Our music writers pick their favorite albums of 2019

The 2010s ended with another year of good local and international tunes. As is tradition, we’re capping off the year (and decade) with a rundown of our favorite albums released in the last 12 months. Here is our rundown of 2019’s best records from Charleston and beyond.

Vincent Harris

Benny Starr – A Water Album

It would be difficult to add anything to what the City Paper‘s readers, and Charleston as a whole, have said about rapper Benny Starr’s A Water Album. Starr has risen quickly in the music scene over the last couple of years, and that’s because he’s a fleet-footed wizard on the mic, spinning tales and pouring his soul out in captivating poetic verses. A Water Album is his bold step forward as a recording artist. It must have been difficult to pull off, but the idea behind it sounds simple: Take a dynamite band, the FOUR20s, a set of songs that bring funk, soul, jazz, electronic pop, and hip-hop together, then record it all live in front of a rapt audience at the Charleston Music Hall. It was a recipe either for transcendence or disaster, and in Starr’s case, the former won out. A Water Album is a musical masterstroke that raises the bar not just for South Carolina hip-hop, but for the state’s musical legacy as a whole.

Art Star – Akin to Sin

I get paid to describe music; that’s my job. And yet, I find myself struggling when it comes to Art Star’s Akin to Sin. It’s one of my favorite albums of the year — I think everyone should listen to it — but goddamn, it is hard to tell people what this EP sounds like. If noise rock and dream pop can share the same space, that’s where Art Star is. If indie-rock guitar riffs can be turned inside out and spread over precise-but-jarring tempo changes, that’s where Art Star is. And if a singer can be four or five different people through the course of an EP, that’s where Art Star’s Mia Mendez is. Akin to Sin is quite simply the most striking, unexpected, compelling album with the “rock” hyphen in it that came out this year. I’m not sure I’ve ever heard anything else like it, and it takes me by surprise every time I listen to it.

repeat repeat – Glazed*

With their second album, Glazed, *repeat repeat made power pop cool again. Produced to perfection by the Black Keys’ Patrick Carney, the album combines shimmering vocal harmonies, razor-edge guitars, and impossibly catchy songs into a technicolor burst of sound. When guitarist Jared Corder’s serrated six-string settles in alongside the duo’s joyful, surging vocal harmonies on songs like “Hi, I’m Waiting,” “Head On,” and “Pressure,” it’s a pure sugar-rush high. *repeat repeat’s first album, Floral Canyon, hinted at what the band could do, but Carney’s precise, pared-down production lets the individual elements in the group’s sound shine through in a way that Floral Canyon didn’t, and they responded with a uniformly tight set of songs. It’s probably my favorite album of the year because when it’s playing, the world seems brighter, and a lot more fun. That’s what music is supposed to be about, right?

Heath Ellison

Florida Man – Tropical Depression

Don’t ya love it when a band goes from zero to 100 between album releases, fleshing out their sound and fully realizing the potential they showed in the early days? Perhaps that’s why Tropical Depression was such an exciting listen. Florida Man cut the frills, kept every bright spot from 2017’s self-titled debut, and cranked up the heat without even entertaining the thought of the sophomore slump. In the first seconds of “Brain Cell,” the LP throws the listener into a torrential downpour of noisy melodies and gritty screams. “Dirt” immediately ups the pressure, assuring listeners that it’s going to be a bumpy ride. On “Holy Roller” and “Life Insurance,” Florida Man finds the groove but avoids the dancefloor, while “Weeded” and “Rat on the Loose” keep the turbulent riffs rolling. Months later, Tropical Depression remains a storm more powerful than its name lets on. The album’s a heavy listen, both sonically and metaphorically. There’s no respite as the listener is forced to trudge through a confused world alongside desperate characters that can’t escape their hopeless situations. Basically, it’s the musical accompaniment to 2019. Who else is ready for this decade to end?

