Last year(2018), we saw the emergence of a new wave to mainstream music. New faces were introduced; new anomalies were making a scene; some very underground artists started surfing on the media attention they suddenly seemed to be getting. Under the pop genre, we began to taste dark themes and tones millennials seemed to love to drag with them. Many of this year’s pop music carries with itself very similar grey depressing shades. Cases in hand: Arianna Grande, Post Malone, Harry Styles… I cannot exactly pinpoint where and when it started, but last year was definitely the “drastic slope on the graph” in pop music’s change in taste: no more flashy lights and vivid colors, more monochrome unnerving portraits.
Hip-hop, which was already the number one music genre for quite a while, remains so this year. In fact, rap has made itself a solid foundation in terms of appeal and leaving more than enough room for innovation. This year, we see more individual takes by rap artists and how their creative direction attempts to make their music sound unique from their peers and contenders. And I’ll admit, sometimes that could mean toying with different sounds until the whole concept gets lost halfway throughout. On the other hand, we witness numerous hip-hop artists utilizing the bursting popularity of the music genre to create music that appeals to a wide audience. In other words, rap is slowly becoming the next pop.
If 2018(& 2017) was the year of freshers, 2019 was the year of sophomore music. Of course, that mostly applies to the hip-hop industry, and even if so is only true to an extent. This year happens to host some of the best music of the decade, and it is my pleasure to share with you some which I felt deeply moved by.
- Brockhampton — GINGER
Self-claimed “best boy band since One Direction”, rap collective Brockhampton returns with another effort to regroup and refine since a member of theirs was dismissed for his alleged violent and abusive acts. Having sat down and let everything sunk in for some time, especially since the loss of Ameer Vann happened during the production of their next material which likely disrupted the group’s flow and balance, Brockhampton presents GINGER. GINGER is Brockhampton’s attempt in finding what they have lost, even if it means grieving, mourning and baking in the negativity the members have been dwelling in. GINGER ended up being a reconciliation in a sense, they had managed a sound that they were all confident and comfortable with, as well as revealing the most vulnerable and emotional sides of some members, such as Dom McLennon’s verse on DEARLY DEPARTED. Ironically, this new direction is also the group’s most pop-sounding material yet.
GINGER also exhibits an almost ‘familial’ belief, through its music and album cover. All the members are family to each other. Brockhampton is not comprised solely of the performing rappers/singers but is also the people working behind the scenes, friends and actual family. Guest features on the album, such as Slowthai, Deb Never, Ryan Beatty are all considered part of the Brockhampton group in their book.
2. Billie Eilish — WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?
Pop music’s switch to dark themes arguably reaches its pinnacle with Billie Eilish’s debut album. Every single released before the album was hit after hit, slowly the “one-hit-wonder” speculation drifted off. What made this album so great is partly due to its incredible time of release too where topics and awareness of mental health are at its highest and of most relevance among the young people.
But what strikes out is the intimacy Billie displays throughout the record. It could be that because the album essentially only had two pairs of hands at work(namely her and her brother Finneas who also released an EP this year with some great songs), Billie is not afraid to let her guard down with her lyrics and singing. While making a few of the catchiest singles of the year, the album also fronts some beautiful ballads edging at the near end of the runtime. Tunes here are somber, instrumentally skeletal at times which all tie in nicely with Billie’s famed whispery-like singing.
3. Richard Dawson — 2020
One of the best things we get to experience in music today is when one genre encroaches onto another so naturally. Another great thing is when music presents good storytelling.
From Newcastle, Richard Dawson is an English singer-songwriter, whose music is typically labelled under the category of folk. Folk is understandably a bit foreign for many people of my age. But here, Dawson combines pop elements with his characteristically folk music, leading to some parts of his albums really standing out in terms of musical direction. The synths he played, especially in tracks like Jogging really elevate the experience to his other side of the album that steals the show: his writing and passionate singing.
