Year by year, decade by decade, I feel as though I move further and further away from radio. I still feel a nostalgic twinge when I think back on the 90s, and how turning on the boombox guaranteed that you'd hear an catchy hit. You might have had to sit through some overplayed, saccharine chart hits to get to anything fresh, but those hits helped define the decade. Same for the 80s. And the 70s. The 60s. And so on.
In terms of variety, the current era is probably the best time to be a music fan. Granted that music ownership may be in peril from the streaming model, streaming is a pretty flexible medium that allows me to listen to any genre, from any decade, any time and anywhere. The old hits I used to know and love are never really gone (save for some bands and one-hit wonders I've had to collect physically--that's a totally different rant though). So, I may not listen to a radio anymore, but some combination of Spotify, Amazon, Bandcamp, and Youtube will give me instant gratification for finding new songs and albums.
I found myself playing fewer CDs than usual in 2019. I did download loads of chillout tracks from a label on Bandcamp (a brand specifically called "Chill Hop," which is pretty smooth, if not a little repetitive). As usual, I picked up a lot of soundtrack music that caught my attention. Many of the bands I've paid attention to before are still pumping out new work.
What probably satisfied me the most this year was the amount of metal I came across. It's refreshing since I discovered less metal in 2018 and seemed to lean heavier on EDM type music. Now the pendulum swings back into the darkness, with pretty spectacular new work put out by Rammstein, Lacuna Coil, Tool, Dream Theater, KoRn, Opeth, Queensrÿche, and more. All these groups have given me a wealth of incredible new tunes that will continue to stir my imagination and make me pump my fist.
I have dabbled with the occasional electronic band as well. With my mind considering a possible new novel idea, I've started looking into more chiptune music (although I find myself gravitating towards, simply, listening to retro 8-bit video game tunes--I'll have to explore the genre some more). I wish I could say I heard more great pop and rock music, but the best I've found was the song made for Black Mirror--Ashley O's "On a Roll," which is nothing more than a bastardization of NIN's "Head Like a Hole," and done on purpose as a form of satire to match the episode of the show. And yet, Miley Cyrus made it so catchy.
From what I have heard, here are the latest albums and songs I enjoyed the most.
AL'S TOP 2019 ALBUMS
32: Anti-M - Pieces
Pretty short collection of cover songs, but it's modestly satisfying. The band balances vocal beauty and powerful guitars in all the same ways that made me appreciate Damage. I find Pieces to be a little too mellow, but it could grow on me with its atmosphere and craftsmanship.
31: Bear McCreary - Godzilla: King of the Monsters Film Score
Bear McCreary delivers the classic Godzilla themes we all know and love, now with fresh and powerful quality. Not only is it a sensible fit for the movie, but it's also pretty awe-inspiring to hear on its own. This album also deserves bonus points for including Serj Tankian's badass end credits song.
30: Delain - Hunter's Moon
Like most modern symphonic metal albums, this hits all the right notes. Vocals are strong, guitars are solid, the mood and atmosphere are on-point. Most of this album consists of live recordings, but for the original new songs, the guitars are exceptionally potent. Time will tell if this will grow on me more, but as of now all I can say is that it's solid.
29: Nemesea - White Flag
This is one of those albums that I love half of and dislike the rest. I suppose that means it's a bit uneven. The slower tracks do nothing for me, but select songs--"Kids With Guns," "Don't Tell Me Your Name," "Fool's Gold," "Ratata"--are very catchy, with dramatic falls and uplifting rises that I find exhilarating. When the songs pick up, they hit hard, and I find myself replaying these select few quite often.
28: Okilly Dokilly - Howdilly Twodilly
2019 was the year I learned that Ned Flanders themed metal--otherwise known as Nedal--is real. And man, it is as brutal as it is amusing. It makes me wonder how much anguish and torment Ned Flanders actually endures in the Simpsons. Judging the music can be a little overwhelming with its sheer noise, but I've come to appreciate select songs (favorites of mine being "When The Comet Gets Here," "I Can't It's a Geo," "Murder House," "Claw My Eyes Out"). The band is mostly a novelty meant for a laugh, but it does strike some surprising mood and gravitas at times. This band shall stand proudly next to my collection of Dethklok and Austrian Death Machine CDs.
27: Fury Weekend - Escape From Neon City
This brand of retrowave is on-point and I wouldn't fault it for much. The synths and percussion are groovy as ever. Fury Weekend is a little high-tempo for my taste, which is why I place it a grade below its brethren acts (Scandroid, Sunset Neon, Signal Void are more my speed). If it's a punch you want with your 80s future sound though, this album is well-built, fairly catchy, and keeps the momentum running consistently.
