It's officially the most wonderful time of the year. Here are my top 25 favorite albums of 2019.
2019 has been a great year for music. Music to cry to, music that's been captivating, music that's a fantastic digest from all the turmoil and damage that the world has been in this year. All in all, there's been so many bold and powerful statements in music. I'm here to discuss all of my favorite musical moments of 2019 now that the year has finally come to close and 2020 has finally begun. Here are my top 25 favorite albums of 2019 and my thoughts on each one of them. Enjoy and thanks for reading!
(PS: If you want to cut to the chase, you can scroll to see the full list all the way at the bottom of this page.)
25.
Sharon Van Etten
Remind Me Tomorrow
Sharon Van Etten trading guitars for dark synths may come off as a shocker, but Remind Me Tomorrow has many of her best performances to date. Some songs like "Comeback Kid" and "Seventeen" are massively impressive, mesmerizing, and have a timeless feel to them. "Seventeen" being one of the best performances of the year, her retelling of her younger self is a classic moment that you have to hear. Her delivery across the record is genuine and heartfelt as usual, but is more tighter and well groomed. The eerie "Jupiter 4" is gorgeous while synth heavy tracks "Hands" and "No One's Easy to Love" are hypnotic and captivating. I didn't give this record enough love this year and really should have, but it is a polarizing and fantastic record full of surprises, dark synth tones, powerful vocal performances, and great songwriting as expected from Sharon Van Etten.
24.
Kim Gordon
No Home Record
After over three decades of music, the iconic Kim Gordon has finally put out her debut solo album. No Home Record features some familiarity of noise and abrasive guitars like her work in Sonic Youth, but it also features some very odd and weird hip hop and electronic sounds implemented into her music. Songs like the skeletal and pretty "Paprika Pony" or the squirmy and dark club-friendly "Don't Play It" are so enjoyably unexpected and pleasantly off the wall. Some tracks are much more into a sinister punk rock direction, like "Murdered Out" and "Air BnB," which are both so undeniably catchy. "Cookie Butter," a personal favorite, takes Kim Gordon's spoken word of poetry into a cacophonous mind field of monstrous noise that seems to get larger and larger. Overall, I was very surprised and pleased with No Home Record. The 66-year-old is still compelling and thrilling with new work. It took this long to finally get a solo release, but hopefully we won't have to wait too long for a follow up.
23.
Aldous Harding
Designer
New Zealand-based Aldous Harding is mysterious in both her lyricism and her distinctly pitched vocals. Designer, Harding's latest album, is charmingly beautiful in its instrumentation and songwriting. Combining art pop with folk, she is able to craft songs that seem timeless. There are numerous favorites on here, like "Fixture Picture," "The Barrel," "Zoo Eyes," "Damn," or even the title track. Her band sound as on point as she is as well. The overall musicianship is very traditional and predictable at times, but this doesn't shy away from the sharp production and delivery in Harding's vocals. Her voice is certainly the focal point of the album, giving many different tones and moods. Overall, Designer is full of excellent songs crafted as well as your Grandma's quilt or scarf. Cozy, pretty, warm, and tightly knit.
22.
Helado Negro
This Is How You Smile
This Is How You Smile, the newest album from Roberto Carlos Lange, is a very nice surprise for me. As my first real introduction to his music, its gorgeous instrumentation matches well with his personal lyricism on family, proudness, race, and love. Lange's softly sung croon is often so delicate that one touch may break him. There are plenty of highlights as well, many of them being my favorites. "Please Won't Please" and "Pais Nublado" are examples of these delicately detailed ballads that are as bright and colorful as a kaleidoscope. "Running" has these twinkling piano keys as lush as the clear night sky, while "Seen My Aura" is as fun and playful as a sunburnt day on the beach. There is a very nice flow to the record as well with each track pleasantly preparing you for the next (also with some very pretty interludes). Overall, don't pass up on this record. It's a pure beauty.
21.
