk about heartache, regret, depression and nasty breakups from a place that feels real.
California was a step back. It felt like they were treading old ground. Not to mention the songs felt generic, lifeless, repetitive, and boring. Nine is a huge improvement. It doesn’t come anywhere near classics like Enema of the State or Untitled, but it doesn’t feel formulaic, which was a big problem with California. Despite its stupid title, Nine impressed me. I still think the band was at their best with Tom DeLonge, but at least their music is interesting again.
Album that Perfectly Describes Being an Adult in 2019:
PUP – Morbid Stuff
PUP shows the anger and depression that comes with being an adult on their third album, Morbid Stuff. The title doesn’t lie – PUP goes down some dark paths on this record. They’ve always had angry, self-deprecating songs about growing up and feeling like a loser, but things get heavier and more personal here. Songs about not being satisfied with life (“Scorpion Hill,”) broken relationships (“Bare Hands”), suicidal thoughts (“Closure,”) self-medication (“Bloody Mary, Kate, and Ashley,”) and feeling trapped by your hometown (“City”) make this a bleak album.
The downbeat songs paired with the band’s violent energy, furious sound, and Stefan Babcock’s wailing vocals make this an intense record. Their tongue in cheek humor and snarky lyrics are still here, but the band channels their anger about growing up and the pressures of being in a band to create their most compelling record. I hate putting it this way, but this is definitely PUP’s “mature” album. If you’re experiencing the pain that comes with getting older and realizing everything sucks, this record will hit you unexpectedly.
Underrated Album of 2019:
Yonaka – Don’t Wait Til Tomorrow
Yonaka has been on my radar since I first heard their 2017 EP, Heavy. Though I thought the EP was great, it sounded too similar to other rock music that was released around the time. Over time, they’ve had the chance to develop a sound of their own. The result is the mixture of pop melodies with a rock n roll attitude, and a dash of electronic heard on their full-length debut, Don’t Wait Til Tomorrow. For the most part, the album sounds like a big dance party. Songs like “Lose Our Heads,” “Fired Up,” and “Creature” are full of energy, attitude, and are catchy enough to get you dancing. But the thing that really drew me to the album was its focus on mental health.
Frontwoman Theresa Jarvis opens up about her anxiety (“Bad Company”), depression (“The Cure”), and battling personal demons “(Wake Up”). Not only is she not afraid to get real, she has an optimistic outlook, which I found liberating. The songs never feel bleak or hopeless. Rather, it’s like she’s letting us know we’re not alone. We all have problems, so let’s deal with them together. It’s a reminder that no one has to suffer alone, something I desperately needed to hear while struggling with my own issues. For an album that deals with serious topics it’s surprisingly upbeat. The songs feel like a good time with catchy hooks and infectious music that makes you want to dance. It’s an impressive debut that gets me excited for what Yonaka has in store in the future.
Album that Made Me Feel Like a Bad Ass:
3Teeth – Metawar
3Teeth doesn’t like playing by the rules. While their roots are in industrial metal, they go beyond their established sound on Metawar. The band’s hard driving industrial influence is still intact, but they incorporate melodic elements, hard rock, and metal for a broader sound. Songs like “Hyperstition” and “President X” are intense, catchy, and even have a good groove to them – something you can move to whether it’s moshing or dancing. Others like “The Fall” and “Surrender” slow things down creating a creeping, somewhat melancholy atmosphere while frontman Alexis Mincolla actually sings instead of screams. All the songs are excellent, but their cover of Foster the People’s “Pumped Up Kicks” stands out. The song is disturbing on its own, but Mincolla’s sinister vocals, the pulsing electro beats, and harder sound takes the song in a darker direction.
3Teeth is not only fearless in their sound, but in their message as well. The band doesn’t hold back on their commentary on society, but instead of leaning left or right, they paint a picture of a world on the brink of destruction with devastating songs like “Bornless” and “Sell Your Face 2.0.” They talk about a corrupt world destroyed by greed and corporate machines situation and allow listeners to form their own opinions.
Metawar is another stellar 3Teeth album. The band hasn’t abandoned their hard-driving, punishing. Rather, they’re making it bigger and ensuring they don’t fall into a pattern of making the same album twice. Their inclusion of electro beats, groove metal, and hard rock shows off their broad range and willingness to get outside their comfort. It’s a stellar album that you need to hear.
So, that’s a wrap on 2019. Let me know what your picks for the best and worst albums of the year are. See you in 2020!
Musical Fiction 