26: KoRn - The Nothing
There comes a point where one can't help but to listen to so much KoRn and not see it as a lot of whining. Trauma is part of their brand, and their music is an expression of pain and torments I couldn't possibly understand. And yet, there are points in this album where I feel as though the anguish becomes over-the-top, and I'm not entirely sure if I should laugh or cry at it. Still, this is a solid album for them, with a few songs I find catchy and interest. It's all as raw, dark, and powerful as one would expect. I find it more palatable than Jonathan Davis' solo effort, but not quite as good as The Paradigm Shift.
25: Opeth - In Cauda Venenum
Opeth's latest album (a double-album nonetheless with a Swedish side and an English side) continues in the same vibe as their last few releases, with perhaps a bit more atmosphere. They're still not nearly as heavy and screamy as their initial works (which I'm fine with), but In Cauda Venenum still packs a fair punch with its deep guitars, bass, and vocal power.
24: Future Girlfriend Music - Through Space To See You
I stumbled across this album randomly on Bandcamp, wondering if this is real J-pop or what. I wound up falling in love with the vibes it produced--it came off as a throwback, reminding me of how dance floors used to sound and feel. At the same time, it feels pretty fresh with its thumping percussion, pleasant accompaniments, and deep bass. This must be, like, the Japanese Daft Punk, and I find it soothing.
23: Tarja - In the Raw
It is my humble opinion that, of all musicians I know of, Tarja Turunen still boasts the best singing voice. Her latest solo album doesn't disappoint--her voice is still the star amidst a raging sea of rip-roaring guitars. Few guests join in the fray (including Christina Scabbia, holy crap!), offering a selection of songs that are fairly catchy, and often times haunting. Sounds raw, but still beautiful, just the way I like it.
22: Cassetter - Escape Plan (Demos and Rarities)
I honestly haven't heard any other songs by Cassetter, but I picked up this album on a sale. As expected, it's more retrowave, woo! What I like about this album is that it's purely instrumental. The melodies, crafted from atmospheric synths, are pretty cool. The album offers a little something for every sci-fi whim a writer like me could indulge in, and I see myself drawing inspiration from it for future works. I really ought to check out the band's other works now.
21: Eric Serra - Anna Film Score
Reliable as ever, Eric Serra delivers a cool score for a (somewhat) cool film. There are a couple of pop tracks to match the films' fashion-scene angle, but the rest offers just what you'd expect from a spy movie score--throbbing bass and percussion, mood and style, and atmosphere. It can be mellow and moody at times, but there are bursts of energy. The only thing missing is a distinctive theme, but for listening on its own, I don't think it's all that necessary.
20: Matt Morton - Apollo 11 Film Score
Part of the allure of the Apollo 11 film is the funky way it marries archival footage with a modern soundscape, courtesy of Matt Morton. The synths in this score are no joke--they add an otherworldly air that adds gravitas, tension, and atmosphere to something as mundane as a historic shuttle launch. It's a heck of an experience while watching the film, and it makes for a moody listening experience on its own. It's everything I could ask for when thinking about music for space.
19: Tyler Bates and John Swihart - Far Cry: New Dawn Soundtrack
This may be one of the more unique soundtracks released in 2019--even though Far Cry: New Dawn demands some grit and intensity for its action-packed gameplay, the soundtrack offers some slick synths to accentuate the colorful, neon-rimmed aesthetic the game ultimately aimed for. The result is pretty exciting at times and very moody other times. The "Hope County" track hits me every time with its weird, bending notes, which adds a surreal atmosphere. Other tracks boast pulsing, pounding percussion that accentuates the pulsing synths, but there's an occasional burst of guitar to bring an Earthly sound when needed. It's as emotional as it is awesome.
18: Comaduster - Dark Matter
This band has recent grown on me, and Dark Matter offers exactly what I'd expect out of them: a brand of electronica that achieves high intensity, but maintains an even tempo even when it dives into the darkest melodies. Percussion is nice and strong, the electronic aspects lends an appropriate otherworldly sound, the heavy guitars add weight, and the vocals are smooth. I consider this to be quite the solid album.
17: Dream Theater - Distance Over Time
On par with the bulk of Dream Theater's albums, but hardly derivative or bland. As expected, the album delivers a fresh round of original tunes with fair hooks, phenomenal vocal quality, and powerful guitars. The album is consistently melodic, dramatic, and just plain awesome.
16: Hans Zimmer - Dark Phoenix Film Score
Arguably, the music may be the sole redeeming quality of the Dark Phoenix film. Hans Zimmer employs his usual tricks (which may be irksome to some folks) to deliver a score that bursts with emotional crescendos--the kind that never seem to end as the notes and keys constantly shift. There's drama and power to the orchestrations, and I find it rather awe-inspiring.
