Playlist

Favorite Songs of 2019 – 2/2

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As I said in my favorite albums list, this year had many, many albums that almost did the trick for me but just missed, so having this playlist is a nice way of giving these releases their deserved acknowledgement. This is VERY long so please skim and rule songs out to your liking. In order to keep it semi-reasonable, I’ve limited each artist to one song.

Like the previous 2019 playlist, I’ve ordered these songs to flow and blend in a way that makes sense (for example, I gather the slow and atmospheric songs away from the upbeat poppy stuff, and note that I begin with the most chaotic song by far so it won’t be too shocking later).

Track list

  1. Blanck Mass – House Vs. House
  2. Dorian Electra – Flamboyant
  3. Sudan Archives – Confessions
  4. Rapsody – Nina
  5. Purple Pilgrims – Sensing Me
  6. Sequoyah Murray – Penalties Of Love
  7. Jenny Hval – High Alice
  8. Bat For Lashes – Jasmine
  9. Golden Gardens – Desert Rose
  10. Hello Seahorse! – Domino
  11. Vagabon – Water Me Down
  12. Natasha Kmeto – Count To 5
  13. Yuna – Blank Marquee
  14. Harry Styles – Golden
  15. Shura – Religion (U Lay Your Hands On Me)
  16. Chromatics – You’re No Good
  17. Tinashe – Save Room For Us Ft. MAKJ
  18. Mark Ronson ft. King Princess – Pieces of Us
  19. Normani – Motivation
  20. Liz – DIamond In The Dark
  21. Charli XCX – Silver Cross
  22. Roisin Murphy – Narcissus
  23. Ana Frango Eletrico – Torturadores
  24. Flying Lotus – Tea Leaf Dancers (Maida Vale Session)
  25. Salami Rose Joe Louis – Sitting With Thoughts
  26. Tamaryn – Terrified (Robin Guthrie Remix)
  27. Drab Majesty – Oxytocin
  28. Yeule – Poison Arrow
  29. Barker – Paradise Engineering
  30. Steve Hauschildt – Subtractive Skies
  31. Chelsea Wolfe – Be All Things
  32. Angel Olsen – Summer
  33. Natalie Rose Lebrecht – Lost
  34. La Feline – Tant que tu respires
  35. Caroline Polachek – Go As A Dream
  36. Soda Lite – Vale & Stone
  37. CFCF – Impossible Condo
  38. Sulli – Dorothy
  39. Estelle – True Kinda Love
  40. Tei Shi – We
  41. Maria Usbeck – Retirement Home
  42. Teebs – Studie ft. Panda Bear
2019 favorites · List · Year-end

My Top 10 Albums of 2019 (+ EPs)

2019 #1

Pleased to say I had trouble fitting this into a top ten.

Many repetitive trends haven’t changed in this time, or in the last 3 years for that matter. We need to get off this 808 addiction for one thing. So, while I hope for some big changes in the 20’s, I felt this was a great year for overall quality and I’m excited to find more! In the meantime, here’s my favorites so far. Note… Final order is rough.

I list my top 5 EPs and honorable mentions below my #1 as well. SO many albums sat in a ‘close but not quite’ spot for me this time, but the amount is impressive for sure.

Two write-ups are from my ‘Top 5 Albums of 2019’ halfway series hence copied in italic.

10/9. Jenny Hval – The Practice of Love

jenny

art pop / electronic / synth pop

RIYL – Opus III, Grimes, Yeule, Pastel Ghost

What a nice surprise. Jenny’s lowered the last album’s edgequeen poetry and made way for more yknow, singing, not to mention doused her voice in hypnotic water-crystals (synths). A fairy-ish falsetto like hers over such a shiny electro sound gives this an Opus III charm that should interest trance fans. Two tracks fall back into the spoken word, but the rest makes a quality EP. Good music for any aspiring mermaid.

10/9. Caroline Polacheck – PANG

2 10

art pop / folktronica / glitch pop / electropop

RIYL – Chairlift, Ramona Lisa, PC Music, Imogen Heap

Caroline sings like a fairy-tale lead lost in the woods. Her voice has an almost narrow quality, but her delivery is strong and elastic. It’s not every day you hear vocal sky-dives like hers on the same album as A.G. Cook, a yacht rock update and folksy ballads… Which is why Pang is good.

