Pick of the Pops: artists’ albums of 2019

Have you ever heard the sentiment: ‘Without nostalgia you’d have no Homer or Proust’? Fontaines DC’s debut uses self-conscious modernistic nostalgia as a weapon against the dulled tech-gentrified Dublin of today. They conjure images of some platonic idea of Dublin. Their imagined city is toasty, independent, inspired, and verbose. The whole band’s bouncy strut in ’She Sha Sha’ mimics the click clack of a mid-afternoon stroll down cobbled streets (it’s hard to not think of Bloom and Stephen if you too have ‘a heart like a James Joyce novel’). Ah - that’s the spirit.

Read our review of ‘Dogrel’ here.

I always look for honesty in music. Secondly, melody. This latest, and unfortunately last, collection of songs by David Berman marries the two effortlessly. It’s a record to dance to, to walk alone at night to, to feel strange to, to fall in love with and to break your heart. He’s a truly unique voice who gave everything to his art, and at least he leaves that behind.

Read our feature with Whenyoung, taken from the May 2019 issue.

We think it’s just been pulled offline so you’ll have to wait again to hear it, but there’s nothing quite like the catharsis experienced and the anger expressed throughout this record. Breathtaking honesty, we fucking love it.

Read our feature with The Murder Capital, taken from the August 2019 issue.

‘Designer’ is full of perfect songs. Nothing is over complicated, everything feels the way it should be. It’s got strange and wonderfully shaped melodies; it’s beautifully performed and I love its melancholic bliss. Thanks Aldous.

Read our review of ‘Designer’ here.

Read our feature with King Nun, taken from the October 2019 issue.

It was an indie dream day to have Phoebe Bridgers and Conor Oberst release a whole record together, and we’re by no means surprised that it’s freaking fantastic, but IT. IS. SO. GOOD. Haley has cried multiple times to these songs over the past few months, which is a good thing!

Read our review of ‘Better Oblivion Community Center’ here.

Read our feature with Sløtface, taken from the December 2018 / January 2019 issue.

Our ears can most often be found doused in the music of years past rather than present, but this record jumps out at you from the first bar. It’s just irresistible with its creamy future-funk sensibilities. A little softer than his previous albums and reading like a stack of love letters shuffled with a few poignant postcards of social commentary, the record is a banger. Plus it has features from André 3000 and Smokey Robinson!

I’ve been a huge fan of Tycho ever since we started touring, they’re always the best soundtrack while I’m exploring a new city or on a scenic drive. I was really excited to hear vocals over some of the tracks on this album.

There’s something about this collection of songs that is so pure. It feels brave. This record isn’t about seeking attention, it’s about paying attention. You can’t help but sit back and listen. It makes for a beautiful record.

Read our review of ‘Diviner’.

Read our feature with Woman’s Hour, taken from the February 2019 issue.

Argentine shredder Marina Fages, one of my long-term faves, leveled up with ‘Epica…’. The electronic, ephemeral kitsch of ‘Hardcore Disnei’ - à la Grimes-when-we-still-stanned - sits comfortably alongside the synth-flecked indie pop weirdery of ‘Aventuras’, or the RPG bloops of 8-bit outro ‘Te Beso’. Marina’s pristine pop voice, drawn to flighty and indelible melodies, navigates deftly above it all. Hooks upon hooks boast a compositional savvy akin to Marika Hackman, but wrapped in the rainbow garb of fairytale fantasy. Of course I love it.