10 of 2019’s Best Albums

10 of 2019’s Best Albums

The hybrid work of Julia Wolfe’s oratorio Fire in My Mouth, FKA twigs’s Magdalene, and Kris Davis’s Diatom Ribbons all showcase the experimental spirit of this year’s most exciting music.

Facebook
Twitter
Email
Flipboard
Pocket

It’s dicey business to make grand inferences from a list of creative works if you’re the person who made the list, since you’re providing the evidence for the conclusions you draw. With that caveat in mind, I’ll risk pointing out a couple of themes common to most of my choices for the best albums of 2019. Nearly all of the recordings I view as the most original, most moving, or most impressive are hybrid works in one way or another: the mash-up of imagination and history in Julia Wolfe’s oratorio Fire in My Mouth; the cerebral pop electronica of Magdalene, by the multi-platform artist FKA twigs; the collage of spoken language, song, and jazz in Kris Davis’s Diatom Ribbons. All, with no exceptions, have thematic content centered on or otherwise reflecting the experience of women, by virtue of the fact that all of their creators were women.

Here’s the list: 

  1. Fire in my mouth, Julia Wolfe 

Epic in scale and impact, this monumental work of musical drama recasts the story of the Triangle Shirtwaist Factory disaster as one of activist outrage by maltreated laborers, most of them women. (Read our review of the concert performance.) 

  1. Magdalene, FKA twigs 

An untrammeled, free-form rumination on the story of Mary Magdalene in irresistible beats, electronics, and elegantly piercing vocals by video-audio-and-everything-else artist Tahliah Barnett. 

  1. Diatom Ribbons, Kris Davis 

Best known before this as one of the most creative young pianists in avant-garde jazz, Davis emerges here as a composer of substance and range and a bandleader with a purpose strong enough to unite collaborators as varied as Esperanza Spalding on vocals, Nels Cline of Wilco on guitar, and Haitian electronics artist Val Jeanty on turntables. 

  1. Eve, Rapsody 

With her second album, Laila’s Wisdom, the MC Rapsody paid homage to her grandmother and earned a Grammy nomination. She cuts broader and deeper in this follow-up, a tribute to 16 women of color, from the civil rights activist Myrlie Evers-Williams to Michelle Obama and Sojourner Truth. The poet Reyna Biddy adds spoken-language interludes, but Rapsody’s raps are more fiercely poetic. 

  1. Orange, Caroline Shaw 

Shaw’s album includes six works for string quartet, including the five-movement suite Plan & Elevation, that somehow make the form defined by Joseph Haydn sound like a new invention.  (Read our review.

  1. Speak, Be Silent, Riot Ensemble 

The academic provenance of this music, composed and recorded under the auspices of Huddersfield University’s Centre for Research in New Music, in West Yorkshire, England, may make this appear much more pretentious than it is. The album has five rigorously imaginative and deliciously strange compositions by Chaya Czernowin, Mirela Ivičević, Rebecca Saunders, Anna Thorvaldsdóttir, and Liza Lim (composer of the three-movement title piece). 

  1. When We All Fall Asleep, Where Do We Go?, Billie Eilish 

Eilish’s album is confessional, slightly paranoid music, sometimes sad and sometimes biting, as true to life in the 21st century as rock and roll was for the singer’s parents. Cocreated by Eilish and her brother Finneas O’Connell, it’s sung in a whispery mode ideal for earbuds. (Read our review.) 

  1. Fanm d’Ayiti, Nathalie Joachim 

Fanm d’Ayiti is a gorgeously vivid musical scrapbook of testaments by Joachim, a seasoned composer and vocalist whose debut was long overdue, to the women of Haitian heritage who inspired her. (Read our review.

  1. Parlour Game, Jenny Scheinman and Allison Miller 

Americana and contemporary jazz conjoin happily in this first album by two longtime collaborators working as co-leaders. Violinist Scheinman composed eight of the album’s 11 tracks, drummer Miller wrote two, and together they composed one; all are intimate and playful. With pianist Carmen Staaf and bassist Tony Scherr. 

  1. Valve Bone Woe, Chrissie Hynde 

The Pretenders’s singer and songwriter fronts a smart jazz-pop ensemble in this fresh take on jazz standards and vintage pop tunes. Hynde, like Dylan in his recent albums of Tin Pan Alley material, is true to both the material and herself. We find here classicism, but not karaoke. (Read our review.

Honorary mention: Hittin’ the Ramp: The Early Years (1936–1943), Nat King Cole 

Hittin’ the Ramp includes 183 tracks from Cole’s earliest years, before he signed with Capitol Records and became a star. It is hard-swinging, jubilant, virtuosic fun. 

Thank you for reading The Nation!

We hope you enjoyed the story you just read. It’s just one of many examples of incisive, deeply-reported journalism we publish—journalism that shifts the needle on important issues, uncovers malfeasance and corruption, and uplifts voices and perspectives that often go unheard in mainstream media. For nearly 160 years, The Nation has spoken truth to power and shone a light on issues that would otherwise be swept under the rug.

In a critical election year as well as a time of media austerity, independent journalism needs your continued support. The best way to do this is with a recurring donation. This month, we are asking readers like you who value truth and democracy to step up and support The Nation with a monthly contribution. We call these monthly donors Sustainers, a small but mighty group of supporters who ensure our team of writers, editors, and fact-checkers have the resources they need to report on breaking news, investigative feature stories that often take weeks or months to report, and much more.

There’s a lot to talk about in the coming months, from the presidential election and Supreme Court battles to the fight for bodily autonomy. We’ll cover all these issues and more, but this is only made possible with support from sustaining donors. Donate today—any amount you can spare each month is appreciated, even just the price of a cup of coffee.

The Nation does not bow to the interests of a corporate owner or advertisers—we answer only to readers like you who make our work possible. Set up a recurring donation today and ensure we can continue to hold the powerful accountable.

Thank you for your generosity.

Ad Policy
x