The Mountain Goats
In League With Dragons
An album solely about dungeons and dragons, The Mountain Goats are here once again to surprise and pivot towards unexpected themes through John Darnielle's lovely lyricism. In League With Dragons may not be the most unique, original, or thought provoking in terms of the instrumentals. They're very traditional and familiar, often relating to piano ballads ("Possum By Night"), acoustic rock ("Doc Gooden," "Waylon Jennings Live!") or even pop rock from the 80's ("Sicilian Crest"). They're quite enjoyable and charming in the lyrics, even though it's not the most cunning attempts in the music. The performances are solid and the production is too. The cinematic "Cadaver Sniffing Dog" and "Younger" are among the better songs in the track listing. Overall, this collection from The Mountain Goats is a great attempt at trying something new lyrically and thematically.
20.
Chance the Rapper
The Big Day
The wait for Chance the Rapper's debut studio album has been immensely long awaited and buzzed about for years at this point. After releasing his critically acclaiming mixtapes, he has finally released his first album in 2019. The Big Day is a lengthy listen with 22 songs and over an hour of material. Not all of these songs are winners (I'm looking at you "Hot Shower"), but the majority of them successfully provide new and bright attempts at combining different genres and styles like the dreamy Death Cab for Cutie collaboration "Do You Remember," the gospel and pop of "All Day Long," or even the acoustic pop ballad of the title track. An album about love, marriage, fatherhood, and happiness, it has Chance reflecting on his most recent highlights in his life and pushing forward for new ones. The Big Day is a genuinely happy, exciting, and exuberant celebration of what Chance has been able to do in his career so far in music, love, and life.
19.
Carly Rae Jepsen
Dedicated
The Canadian pop superstar's quick rise to fame ultimately landed with massive critical praise with one of the best pop records of the decade, Emotion. Now, her next long awaited response is Dedicated. An album about love, heartbreak, and even having fun just being by yourself, Dedicated really has some stellar highlights. "Everything He Needs," her most sensual song to date, is charmingly excellent, while "Now That I Found You" is an absolute banger that was in conversation for song of the Summer. There are some solid 80's pop throwbacks as well, like Jack Antonoff's colorfully produced "Want You In My Room" and synth-driven "No Drug Like Me." Others include the bombastic and shiny opener "Julien" and the jumpy and peppy "I'll Be Your Girl," which has a stellar saxophone solo tacked to its ending. The collection of tunes on Dedicated isn't as perfected as Emotion, but it's still an enjoyably strong collection that will for sure heighten her portfolio even more than it already is.
18.
Stella Donnelly
Beware of the Dogs
Stella Donnelly is cunning and funny on her debut record, detailing all of the awful men who have wronged her in her life. It sounds like it would be a negative record, but Beware of the Dogs has Donnelly really taking these topics in a jokingly route over some sunny guitars and playful indie rock and pop. There are plenty of excellent quotables on this record, like "I wanna bring you cake back home from work, but you're allergic" and "God loves his children, but God loves men, Jesus Christ." I really could go on about the lyrics on this record, but her guitar work, singing, and production are all well executed in a fun and sharp way. Highlights include the guitar pop on "Tricks" and "Old Man," lush ballads "Mosquito" and "Allergies," and the light synth pop of "Bistro" and "Die." If there's any indie rock record to check out from 2019, Beware of the Dogs would be a very solid choice.
17.
Melissa Villaseñor
Dreamer
The current SNL cast member is a great impressionist, comedian, and artist. Melissa Villaseñor is also a great singer and songwriter. Making her debut with the low-key release of Dreamer, she has made a small collection of cute, sad, and bright pop tunes that range from the pop rock of the early 2000's ("Dreamin' You Up") to stark piano ballads ("This Time Last Year") to electro pop ("Quiet"). It's such a delightful listen every time with it's well produced styles along with its exquisite surprises like the vocal effects on the skeletal "Sponge and Rock" and the xylophone-led positivity on "Shine." At just 24 minutes, it's an extremely quick listen, but it leaves me certainly wanting to listen to it again and again and again. It's a purely fun variety of playful and dreamy songs from Villaseñor and her bandmates. Dreamer is a debut record that hopefully is just a taste for what's to come musically for Melissa Villaseñor.
16.