For all her great theatrics, I love the calmer sound on “Go As A Dream”. It’s become my new favorite Caroline vocal. Far from showy as in “Door”, but incredibly soothing: I can sense the birds and deer watching her in a Disney forest. The way she added that adorable new agey harp confirms this for my ‘garden refuge’ mix. -wink wink- To top it off, this song will do wonders if your mom was into Imogen Heap.

Pang is a testament to how technology allows us to fuse our inspirations. She’s created an effective self-portrait from each of her (known) trademarks here whether they had much in common or not.

8. Teebs – Anicca

3

downtempo / folktronica / indie electronic / wonky

RIYL – Bibio, Tycho, gardens, birds

While I worry his palette is getting plainer (not enough bells! too much guitar!) there’s just nobody in e-music like Teebs. Listening to him feels like napping in a painter’s garden. It’s interesting to hear him branch out while sticking to his own path as he does here. Full review here.

7. Sudan Archives – Athena

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chamber pop / art pop / folktronica / neo soul

RIYL – Kelsey Lu, violins, wooden sounds

Not every day you hear violin (let alone one inspired by Sudanese fiddling) in electronic context, but Sudan fuses them like it’s nothing. Such woodsy, keening riffs like these are a refreshing change from the tropes I’ve come to expect with trendy alt-pop. They’re a great anchor and counterpart to the electronic backbone. When it comes to singing, Sudan sounds like a goddess tending to an ancient garden. She has insight to share and she’s focused all the way on her work, but her presence is a calming one in the end.

Athena is a slow burner, but certain tracks (“Down On Me”) are quick to hit you with a graceful melody. It works like a garden too: you have to water it to hear the true potential. As with another creative new string player, Kelsey Lu, I hope Sudan can keep blossoming as an artist. We need more string players to step into electronic music!

6. Karen O & Danger Mouse – Lux Prima

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indie pop / art rock / neo-psychedelia

RIYL – Karen O’s “YO! My Saint”, Arctic Monkeys’ “One Point Perspective” + “American Sports”, U.S. Girls’ In A Poem Unlimited, space

Imagine my shock when Karen O drops a nine-minute suite with Danger Mouse in November. Despite a new producer, “Lux Prima” felt like a sci-fi evolution from last year’s ghostly torch song and a personal ’18 fave, “YO! My Saint”. The idea of a full album piqued my curiosity. The style was hard to predict, but that added to the excitement!

Beyond Karen’s expected indie elements, Lux Prima centers on warm, groovy surrealism in similar fashion to Italian 70’s scores. For example: the filtered strings propelling Karen’s underwater balladry in “Reveries” or the smooth bass lines and uneasy melodies in “Nox Lumina”. Like those soundtracks, Lux Prima doesn’t stick to 2-3 common recipes, so we have misty dream-folk in “Ministry” and twangy disco in “Turn The Light”. Yeah, that last one’s… weird.

As a result, Karen sings like she’s trying on new hats. With a voice like hers, which could rile a punk party and woo you to sleep in the same ten minutes, most songs give her space to shine. Her wordless wailing on “Lux Prima” and her wistful hum in “Ministry” come to mind. However, some of DM’s stylings (while impressive) aren’t the best fit for Karen, dulling her spark. Other times, melodies aren’t as interesting as the lavish backing.

The Lux Prima/Nox Lumina suite has me wishing they engaged more with their space themes, but what’s there is compelling. Lux Prima sounds like a proper solo debut and a step forward for KO. I miss Yeah Yeah Yeahs, but I’m glad to know she’s open to experiment in her solo career.

5. Nonlocal Forecast (aka Angel Marcloid)

6

new age / electronic / jazz fusion

RIYL – 90s Weather Channel music, Eyeliner,  “Aquatic Ambience” from Donkey Kong Country, “Dire Dire Docks” from Super Mario 64, digital synths

One in countless Angel Marcloid creations, Bubble Universe! shows her gift for oceanic digital synths. Song-wise she flips between glittery 80’s new age and upbeat jazz fusion in tribute to the Weather Channel. The latter approaches chaos, but she unites it all through the giddy sheen of the digitized 90’s. If you thought this era was fun at all for synths or video game music, BU! is tons of fun and a great mood booster. Imagine such a soundtrack with a subtle prog-jazz influence and you have the idea. My favorite VGM is water-themed, so I applaud Angel for exploring this vibe.

I managed to chat with Angel a few days ago. She mentions another NF album is on the way despite juggling this, her Fire-Toolz album and many mixing jobs this year. How does she do it???

