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obtusemedia · 4 years
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Top 25 songs of 2019: Honorable Mentions
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In 2019 — a commendable year to close out the decade, musically speaking — Gen Z’s budding stars fully arrived, while long-time stalwarts created some of the best work of their careers. There weren’t any albums that threatened the top of my decade-end chart, but the year still delivered a crop of solid records in a variety of genres.
This year, I’m doing my year-end list a bit early, because I plan on releasing my decade-end list around New Year’s. So before we do that, let’s kick off the celebration of 2019 with 15 great songs, listed in alphabetical order by artist, that just missed the top-25 cut off.
“People” by The 1975
Manchester pop-rock geniuses The 1975 have already dabbled in almost every genre under the sun. So a sharp pivot into near-screamo punk rock seemed inevitable.
“People” isn’t my favorite song of theirs — the best version of The 1975 is when they’re fully in ‘80s synthpop mode — but it’s still very effective. The crunchy, thrashing guitars fit perfectly with Matty Healy’s off-kilter vocals and apocalyptic lyrics. In a way, “People” is a sequel to their generation-defining 2018 single, “Love It If We Made It.” But while that song is anxious, the main emotion in “People” is fury. And it’s not hard to miss the message, as Healy screams it in the chorus: “STOP FUCKING WITH THE KIDS.”
“Baby Boy” by Kevin Abstract
BROCKHAMPTON’s boy-band/hip-hop collective is too chaotic to have a true frontman. But if there is one, it would be Kevin Abstract. And the Texan rapper/singer’s 2019 solo album, ARIZONA BABY, was a stellar showcase of his talent.
“Baby Boy,” a cooing, soft love ballad, is the record’s best track. Between the gorgeous melodies and the left-of-center production and singing, it seems destined for the soundtrack of a quirky rom-com. And it’s nice to hear Abstract flex his R&B chops.
“Everybody Here Hates You” by Courtney Barnett
This loosie single by Melbourne’s finest indie rocker is classic Courtney Barnett. All the ingredients are there: deserty guitars, a shuffling groove, and Barnett charmingly speak-singing her sardonic lyrics. Barnett’s clearly notched a lane for herself with “Everybody Here Hates You.” And frankly, if she never leaves it and keeps making solid songs like this, I wouldn’t mind.
“Twist The Knife” by Chromatics
Speaking of consistently excelling in your specific soundscape — here’s Chromatics! “Twist The Knife” has all the off-key synths, ghostly Ruth Radelet vocals and general nocturnal, cinematic sound you’d want from the mysterious group. Perhaps the one major difference is the thumping, 808-heavy disco beat. But, like with Barnett, Chromatics’ sound is solidified by this point. And luckily, they’re still the masters at soundtracking nighttime drives.
“Arabesque” by Coldplay
Coldplay returned this fall with two singles. One was “Orphans,” which had a conventional Coldplay sound (sing-along chorus! aggressive perkiness!) to contrast with an unconventional Coldplay topic (refugees). 
The other was “Arabesque,” which sounds like nothing Coldplay have ever done before. It’s got a hard-hitting Afropop beat, a French interlude, Chris Martin dropping the f-bomb, and most amazingly, a sax solo that’s nearly two minutes long. It’s a weird, jazzy detour for the group — and it’s incredible.
“Falling” by Dude York
Seattle indie rockers Dude York wrote a song about a topic you don’t hear much often in music: romantic complacency. The couple in “Falling” isn’t a bad one — lead singer Claire England makes it clear that she’s having a great time. But she also calls the relationship “practical,” and describes it as a very casual, low-stakes romance. “Falling” brings up the question many long-term couples ask themselves: Weren’t there supposed to be butterflies? Is it bad if our relationship is more cozy than passionate? It’s an intriguing subject, backed by killer rock production.
“Tough Enough” by Ex Hex
Ex Hex’s sound is knowingly old-school. The rip-roaring El Camino-rock of “Tough Enough” could’ve easily been a Pat Benatar or Joan Jett single in the early ‘80s. And that’s what makes it great — who doesn’t love Joan Jett? “Tough Enough” isn’t something you have to think too hard about; it just kicks ass.
“Summer Girl” by HAIM
Asking HAIM to give you a sleek retro-pop song is like asking Spoon to give you a nervy indie rock single: they’ll deliver the goods. But the San Fernando Valley sisters gave their formula a few tweaks with “Summer Girl,” their best single since their 2013 debut.
Instead of their typically slick production, HAIM opted for a barebone, funky ‘70s groove. The vocals rarely go above a whisper. And the most prominent element of the song is a honking sax riff, which sounds like it comes straight from A Tribe Called Quest song. But all these changes don’t erase HAIM’s strongest quality: their solid-gold hooks. And you’ll be humming that doo-doo-do-do-doo chorus for days after hearing “Summer Girl.”