Rozi Plain
What a Boost
Rozi Plain, the UK singer songwriter's latest record is beautifully lush and breezy indie rock, folk, and jazz. It's very quiet, delicate, and minimal. Listening to What a Boost is perfect for a laid back and relaxing drive on a cloudy morning during the Springtime. It's calming, inviting, and warm. Not to say that it's meant to be put in the background, because it surely isn't. The details of Plain's band are stunning to pay attention to along with her distinct and soft voice. Listening to highlights like "Conditions" and "Symmetrical" are pure bliss. They each contain lush grooves that wash away the listener like a subtle rocking wave on the beach. The combination of melodies and harmonies on this record are so well put together as well. What a Boost is a very underrated and overlooked record among the press and the indie community. Rozi Plain's latest efforts for sure deserve the attention and respect because it truly is a rewarding listen from start to finish. Your time will not be wasted here.
15.
Foals
Everything Not Saved Will Be Lost Pt. 1
The first half of the double album released by the UK rock band, Everything Not Saved Will Be Lost, is arguably the sharpest collection of what Foals have done in a really, really long time. It has the tight groove-heavy rock and pop that Foals are known for, only performed and written better. "Exits" and "White Onions" sound very familiar and would please fans with its heavy grooves and catchy hooks. Some surprising dance-influenced buts are here as well, like "In Degrees" and the latter half of "Sunday." The King of Limbs-inspired "Cafe D'Athens" is very satisfying and "On the Luna" may in fact be their catchiest tune yet. Unfortunately, I never got to listening to the second half of the project, which I'm sure is solid. Nonetheless, the first half I would highly recommend for Foals fans and newcomers alike.
14.
The Raconteurs
Help Us Stranger
The rock band led by Brendan Benson and Jack White are back after 11 years of silence. The new Raconteurs album, Help Us Stranger, is a nice return to form for the band. It brings rock tunes that fans of the band and of Jack White's solo material will enjoy. "Sunday Driver" and "Bored and Razed" bring traditional rock tunes that signify why they are so good at what they do. Their rendition of "Hey Gyp (Dig the Slowness)" is fantastic with its tight grooves and vocals that are are bit rough around the edges. "Don't Bother Me" has the chaotic and weirdness that resembles Jack White's latest solo project, Boarding House Reach back in 2018. There are some great ballads like "Shine the Light on Me" and "Only Child." It's great to see The Raconteurs come back with new material after 11 years, performing as tightly knit as they've always been.
13.
Voyou
Les bruits de la ville
A new up and coming French pop and dance artist, Voyou combines French dance pop with flamenco into a colorful, beautiful blend of pure fun and joy. Les bruits de la ville is a sharp collection of dance pop that provides a fun variety of tunes that certainly show off the versatility of Voyou. Not only is he a great singer, but he is also a great songwriter, trumpeter, and balladeer. There are fruity bangers on here that combines modern dance pop with vintage tropes like "Dehors," "Papillon," "On a marché sur la lune," or even the excellent Yelle duet on the title track. I also have to give a shout out to the lush and gorgeous opener "à nos jeunesses." Surprisingly, there are some gorgeous piano ballads on here ("Il neige," "Lillie") and Voyou proves that he is definitely not a one trick pony. Voyou is pretty under the radar in the U.S. and don't let that make you sleep on Voyou. I just happened to fall upon this album because of the Yelle feature on here. I am so happy I found Les bruits de la ville. It's quite the fun dance pop record that's genuinely diverse and versatile, proving the many talents of Voyou.
12.
Faye Webster
Atlanta Millionaires Club
The Atlanta-based singer songwriter creates an ode to her hometown on her third album. Atlanta Millionaires Club is young at heart with Faye Webster's heartfelt lyricism and lustful croon. The instrumentation itself sounds much older and mature, containing harmonies, melodies, guitar, horns, and saxophone that evoke shiny 70's pop like "Kingston" or even some vintage slow jams like "Johnny." There is a sweet combination of pop, indie, country, and folk that sounds unique and personal to Webster, different from her more straightforward indie folk albums prior. Any of these tracks can be your favorite: the sunburnt and playful shyness of "Room Temperature," the lovely "Right Side of My Neck," the perky "Come to Atlanta," or even the dreamy ballad of "Hurts Me Too." It breezes by super fast at just over 30 minutes in length and leaves me wanting to hit repeat every time it's over. Atlanta Millionaires Club is a sunny, lonesome, and gorgeously written record that faithfully has the listener finally know who Faye Webster really is and what she's all about.