In 2020, Dawson tells (presumably) fictions of people as if he were in their shoes in the playing time of the year 2020. He tells the story of one coping with mental health; playing soccer while being pressured by his father and ended up missing the winning goal; being a UFO enthusiast and sharing his extraterrestrial passion on the net. 2020 tells a different story with each track, but each track contributes as if they were pieces to the puzzle that is the album’s striking cover art. 2020 was always a symbol for hope to look onto, a future we all seek to thrive in. That big red cross ‘X’ seems to say the opposite.
4. Tyler The Creator — IGOR
IGOR is Tyler’s most highly praised, at the same time most controversial music yet. At this point, whatever that has been said about IGOR is likely to been described to its meticulous detail by critics and reviewers all over the world. The album alone has earned him the title of the Music Innovator Award from Wall Street Journal, the cover of GQ’s Men of the Year issue and a Grammy nomination for the best rap album of the year.
That last achievement may be misleading, in that Tyler only raps about 41.5% of the entire record. IGOR plays whatever Flower Boy, his previous record had to its advantage, and adding so much more. It is not afraid to be ugly or back away from its maleficence, hence the album title. Tyler’s new record consists of a new direction towards soul music, with colorful and extravagantly soulful 7th/9th chords that he’s so stylistically known for, plus a lot more of Tyler’s singing than rapping. IGOR draws a very gruesome yet soft and fluffy texture to the story of a love triangle. Love isn’t always sweet as apple pie in real life, and IGOR is a testament to that.
IGOR’s brilliance is supplemented with many subtleties, a lot of them which you can trace back to heavy inspiration from Kanye West. One such element is the heavy breathing in tracks like NEW MAGIC WAND or WHAT’S GOOD which makes the album’s narrative so much more human and grounded.
5. Denzel Curry — ZUU
Denzel is in every blog and Internet articles’ top rappers list of the decade. He has an impeccable flow and outstanding personality that puts whatever boastful pride other rappers have to shame in comparison.
Denzel’s projects so far come in a predictable sequence: a big project followed by a smaller-scale one. ZUU is that smaller project after his critically acclaimed Ta1300, but its quality is just as much good as his previous more ambitious material. ZUU presents some of the tracks that are commonly associated with the hip-hop landscape: money, drugs, girls and those three again on repeat. However, Denzel does it well, also adding some tracks that display his softer side towards his family and ‘day ones’. In tracks like RICKY and even skits like YOO, Denzel cuts off the braggadocious attitude and instead diverts your focus to his relational ties with his loved ones. Denzel knows the rap life ain’t just about the rap life, ZUU stands out among the music from his peers because of that even though as listeners, we only get a glimpse of such a theme from him in his music.
6. Mac Ayres — Juicebox
Mac’s rise in popularity was partly due to a sudden flood of recommendations of his songs from his Drive Slow EP on the Youtube feed of many Indie/Lofi enthusiasts. Mac makes music inspired by the King of Pop, Michael Jackson and soul-funk extraordinaire, Stevie Wonder. He wears these influences prominently on his sleeves throughout his discography.
Juicebox sees Mac trying to innovate and create better-crafted tunes while still staying true to his ordinary defining sound. This resulted in a cleaner, more filtered studio production of his music as well as a grander and more enticing image for the general audience. Juicebox was also deeply motivated by Mac’s listening experience from Bruno Mars — 24K Magic which manipulates elements from the 70s-80s to make this fusion of disco funk-pop. Successively, it became this wonderful blend of soulful contemporary R&B, while funky and upbeat at times can still be mellow and romantic. Juicebox is a ‘vibe album’.
7. Far Caspian — The Heights
Uni project turned viral Indie group, Far Caspian is a group of couple hipster-looking guys currently taking the Indie world by storm. Known for their dreamy and hypnotic/almost psychedelic music, in addition to their very eye-catching cover arts for singles, Far Caspian’s reach in audience is slowly reaching beyond its usual English fanbase with the help of some Indie enthusiasts.