“Nice To Meet Ya” by Niall Horan
I had no expectations for former One Direction member Niall Horan’s new single this year. I didn’t love his previous white-guy-with-acoustic-guitar style, so I didn’t plan on enjoying his new stuff.
But “Nice To Meet Ya” thankfully ditches the acoustic guitar. It’s an extremely late-‘90s breakbeat banger. It’s less Ed Sheeran and more classic Robbie Williams. The song it really reminds me of is Republica’s deathless jock-jam classic “Ready To Go” — all propulsive energy and power. “Nice To Meet Ya” is a bit less aggressive, but it’s still a ton of fun and shows that Harry Styles isn’t the only One Direction alum that can produce a great solo track.
“Hey, Ma” by Bon Iver
At this point, Bon Iver can write these beardy arena-folk anthems in his sleep. But that doesn’t make “Hey, Ma” any less of a great update of that song. Amidst the occasional synth bloop and awkward Boomer-esque weed references (not sure anyone’s unironically said “toking on dope” in a while), the single features one of Justin Vernon’s greatest melodies. If anyone’s wondering how Bon Iver became one of the decade’s premier indie acts, the soaring chorus and powerful melody of “Hey, Ma” is an indicative example.
“Juice” by Lizzo
If it weren’t for a certain baggy clothes-wearing teen, Lizzo would’ve easily been 2019′s biggest breakout artist. But although “Good As Hell” and “Truth Hurts” were her biggest hits, those two songs came out way before 2019. Out of the songs that the Minneapolis popstar actually released this year, “Juice” is the perfect demonstration of her irrepressible charisma.
“Juice” is the best-possible combination of Bruno Mars’ retro-funk exercises and a defiant Kelly Clarkson anthem. Lizzo sounds like the most confident, extroverted person on the planet, slyly bragging about her and her friends’ prowess. It’s not quite on the level of “Uptown Funk,” but “Juice” is still too fun to resist.
“Sucker Punch” by Sigrid
“Sucker Punch” is just the latest edition of a wonderful musical tradition: the sleek, icy Swedish pop song! Wait...*checks notes* turns out Sigrid is actually Norwegian. A country that has less ABBA-style pop and more death metal.
But regardless of what part of Scandinavia she’s from, Sigrid’s “Sucker Punch” is still a textbook-perfect bubblegum single. With its bouncy vibe and explosive chorus, it almost sounds like a lost hit from 2011 or 2012 — a golden age for pop. Sigrid’s thick accent and energy just adds to the charm. Old-school synthpop isn’t in vogue anymore, but at least Sigrid is keeping it alive for now.
“Hurry On Home” by Sleater-Kinney
2019 was not Sleater-Kinney’s best year. The Olympia indie legends’ new album, The Center Won’t Hold, received lukewarm reviews. The momentum from their 2015 reunion was mostly sapped. And most critically, longtime drummer Janet Weiss, one of the best in the biz, quit abruptly, saying she was essentially told that she was no longer a “creative equal” in the group.
But at least the trio delivered one stone-cold Sleater-Kinney classic single before they imploded. “Hurry On Home” is a sleazy, thunderous hard rock jam that would’ve snugly fit on their last album, No Cities To Love. It’s got a bit more of a robotic groove, thanks to producer St. Vincent, but the crunchy guitars are still there. Carrie Brownstein’s sardonic vocals are still there. And that trademark Sleater-Kinney intensity is absolutely still there.
“Superbike” by Jay Som
Jay Som’s stellar 2017 debut album, Everybody Works, dabbled in dream pop, but also dipped its toes into many other subgenres. But the lead single of her sophomore album, “Superbike,” is pure hazy ecstasy.
“Superbike” has a bit of Alvvays in its DNA, particularly in the atmospheric guitars and whispered vocals. But Melina Duterte added a bit more California bliss to that formula. The track sounds like the soundtrack to a tranquil jog down the beach, with the sunrise in the background.
“God Is” by Kanye West
Kanye West can’t sing. He’s warbly and incredibly off-key. And that’s why I love it when he genuinely tries to do so.
Jesus Is King is a mediocre, one-note first draft of an album, but it still has its moments. And my favorite moment on the record is when West puts his lack of vocal talent on display. “God Is” features West trying his darndest to belt over a sample of gospel composer James Cleveland’s song of the same name. And he falls pretty flat on his face. But there’s something still powerful about that, like someone badly singing in church, but with so much conviction. It humanizes West.
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