11.
SASAMI
SASAMI
Sasami Ashworth's debut solo album isn't just a collection of love songs. The songs here are emotionally brooding, dark, powerful, and haunting. Ashworth is an excellent guitar player, singer, songwriter, and performer (her live show is incredible). She does resonate with other indie singer songwriters that are blowing up, but she surely stands out of the crowd with her personality. Her energy sheds off on the jittery "Not the Time" and familiar "Morning Comes." Ballads like "Free" and "At Hollywood" aren't just quietly sung, but are stunning. "Jealousy" is haunting and dark with her creeping vocals similar to the other world-like Angel Deradoorian. The repetitive grooves on the closer "Turned Out I Was Everyone" is both mesmerizing and hypnotic. SASAMI is an excellent and well-crafted introduction to Ashworth as a solo musician. I sure as hell hope she's just getting started with her solo career.
10.
Sturgill Simpson
SOUND & FURY
Yet another left field turn from Sturgill Simpson, SOUND & FURY ventures off of the country categorization that is generally being placed under Simpson's previous work. This time, these songs are buzzing, loud synth rock and blues rather than with a country twinge. By far his most adventurous work to date, it revolves around a narrative of apocalyptic robots and an assassin trying to take down the greedy rich in this deserted wasteland, acting as the soundtrack to its Netflix visual counterpart of the same name. Take the head bobbing "Sing Along," the guitar intensity on "Ronin," or the groove-heavy "A Good Look" for a spin and see if your brain melts. There's plenty of challenging surprises to keep me coming back to listen and it's by far Sturgill Simpson's most experimental work to date. He certainly keeps the listener guessing with each new release, trying to dodge every common placeholder imaginable. SOUND & FURY is a wild ride worth taking.
9.
Battles
Juice B Crypts
Battles truly pay homage to their hometown, the birthplace of their music. An ode to the bustling and chaotic New York City, Juice B Crypts is a record that's explosive, monstrous, and infectious. Newly refined to a duo, Ian Williams' looping guitars and John Stanier's animalistic drumming still remain to scratch that itch of combining post rock with elements of electronica and pop. "Titanium 2 Step" is the answer to the band's most infectious and crazy moments in their career, while "Fort Greene Park" is one of the band's best compositions to date. Also, that driving groove on "Ambulance?" It's freaking amazing! The numerous guest vocal appearances on the record are strong and surprising once again, ranging from Sal Principato of Liquid Liquid ("Titanium 2 Step") to Tune-Yards (Last Supper on Shasta") to Xenia Rubinos ("They Played It Twice"). The performances are still layered and detailed in a way that still shocks me that it's coming out of two minds instead of ten. Juice B Crypts sounds risk taking and adventurous, yet familiar enough to please hardcore fans like myself. All in all, it's a record that's just as head smashing and off the wall as promised. I hope Ian and John continue to shine and take more risks in the future.
8.
!!! (Chk Chk Chk)
Wallop
The Brooklyn based band have been at it for over 20 years now, but don't let their age in the music business fool you. Chk Chk Chk, aka !!!, still mean business and don't fool around on Wallop, their eighth album. It's a collection of infectious dance tunes that certainly evoke a darkened corner in a sweaty night club blasting at 3am. There are plenty of highlighted bangers on here, like the guitar strums of the bouncy "Couldn't Have Known" or the glossy radio-friendly pop of "Serbia Drums." The Glasser guest appearance on "Slow Motion" is beautiful, being a richly sung duet. "This Is the Door" is vintage 80's pop at its finest. Wallop is fearless and confident, not really caring what anyone else thinks. Dancing your heart out to Wallop despite all of the problems going on in the world is for sure the most intended message Chk Chk Chk are trying to convey. It's their best album in years, proving that they are still a band whose creative ideas are worth listening to.
7.