The Heights is a cheat on this list: it is actually an EP with only 5 tracks that total to barely 20 minutes in listening time. The group’s sound relies on very soothing and calming play styles while also remaining upbeat in rhythm. Fans like to call their music “the perfect playlist to put on road trips”. To sit and stare as the scenery passes you by in the burst of a blur, Far Caspian knows how to capture and reproduce that sense of comforting bewilderment in their own way. And they do it extremely well. I find myself daydreaming a lot when their music is put on.
8. JPEGMAFIA — All My Heroes Are Cornballs
JPEGMAFIA, aka Peggy, rose from the underground hip-hop that has been very welcoming for his erratic, unnerving, aggressive, spitty and ‘social norm challenging’ lyrics. His production plays a part in his unorthodox methodology, utilizing weird samples and surrounding noises such as the burning of campfire as background noise in his music.
Peggy’s music here is equally ecstatic as before, but sometimes extravagant at some points, especially his autotuned chorus on the opening track: Jesus Forgive Me, I Am A Thot. This album introduces him singing a lot more over his tracks. While Peggy loses a substantial portion of the edginess found in his previous record, Veteran, that edginess is traded in turn for more melancholy. Nevertheless, his personality is still the focal point, stronger than ever. Veteran may be dark and packed with hostility, this album has all that too but has dimmed the violence with a splash or two of comfy, warm pink. Peggy’s music is a great release of steam for us angsty 21-year-olds who are unsatisfied with the culture and toxicity or finding themselves unfit in the world enveloping them.
A more soulful connection to land and to loved ones
But I can hear the lie before you speak
9. The Comet is Coming — Trust in the Lifeforce of the Deep Mystery
It takes a while for an average listener to get a grip on what is going on through this album where the one thing you know is that this is undoubtedly jazz fusion, but fusion with what exactly?
Once it starts becoming less overwhelming and warms its way towards you, The Comet is Coming begins to have you descend into the wide, engulfing outer space they created with this record. A lot of the main melodies are played by the saxophone, a notable sound you will find throughout the record. Other than that, it is the electronics and keyboards that stand out a lot. Sometimes, they can come blaring behind the sax; other times they merely support the sax; they even at times swap dominant roles with each other at unpredictable points. Drums here too go insane on tracks like Timewave Zero.
It is really the fusion here that is so captivating. It is one of those records that paints such a realistic illusion: a world where your feet touch new soil and your lungs breathe new air. But the new record does require a lot of time and concentration to get into. For me, most times I find the album at its best sounding when I am alone and focusing on writing material(like now). It was only after a few thorough listens did I deem this a brilliant work of art.
Baby Jesus, please save us
I know I used up my three favors
Back to sinnin’ like a week later
10. YBN Cordae — The Lost Boy
Cordae’s debut album does not shy away from the typical pride and snobbery rappers wear but is seasoned and dashed with thankfulness for the negative experiences and lessons he has undergone. Although gratefulness is not a stranger to hip-hop, specifically in relation to religion as a number of tracks here are undoubtedly gospel-influenced, Cordae gives it his own little spin with his clever and sometimes sly lyricism as well as his catchy hooks.
The Lost Boy overall sounds very homely, reminiscent of seeing someone you were fond of from a long time ago whether it be family or not. This album’s tone ranges not too far from soul, occasionally being incredibly heartwarming in its message. Cordae also has very good chemistry with the guest features he has included in this debut album, especially with Anderson. Paak on RNP. Cordae looks like a star in-the-making. He has the potential to really shake up rap music to its next game. Cordae has good flow, smart lyricism, smooth singing… His future looks very promising.
(‘Favorite Music Albums of 2019’ is phrased the way it is, not ‘Best Music Albums of 2019’ because it is only the writer’s opinion. Feel free to feel different and form your own unique list! I hope this inspires you to listen to some of the music on here if you have not.)