4. Angel OlsenAll Mirrors

7

chamber pop / singer songwriter

RIYL – Scott Walker, Susanne Sundfor, Anna Von Hausswolf, strings

For once, a hyped late-10s album where I GET the hype. The usual barrier between me and ‘chamber pop’ is the slowness and twee indie-rawker vocals, but Angel steps closer to a smoky folk songwriter. Her presence is mysterious enough to compliment the velvet carpet that is her new string section. Picture a woman you’ve never met with a Foggy Past visiting your Victorian fireplace to escape the storm and you have the right idea.

With many beautiful moments at both soft and loud volume, this album excels in slow burns. Every other time it began to ramble, I’d get a cinematic flourish or crescendo. “Chance” is the best example, having the same huge, frosty catharsis as a good movie climax.

All Mirrors is a delicious cross between chamber pop and folk’s ghostly edges. (See “Summer” for the latter, which makes me want to ride a horse in the mountains!) Glad this is getting the praise it deserves.

2/3. Ioanna Gika Thalassa

8

art pop / darkwave / ethereal wave / synth pop / dream pop

RIYL – This Mortal Coil, early Cocteau Twins, Bat For Lashes’ Two Suns, IO Echo, Anna Von Hausswolf, filling the void Grimes left when she made Art Angels

Somehow Ioanna Gika knows 70% of what I want from gothic music right now. She can siren-sing like a lost Mortal Coil guest. Synth layers, string flourishes and fierce rhythms make her soar in all directions. She fuses modern sounds with folk references like Bat For Lashes’ best work. In a way, she represents the next step in an all-too-small group of modern artists revitalizing ethereal wave. (These include early Grimes and Pat Moon; needless to say, I hope we keep getting new artists in this vein.) Add guitar, piano and a surprise krautrock break and the sound is flexible to bring her ambitions to life.

She’s an expert at building tension, to the point many songs could fit a movie. “Roseate” for one, which compares her losses to walls breaking with the urgent beats and howls to match. As heavy as it gets, her voice is sweet and humane enough to keep the void from swallowing everything. I love how much this contrasts the drama surrounding her. A gentler song like “Weathervane” has her shivering like a bird in a desolate tundra. I get a feeling Thalassa’s world was a pristine, homely one since warped by the grieving that inspired it. Thalassa feels like a true trip inside what she felt then.

Thalassa is both a strong emotional release and culmination of Ioanna’s great taste. It’s a must-hear if you want something a little more individual than the usual post-punk rehash. I’m convinced she can liven up the goth scene. Touring with Chelsea Wolfe suggests she’ll get her due with time.

2/3. La FelineVie Future

9

french pop / art pop / electronic / neo-psychedelia / dream pop / space age

RIYL – Mylene Farmer, French accents, surrealism, Broadcast, Ghost Box, Stereolab

Vie Future is a rabbit-hole trip with bits of magic (like so much music I love), but the lyrics concern Earth and humans. As a response to giving birth, losing a parent and fear for the climate, Agnes fills Vie Future with weighty questions. She has the right emotional range to give life to these complex feelings whether she channels dolls or cyborgs. She ponders death to upbeat rhythms (“Où est passée”) and hums to herself in a river (“Voyage”) with the same conviction.

Much to her credit, Future expands far beyond La Feline’s minimal wave roots while avoiding many 10’s cliches. I love how hard it is to label. You have piano, flutes, various moody synths, guitars, mallets, vocoder effects and strings. With the update on space-age themes, I’d call Ghost Box and Stereolab the closest things. And yet, that only says so much with their variety, and I haven’t heard a singer like Agnes in this context before.

Vie Future thrives in subtlety. Like a great mystery story, it unravels new tricks with time to keep me hooked inside.

1. Kelsey Lu Blood

1

chamber pop / art pop / singer songwriter / chamber folk / folktronica

RIYL – cellos, Sudan Archives, non-forced eclecticism, Goldfrapp’s Tales of Us, Kate Havnevik’s “Unlike Me”, Weyes Blood, Angel Olsen

As you could guess from a cellist, keyboardist, guitarist and singer who’s worked with Solange and Blood Orange, Kelsey Lu’s solo debut isn’t easy to box. She defies more cliches than any new album I’ve heard this past year, resulting in unfiltered creativity. The minimal cello-with-vocal sound on her Church EP has evolved to a bolder statement with a stronger personality and wider palette, the electronics among the most promising. In Lu’s case, Blood sounds like the natural gathering of her inspirations. She isn’t going eclectic for the sake of it, which is often the best way to do so. Even when she goes from twangy folk (“Too Much”) to a 7-minute electro 10cc cover, she unites each sound through the sweet hums and shivers of her voice, the warm wooden tremble of her cello and clear-cut production.