Solange
When I Get Home
How does the artist who created such a powerful statement on A Seat At the Table respond next? Well, Solange really pulls through with a darker, groovier, more trap inspired sequel on When I Get Home. Her new record acts like a nod to her hometown of Houston, Texas, providing a celebration of her race, heritage, and southern roots. This time, Solange seems to be having way more fun and it certainly shows on highlighted bangers like "Almeda," "Way to the Show," and "Binz." The collaborations are chosen smartly, ranging from the likes of Playboi Carti, Gucci Mane, Earl Sweatshirt, and even Panda Bear. The songs are shorter, the flow is choppier and sudden at times compared to its predecessor. This album doesn't have any highlights matching "Cranes in the Sky" or "Don't Touch My Hair," but When I Get Home surely is yet another fantastic experience that is a great continuation of Solange's personal narrative.
6.
Billie Eilish
When We All Fall Asleep, Where Do We Go?
Billie Eilish has really created a new and unique style of her own on her highly anticipated debut album. Titled When We All Fall Asleep, Where Do We Go?, Billie has create a blend of skeletal, odd beats with acoustic guitar and her whispery vocal delivery. Often matching quiet and loud moments in a clever way, Billie has created some really fantastic and genuine songs, some amazing bangers and ballads. "Bad Guy," "You Should See Me in a Crown," and "Bury a Friend" are prime examples of this unique flare of hers coming to fold. Even though these bangers are infectious and dazzle with each listen, a lot of the ballads are some of the most memorable for me. "Xanny," "8," and "I Love You" are great examples of her excellence in balladry with "I Love You" being my personal favorite. Well written, produced, and executed, this record is surprisingly made with few personnel despite it being such a huge hit this year (notably being mainly written by just Billie and her brother, Finneas). It's quite the dark record, as if you're being sucked into a black hole infested with nightmares. But it's charming with her lightly sung vocals and bubbly guitar strums as well. There's plenty to love about this record in all of its tracks and it has an excellent flow throughout the record. Well deserved of her huge success and praise, Billie Eilish's debut record is the boldest pop records of 2019 hands down.
5.
Black Midi
Schlagenheim
A suddenly quick rise of buzz scattered throughout the internet raised Black Midi as being one of the biggest new bands to watch in 2019. This group of young brits have managed to sound so original despite their age through their chaotic live shows, odd shifts and time signatures, and their unique blend of countless genres (math rock, folk, metal, jazz, electronica, post rock). Their debut album, Schlagenheim, is quite the debut. It's incredibly explosive throughout the album, providing unexpected shifts in style and sound with each of its nine songs. Any of these can be your favorite too. The shouty "Near DT, MI," the noisy punk of "953," the yelped screams of "bmbmbm," the bombastic "Reggae." "Western" pleasantly combine folk with sharp guitar lines that provide beauty in its noise. The steady grooves of "Speedway" are incredibly satisfying. Their sudden rise is in fact well appreciated because Black Midi certainly show off how strong and unique they are compared to other veteran acts within the band's contemporaries. Schlagenheim is a powerful statement that has a great sense of risk taking, variety, and adventure that goes to show that this band has only pulled out a merely few from their vast bag of tricks.
4.
The Chemical Brothers
No Geography
Over 30 years into the duo's career, The Chemical Brothers still know how to create thoughtful bangers. No Geography is a fiery political record (I mean what isn't these days) that surely will resonate for years to come. Its flow is incredibly nonstop, firing on all cylinders with each song. "Eve of Destruction" kicks the record off in explosive fashion, sounding like a colorful neon laser war in the near future. "Bango" shortly arrives after, blasting off at full speed. The title track's gorgeous new wave influenced instrumental is fantastic and dreamy. The industrial and machine-like "Gravity Drops" still remains fresh with each new listen. "Got to Keep On," one of my favorite songs of the year, is pure bliss that will keep your head up despite the troubling current political state. AURORA's many vocal contributions to the record are a great addition that I surely didn't expect. She really adds a flare that I did not see coming along with the massively bright production. Her Björk-like presence on tracks like "The Universe Sent Me" and "Catch Me I'm Falling" are out of this world.
Even with two tracks that I still find quite annoying and unnecessary ("Free Yourself," "MAH"), No Geography still packs a punch with each listen from start to finish. It's still a fantastic listen and I don't care what anyone says. Personally, it's the most notable, fun, and colorful electronic dance record of 2019. With all the political unrest and everything that's going wrong in this world, let No Geography be the soundtrack. Its loud and abrasive tones act similar to this modern day chaos, but intended to be enjoyed with peace and happiness in mind throughout. I highly recommend No Geography to anyone with an open mind. Please don't pigeon-hold the "dance" genre. I know it's easy to. I used to do it. Despite the over saturation of awful popular electronic dance music, there is great dance music out there. You just have to find it. The Chemical Brothers will always be there for you to discover for the first time, even after 30 years.