15: Max Richter and Lorne Balfe - Ad Astra Film Score
Much like the Apollo 11 score, Ad Astra's score employs its fair share of pulsing synths to give the film a futuristic and otherworldly ambience. But much like the scores for Interstellar and 2002's Solaris, this score also expresses mood and emotion when warranted. The range of electronic sounds is often appealing track-to-track and scene-to-scene. It matches the movie well, and makes for an inspiring listen.
14: Signal Void - This Liminal Reality
This is on-par with some of the other FiXT "Neon" acts I've lent an ear to--the percussion thumps hard like Scandroid, the synths pulse and waver like Fury Weekend, but the mood and is smooth and atmospheric like Power Glove. What I like about Signal Void's work so far is that it bears all the structural strengths and the right sound of retrowave, but with a sense of gravitas that genuinely feels like music of the future, instead of a mere throwback. It's cool stuff and I can see myself writing to this more often than some of the other bands.
13: The Anix - Hologram
The Anix caught my attention over the past couple of years thanks to their mood and style. They're dark and heavy, but with an electronic flair that places them more in the realms of futuristic rock than straight-up metal. Crisp drums, deep guitars, and haunting voices define Hologram as much as they define their previous work. It's all on-point--if cyberpunk has a sound, it'd probably sound like this album, and it's pretty cool.
12: Tyler Bates and Joel J Richard - John Wick Chapter 3: Parabellum Film Score
If you've seen these movies and/or heard these soundtracks, you know what to expect. It's becoming more of the same (like the movies?), but it still fits the films like a glove. Mood and style ooze out of each track. The themes, with the dark, slick combination of percussion, piano, and guitar, are still recognizable and characteristic. Above all, this album boasts energy and intensity that matches the on-screen action and is pretty invigorating to hear on its own. The soundscape is also expanded to feature more exotic sounds (thanks mostly to the Casablanca scenes, which warrants more Middle Eastern instruments at certain parts). There are no songs included on this album, unfortunately, although Julia Aks' "Dance of the Two Wolves" is a standout instrumental piece that could give Rob Dougan a run for his money. John Wick is three for three when it comes to music.
11: Sunset Neon - Starlight Remixes
10: Various Artists - Once Upon A Time In...Hollywood Soundtrack
Like the movie, this is a totally hip time capsule of 1960s Hollywood, complete with old-fashioned radio ads and announcements. Listening to this album is like tuning into a Californian radio station, so the experience is already novel and fun. The actual songs are decent, featuring enough energetic 60s rock to make you want to groove. The album even features a couple familiar hits from different artists: José Feliciano's version of "California Dreaming" and Vanilla Fudge's version of "You Keep Me Hangin' On" are both interesting gems. All of those on top of Deep Purple's "Hush" and a whole bunch of Paul Revere and the Raiders makes this a rather valuable compilation in my ever-growing collection of psychedelic rock.
9: Scandroid - The Light
Klayton had previously led us into The Darkness, and now he brings us into The Light. As expected, his brand of retrowave still boasts powerful drums, dazzling synths, catchy melodies, all unified by his smooth voice. The vibes are lighthearted, the tempo is often pretty high and brimming with energy. What really blows me away is "New York City Nights," in which a smooth sax accentuates the throwback sound and adds some soul to the mix. The 80s sound never sounded so slick and new.
8: Lindsey Stirling - Artemis
Lindsey Stirling captured my heart with her debut album, and she does it again with her latest. Even though I wasn't particularly enthralled by Shatter Me or Brave Enough, I feel as though Lindsey brought back a certain purity of sound with Artemis, thanks to the simple focus on blending her exquisite violin with throbbing dance tracks. Pop vocals aren't quite as prevalent, and that's probably why I liked this more. I guess I don't ask for much--lay down some violin with some drums and I'm good. Fortunately, the melodies are catchy in Artemis, often to the point of achieving a level of class amidst each song's structure. For the first time in a while, I find myself inspired by this sound again. I also don't mind the sci-fi/anime aesthetic.
7: Rob Dougan - The Life Of The World To Come
The third of a trilogy of EPs Rob Dougan has delivered over the past few years. His latest work has been a refreshing burst of class and quality since his immense hiatus. Even though I find his vocals a little grating in some songs, the instrumentals behind this EP are dang near perfect. There's a sense of drama, melancholy, and joy amidst the classical-inspired orchestration, and there's still a nice modern flair thanks to the percussion. Music like this made it worth the long wait since Furious Angels.
6: Lacuna Coil - Black Anima
And you thought Delirium was dark and heavy.