Blood opens with a pair of striking cello-tinged folk songs, the sinister warning of “Rebel” and the uneasy sleepwalk of “Pushin’ Against The Wind”. In the first big shift, she dives into a cathartic pop ballad with “Due West”, setting her vocal decadence to a blanket of synth chords and a harp so fragile someone could’ve sewn it together. When I think it’s over, a cello pluck enters and cross-fades into what sounds like Grouper making ethereal wave in a church (“Kindred”). Unlike the rest of Blood, Lu sounds truly weightless as she sings like an opera singer’s ghost, possessed yet appeased. Not long after, she kicks into 70s disco with “Poor Fake”, where the album’s biggest beat threatens to kick off a party. And we’re only halfway in by then.

Blood is the most a new artist has impressed me in months if not a few years. Her awe-inspiring musical scope combined with such clear passion and creativity to match means Blood has enough to process for some time, but I’m clamoring to know what sound she’ll pursue next. Will she do more pop, guitar folk, classical cello, will it follow this album’s steps or will she do a 180? Blood tells me any of these and more could work.

EPs:

Honorable mentions

There’s more. I could add Lana, Lil Simz, Weyes Blood, Charli, Lizzo and other cult hits, but this is long enough kept to my darkhorse faves. Stay tuned for my 2019 playlist for their proper acknowledgement.

 

new music

Maria Usbeck – Envejeciendo, 2019

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synth pop / art pop

Using more synths this time, Maria Usbeck’s second album emulates a digitized canopy. It’s another one where cold synths prompt human feeling despite their origins. Skeptics will claim they lack feeling but Maria’s music hasn’t lost any of that.

Which brings me to what stuck from Amparo: her incredible talent for calming the listener. Her travels in Ecuador to reconnect with her past continue to influence the effect of her songs. Like home, or what feels like it, Maria’s music relaxes with it’s everyday air. As she composed by herself, everything sounds filtered through her perspective. That is, besides the odd speech from Siri (!) or her grandmother. Envejeciendo is a traveling laptop’s creation.

What struck me about her ‘chill-out’ effect is that it feels so grounded. It doesn’t assume everything is or will be perfect. She doesn’t aim for escapism, as much as that works for other music. Instead, she uses this space to ask questions. Yet she does this without getting bleak; some songs veer on humorous. She seems to find comfort in more realistic conditions. Her lyrics concern aging (the album’s English name) and how new tech changes our thinking. I’m glad to see her explore these themes when few others do and when the cult of youth stays strong.

Envejeciendo peaks at the end with “Retirement Home” and “Nostalgia”. With the album’s richest synths and her own tender voice, they form a compelling mix of cathartic and relaxed tones. “Retirement Home” imagines ideal senior living, with metallic synth-bells adding a spa-like hypnosis. “Nostalgia” matches the title in seconds with breezy synth chords glowing like fireflies. As intended, it’s perfect for those fleeting daydreams of the past.

The drum machine beats are my main gripe as with too many recent albums. And I say this as a synth-pop fanatic! The issue is, no matter how classic the 909 is, the novelty wears after decade-long overuse.

I prefer Amparo but this is a worthy album with it’s own great ideas. It’s very digestible at 27 minutes. Maria’s solo career keeps taking refreshing turns and deserving a closer look.

 

 

Top 5 Albums of 2019 (so far)

Top 5 Albums of 2019 (so far) / #2/3. Karen O & Danger Mouse – Lux Prima

indie rock / art rock / neo-psychedelia

More like this Karen O’s “YO! My Saint”, Arctic Monkeys’ “One Point Perspective” + “American Sports”, U.S. Girls’ In A Poem Unlimited

Imagine my shock when Karen O, one of my favorite singers for ten years, drops a 9-minute song-suite with Danger Mouse in November. Despite a new producer, “Lux Prima” sounded like a sci fi film-theme evolution from her ghostly psych-pop torch song from January, “YO! My Saint”, one of my favorite songs of 2018, so the idea of an entire album piqued my curiosity. Hard to guess how it would sound, but this was part of the excitement.