3.
Kevin Morby
Oh My God
The tone and theme on the Kansas City-based singer songwriter's newest record is quite different than his previous material. Kevin Morby decides to go for a religious theme, often singing more traditional hymns and songs that certainly resonate with 60's/70's gospel, folk, and rock. Oh My God, his fifth album, is a concept record that is very focused on the factors of looking up to a higher power. Morby has admitted that he's not the most religious person. Regardless of his faith, his input and songwriting throughout the record is genuine, heartfelt, and solidifying. "No Halo" has a lovely steady groove tacked on with handclaps and fluttering keys, making it quite infectiously dark. "Nothing Sacred / All Things Wild" and "Savannah" both have these moody, treacherous keys that really set in the tone. The record itself has mostly ballads full of traditional piano, choir harmonies, and Kevin strumming a guitar. The ballads themselves are immensely beautiful in its arrangements, from the moody tone and lush harp plucks on "Piss River," the satisfying guitars and pianos on both "I Want to Be Clean" and "Sing a Glad Song."
There are brighter spots on the record that add a bit of pep as well. Despite its upbeat rock grooves on "OMG Rock n Roll," Kevin Morby recalls many of the recent mass shootings that are circulating in the U.S. "Congratulations" and "Hail Mary" are much needed pick me ups on the record. Overall, the arrangements and band Morby recorded with really put in the effort. The production is very rich, while the songs themselves really feel timeless in a way. The gospel choir throughout the record is strong and beautiful. Yes, Oh My God sounds very traditional, but Morby really puts in his personal traits and a modern scope into focus. It still feels very of this day even with the more traditional approach. Many listeners may feel the repetition of lyricism (passages like "oh my god" and "oh behold") and arrangements off-putting, boring, or redundant. Others may feel that it's just another attempt at gospel-era Bob Dylan. It has many of Kevin Morby's sharpest songwriting and songs to date. Oh My God is an excellent concept record that ties all of these ideas up nicely, regardless of religion.
2.
Deerhunter
Why Hasn't Everything Already Disappeared?
The eighth studio album from Atlanta-based Deerhunter is thematically about a post apocalyptic wasteland ridden of people and filled with isolation. Frontman Bradford Cox is singing and writing about these observational themes rather than singing on a personal note this time around. I mean, take the album's title into consideration. The songs themselves are incredibly dark lyrically, but they really do intend on shining a light through a dark wasteland through the band's sunny, often peppy instrumentation at times. Take the fun swirling guitars and deep harmonies on "Element." Cox recites orange chemical-induced clouds, people laid out in lines due to cancer, and silent roads. "Death In Midsummer" similarly takes harsh working conditions that have led to many deaths from factories into account. The instrumentals can be immensely fun and catchy as well. "Plains" may in fact be the band's most radio-friendly pop song in their lengthy career. The ending of "No One's Sleeping," the glossy performances of "Greenpoint Gothic," and the smile-inducing grooves on "Futurism" are impeccably fun and charming.
The overall production is very dry, dense and detailed. Its dryness (and lack of humidity) may be uncomfortable at times, but its sounds really match with the projected deathly tone on the record. "What Happens to People?" is arguably the most gorgeous ballad and has one of the most moving vocal performances from Cox to date. These sunny moments are often matched with somber, isolated ones. "Tarnug" and "Détournement" are prime examples. The latter is a track with pitched down spoken word, often detailing the likes of travel, art, and regional culture. Despite being compared to their other work, this record is once again Deerhunter at a really sharp and creative level, attempting to try new sounds and themes successfully. Why Hasn't Everything Already Disappeared? is a differently matured take from the group that won't appeal to everyone, but it's a reigning triumph that really can be relatable and appreciated in these testing times.
1.