These fine Italian headbangers dive headlong into heavy currents of dark melodies, roaring vocals, and raging guitars. The tempo is high, the riffs are intense, and each song boasts catchy melodies. I've always admired Christina Scabbia's voice, which always counterbalanced the darkness with a certain beauty and elegance I can admire--the contrast is starker in this album thanks to Andrea Ferro's growls. And yet, the album manages to experiment a little more, pushing Scabbia's vocals to shocking heights, Ferros' to incredible lows, and even the accompanying sound lucidly flows from electronic to gothic. It's all harmonized in a unique way that invokes the very feelings I come to admire from the band--I'm still in awe over the way they merge darkness and beauty.
5: Queensrÿche - The Verdict
While I find it hard to connect with new work that some 80s bands produce (looking at you guys, Aerosmith, Def Leppard, Boston) Queensrÿche surpasses my expectations by delivering a sound that's most certainly the stuff of heavy metal dreams, but is still fresh thanks to its remarkable hooks, daring melodies, and sheer vocal power. Every song in The Verdict feels like a winner--catchy, fast, but harmonic. Above all, there's an uplifting power behind the spectacular guitars and melodies--the kind of power that makes me feel alive.
4: Leah - Ancient Winter
Just about all year, Leah promoted her latest self-produced album that promises a winter theme for her brand of Celtic-infused metal (and I was a backer, naturally--Leah won me over with Kings & Queens). When I finally heard the final product, I felt it was a mellow affair--the guitars are far more subdued than from her previous albums, to the point where it feels more like folk and less like metal. And yet, I'm pleased by the sound. Soothed, in fact. For a Christmas album, it's a perfect fit. There's still a decent tempo and sense of power to it, but the Celtic elements combined with Leah's beautiful voice add a new age flavor I find elegant. It stirs the imagination as much as it does the soul.
3: Thomas Newman - Tolkien Film Score
I mean, it's no Howard Shore, but there is a gentle, soothing quality to Thomas Newman's oeuvre that could just as easily make you feel at home in the Shire. With the Tolkien score, Newman taps into the familiar new age style that Shore exemplified in his movie scores, but with far less pomp. There is still a clash of light and dark, but the whole album plays smoothly and softly, becoming a wonderful ambience that I find inspiring. It matches the movie just fine, but on its own, it's lovely and soulful. It sets a perfect mood for fantasy writers, and it can serve as music to relax to. I can't think of a more perfect album to conjure up images of dragons, magical rings, and the beauty of nature.
2: Rammstein (Self Titled)
Another band makes a bold comeback, this time after a ten year gap. Rammstein hits their notes hard as ever, still boasting catchy riffs and hooks amidst an intoxicating miasma of industrial drums, guitars, and punchy vocals. There's practically no filler to this album--every song becomes an earworm that's hard to shake. I am especially floored by "Puppe," easily the darkest and most gut-wrenching metal song I've heard all year. I mean, damn--is Till Lindemann okay? Somebody better give him a hug soon--his chorus exudes pure agony (see Jonathan Davis, that's how you express trauma).
Rammstein's discography has been loaded with awesome hits, but their latest album ought to stand as one of their best. The only reason I don't rank it as number one is because one other band made a heck of a comeback this year, and I've been listening to it far more often and intently...
1: Tool - Fear Inoculum
It's been thirteen years since 10,000 Days (funnily enough, it hasn't been a literal 10,000 Days, that would have been a 27 year wait). Tool unveiled their latest work in some kind of crazy packaging that plays a video when you open it. Yes, I own a copy and it's so indulgent and crazy that I actually kind of like it.
If it's one common thing I've noted in all these albums I've written about, it's that I've been attracted to sounds that are smooth. Not slow, not soft, but an even tempo with sounds I find pleasing. Even in a metal album like this, Tool achieves a level of lucid smoothness I find appealing, most especially in the song "Fear Inoculum," which starts off like a kind of meditation and gradually intensifies with throbbing guitar blasts. I am most especially enamored by the riffs and lyrics of "Pneuma," a song that practically begs for spiritual awakening. Every other song is solid. And complex. And long. The whole album is a feast of sound, so full of timbre, depth, and melody. And yet, the guitars still sound awesome and catchy. But it all goes down my ears smoothly thanks to its restrained cadence.
Tool always strives for a certain worldly sound and aesthetic, which seems to extend beyond the physical world. If there can be such a thing as meditation in metal (heavy, progressive, what have you), then Fear Inoculum succeeds in a way I find palatable and invoking. I know other fans prefer their older albums over this (most especially Lateralus and Ænima), probably because they offer heavier riffs. I'm content to pop in Fear Inoculum and become lost in its dark sea of thought and feeling, over and over again.
AL'S FAVORITE 2019 SONGS
