It is that time of year again, where every self-respecting music blog feels compelled to release a list of their favourite albums of the year. Some opt for a kitchen sink approach (“Top 100 Albums of 2019”), where the list in fact renders itself utterly useless from inception, as – at least, from a snobbish perspective – any number greater than ten feels like a total cop-out to excuse dreadful indecision.
So here you have The Snobs’ approach. As ever, we’re doing things marginally differently as we continue a vain attempt to differentiate ourselves amidst the sea of noise that is the Internet’s attention economy.
We have selected a top five albums, based on simple overlap. We trust one another, you see, and it turns out we have quite similar taste (who would have thought) – enough to draw up a top five albums of the year at least. We then decided to each nominate one album to create an effective top 10. Below, you can find the results, alongside each Snob that backed it.
As ever, we actively encourage you to listen to every single one of these albums from beginning to end. We have, and we’ve bought the vinyl, which you should, too, if you like what you hear and want to support these artists.
Happy holidays, with love, as ever.
Your dear Snobs.
The Snobs’ Albums of 2019
Methyl Ethel, Triage
Perhaps unsurprisingly, our album of the year is the infectiously unforgettable Triage, which cemented Jake Webb’s position as a must-watch artist through 2020 and beyond. Whether it is the soaring All The Elements, the chorus-less Real Tight, the pop-infused Trip The Mains or single Scream Whole, that this album has not received wider recognition remains utterly baffling. Listen now, if you haven’t already – you must.
Purple Mountains, Purple Mountains
David Berman’s return was so warmly received that it goes without saying what a tragedy it was to lose one of Indie’s most talented songwriters to Depression’s savage grip, all of which renders this album all the more poignant.
Deerhunter, Why Hasn’t Everything Already Disappeared?
A mouthful of an album name that serves to encapsulate much of the anxiety that has overlaid the latter half of this decade, Deerhunter – despite Bradford Cox’s personality – continue to fire on all cylinders and remain must-listen artists for any self-respecting indie fan.
The Chemical Brothers, No Geography
No Geography marks a welcome return to the Dance veterans. One of the best surprises of the year, the duo have cemented their legacy at the forefront of Electronic music by continuing to lead the light in a genre they helped define three decades ago.
FKA twigs, MAGDALENE
A latecomer to 2019 but by no means should FKA twigs’ second full length LP be overlooked. MAGDALENE matches Tahliah Barnett’s beautifully arresting vocals with unparalleled production skills from the likes of Nicolas Jaar, wrapping the whole thing up in an exploration of femininity within a Biblical reappraisal to create an LP that cannot – and must not – be ignored.
Neal Francis, Changes
Changes marks the debut solo effort of former The Heard frontman Neal Francis having successfully come out of rehabilitation for all sorts of substance abuse. His band, comprising several former members of The Heard, has ample performing experience, which yields an LP, released in 2019, that delivers a convincing dose of ’70s R&B. Francis successfully avoids ‘derivative’ accusations while doffing his cap to the past masters, leaving us with a delightful record, full of funk and soul sorely missing from contemporary chart music.
Karen O and Danger Mouse, Lux Prima
A brilliant and long time coming collaboration by industry veterans Karen O and Danger Mouse. Lux Prima is a wonderfully lush and vivid album – Otacon was lucky enough to catch one of only two sold out shows – that is best experienced as a journey from start to finish.