Vampire Weekend
Father of the Bride
The day the New York band's first album in six years was presented to the world felt like an event to me. Father of the Bride is the long awaited fourth studio album from Vampire Weekend and it is surely worth the wait. Signed to major label Columbia, reduced from a quartet to a trio, and the time off has certainly sparked speculation from critics and fans alike. The trio certainly sound more mature and seasoned than ever in both their studio recording and live presence. The double album is incredibly ambitious at 18 songs and nearly an hour in length. It has a great variety in styles, guest appearances, and Ezra Koenig's lyrics over the 18 tracks laid out. Lyrically, the songs cap off the deterioration of Koenig's societal and romantic mishaps, but also the triumphs too. Danielle Haim's vocal attributions act as the "wife" counterpart to Ezra's "husband" role, while Steve Lacy's vocals are a nice addition to some of the more colorful and freeing songs. The jam-band aesthetics are here to stay, like the bouncy and charismatic "Sunflower" and the lush "Big Blue," which would snugly fit into the Life Aquatic soundtrack if Wes Anderson ever decided to change it. "Harmony Hall" and "This Life" are sunny pop opuses that feel timeless with their hooks and arrangements.
There are plenty of surprises for the listener to look out for and indulge in with every listen. The stretched out Hans Zimmer sampled choir vocals on "Hold You Now" and the strings on "Rich Man" are stunningly beautiful. The dark saxophone on "My Mistake" is rich, while the peppy and villainous "Sympathy" may be the most fiery track in the band's every growing catalog. Other songs like "Stranger," "Married In a Gold Rush," and "We Belong Together" are cute, romantic, and captivating with Koenig and Haim trading off vocals each time. Every listen of Father of the Bride is a different experience, capturing new bite sized details along the way. Vampire Weekend really throw everything but the kitchen sink onto this record and it's for the best. The variety is stunning, strong, and unexpected to newcomers and hardcore fans alike. The themes of the record seem modern and on point. The performances are tightly strengthened to a knot that's impossible to untie. It's larger than life, celebratory, and a huge statement from one of the most endearing bands. If there's one record that we needed this year, it would certainly have to be Father of the Bride.
The Full List:
1. Vampire Weekend - “Father of the Bride”
2. Deerhunter - “Why Hasn’t Everything Already Disappeared?”
3. Kevin Morby - “Oh My God”
4. The Chemical Brothers - “No Geography”
5. Black Midi - “Schlagenheim”
6. Billie Eilish - “When We All Fall Asleep, Where Do We Go?”
7. Solange - “When I Get Home”
8. !!! (Chk Chk Chk) - “Wallop”
9. Battles - “Juice B Crypts”
10. Sturgill Simpson - “SOUND & FURY”
11. SASAMI - “SASAMI”
12. Faye Webster - “Atlanta Millionaires Club”
13. Voyou - “Les bruits de la ville”
14. The Raconteurs - “Help Us Stranger"
15. Foals - “Everything Not Saved Will Be Lost Part 1”
16. Rozi Plain - “What a Boost”
17. Melissa Villanseñor - “Dreamer"
18. Stella Donnelly - “Beware of the Dogs”
19. Carly Rae Jepsen - “Dedicated”
20. Chance the Rapper - “The Big Day”
21. The Mountain Goats - "In League With Dragons”
22. Helado Negro - “This Is How You Smile”
23. Aldous Harding - “Designer”
24. Kim Gordon - “No Home Record”
25. Sharon Van Etten - "Remind Me Tomorrow"
Honorable Mentions:
Anna Meredith - "FIBS"
Cate le Bon - "Reward"
Danny Brown - "uknowwhatimsayin¿"
Frankie Cosmos - "Close It Quietly"
The Highwomen - "The Highwomen"
Holly Herndon - "PROTO"
Jay Som - "Anak Ko"
Jeff Goldblum and The Mildred Snitzer Orchestra - "I Shouldn't Be Telling You This"
Jenny Hval - "The Practice of Love"
Karen O & Danger Mouse - "Lux Prima"
Lambchop - "This (Is What I Wanted to Tell You)"
Penguin Cafe - "Handfuls of Night"
Rodrigo y Gabriela - "Mettavolution"
Sarah Louise - "Nighttime Birds and Morning Stars"
William Tyler - "Goes West"
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