Beyond the expected indie pop/rock element brought by Karen, Lux Prima revolves around a warm, groovy surrealism in a similar fashion to Italian film scores of the 70s. For example: the filtered strings building on Karen’s underwater balladry in “Reveries”, the smooth bass lines and the uneasy synth+guitar melody in “Nox Lumina”. Like those soundtracks, Lux Prima doesn’t stick to 2-3 common formulas, so we have misty dream-folk in “Ministry”, one minute and twangy disco-pop in “Turn The Light” the next minute. Yeah, that one’s… weird.

As a result, Karen sings like she’s trying on new hats. With a voice as adaptable as hers, capable of riling a punk party and wooing everyone to sleep in the same twelve minutes, most songs gives her space to shine. Her wordless wailing on the title track and her wistful hum in “Ministry” come to mind. However, some of DM’s stylings (while often impressive) aren’t the best fit for Karen, dulling her spark. Other times the melodies aren’t as interesting as the lavish arrangement, like with “Drown”, a great song in theory but melodically plain.

The Lux Prima/Nox Lumina suite has me wishing they engaged more with their space themes, but what’s there is compelling. Lux Prima feels like a proper solo debut and a promising step forward. As much as I miss Yeah Yeah Yeahs, I’m glad to know Karen O is still open to experiment in her solo career.

♥︎ – “Ministry”, “Lux Prima”, “Leopard’s Tongue”, “Reveries”, “Nox Lumina”

Top 5 Albums of 2019 (so far)

Top 5 Albums of 2019 (so far) / #2/3. Ioanna Gika – Thalassa

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art pop / darkwave / synth pop / ethereal wave / chamber pop

More like this Susanne Sundfor’s The Silicone Veil, Goldfrapp, This Mortal Coil’s It’ll End In Tears, The Changelings’ “Season of Mist”, Anna Von Hauswolff’s Ceremony

This new Greek artist taps into so many of my favorite things here. Thalassa sweeps over your ears with dramatic strings as Ioanna swoons like a lost 4AD siren-singer, all backed by a gothic synth pulse. A few cliched electro-beats (as on “Messenger”) dull some of the personality in this delicious fusion, but her choruses and melodies are dense enough to keep out of potential dryness. Shout-out to “New Geometry” for her entrancing chant-singing (“Hesitation / I found the answers in your / Hesitation…”) and the crumbling urgency of “Roseate”.

♥︎ – “New Geometry”, “Roseate”, “Out of Focus”, “Swan”, “Ammonite”

Top 5 Albums of 2019 (so far)

Top 5 Albums of 2019 (so far) / #4. Voyage Futur – Secret Earth

Voyagefutur

new age / electronic / ambient

More like this – X.Y.R.’s Reflections, New Atlantis Volume 1, Emerald Web’s Nocturne, Michel Genest – Crystal Fantasy

Secret Earth has many of my favorite new age hallmarks: rich synth pads smearing everything in a calming gauze, traces of the subtlest and prettiest synth bells, the lack of dubious ‘world music’ themes and getting that serene v.s. mysterious balance I love to hear in the genre.

Like Vangelis and Emerald Web, Voyage Futur proves excellent at creating moody nature portraits, suggesting stately mountains and dreamt-up forests frozen in time. The marimba+synth pad combo on “Eternal Dawn” is most appealing for me as a keyboard/mallet fanatic. Although there’s a few dull moments, Secret Earth is an ultimately rich and immersive experience. Recommended if you’re curious about the recent crop o electronic new age.

♥︎ – “Eternal Dawn”

Top 5 Albums of 2019 (so far)

Top 5 Albums of 2019 (so far) / #5 – Nonlocal Forecast – Bubble Universe!

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electronic / video game music / new age / sequencer & MIDI / synth pop

More like this – Eyeliner, New Atlantis Volume 1, Ecco: The Tides of Time SCD soundtrack, “Aquatic Ambience” from Donkey Kong Country, “Dire Dire Docks” from Super Mario 64

One in countless Angel Marcloid creations, Bubble Universe! displays her gift for dense, oceanic synths. Song-wise the album flips between beatless new age glitter and jittery drum+synth suites. The latter nears a chaotic pace, but Angel unites it all through the gleeful virtual sheen of 90s video game music. Imagine such a soundtrack fused with guitar cameos and some modern computer polish (best shown on “Triangular Format”) and BU! is the result.

Some of the best VGM is water-themed, so I applaud Angel for making her own album in this vein. Now I’m wanting to play the made-up water-metropolis fantasy game she’s conjured here.

♥︎ – “Triangular Format”, “Cloud-Hidden”, “The Evolutionary Game”, “Classical Information”, “Conscious Agent Combos”