Langston Hughes III – Dream Expedited

This might be the first time I’ve elected an album of the year on the merits of the background story alone. That’s not to say rap group Langston Hughes III’s debut LP, Dream Expedited, isn’t good. On the contrary: It’s freakin’ great and would have been a contender regardless. But, knowing that Chawle Dawk, Maximillion, Choc, and Cory B have each come close to a career in music before the rug was pulled out from under them makes every track on the album that much more triumphant. Songs like “Sophisticated iTunes” and “Black Caesars Palace” are an amalgamation of gorgeous beats and some of the hardest rhymes the Lowcountry produced this year. “Mozart Smokes Black & Milds” and “Old Bay” showcase the group’s fully formed, confident persona. Even some songs that I wasn’t in love with have a likability to them, and the reason for that is simple: This is songcraft at its most passionate. This is a life’s work put together in a couple years, mixing the urgency of age and the readiness of youth. And at the end of the day, the only descriptor I can conjure for the album was my first thought when listening to Dream Expedited. “They did it. They finally did it, and it’s great.”

Tyler, the Creator – Igor

I have something to confess: Outside of some “edgy” high school days, Tyler’s never really done it for me. Personally, most of his material has sounded like something that you eventually grow out of — even his 2017 critical darling, Flower Boy. So what happened on Igor? To my account, a lot happened. Tyler latched onto the earnestness he found on his last LP, composed some darn-fine R&B songs, then filtered it all through his unique weirdo attitude. Tracks like “Earfquake” and “I Think” show the rapper embracing variance in his songwriting, while “New Magic Wand” and “What’s Good” prove that Tyler’s making smarter aggressive rap tunes. The mini-epic “Gone, Gone/ Thank You” fuses pop, glitchy electronica, and a fun series of verses, perfectly setting up the gorgeous break-up tune “I Don’t Love You Anymore.” It all culminates in the bleeding and pleading album closer, “Are We Still Friends?” When reflecting on Igor, the most affecting aspect is the scope. Tyler made waves with the LP’s structure and followed a consistent throughline, creating his first release that felt like an honest-to-God album instead of a collection of songs. I can finally say I’m eager to hear what’s next.

Matt Keady

STEPHAN – Summer Solstice

Stephan Looney, lead singer and guitarist for local indie band CurrentBlue, filled his solo album, Summer Solstice, with rhythmic changes, melodic tones, and precise lyricism. CurrentBlue’s breakout single, “Daytrip,” showed they were a powerhouse in atmospheric and dreamy music. On his solo release, Looney emphasizes attentiveness in the production, having a coherent and calming persona in the vocals. The track “Something to Think About” has the Charleston native hovering over the mic in an ethereal manner, joined by a soothing guitar. The song follows a similar foundation, but it never becomes stale. He finds a balance on each song, never letting one portion take over the track. The level of self-production is magnificent and mathematic. All entities blend together for an exciting beginning for STEPHAN. This could be the turning point for his career.

Newgrounds Death Rugby – Hideaway

Hideaway is an album for the turning point in a youth’s life. Newgrounds Death Rugby is making strides in finding themselves and forming their unique, punk-esque sound. The track “D&D Is Gay (But So Am I So This Tracks) 2.0” offers a Parquet Court vibe, with Will Toledo-style lyricism. “Sophomore year was a lonely lonely time/ I only had my hand to talk to,” softly sings lead singer Daniel Jorgesen. Their lyrics are simple and it shows the innocence of youth, accompanied by contemplative thoughts on life. The high school-aged band also experiments with expansive psychedelia, progressive punk, and rock on tracks such as “Carabiner.” The easy going, free-flowing consciousness is doing wonders for the band. They use their own life experiences to push their sound to a boundary that seems far-fetched to the average high-schooler, even though it’s right there in their own mind.

The Mids – Wellness Check

Punk-psych revivalists the Mids started as a Black Sabbath cover band known as Sack Blabbath. Taking cues from Dear Blanca, ET Anderson, and Niecy Blues, the Mids approach new heights on their debut EP, Wellness Check. Although the band has been on the music scene for less than a year, their debut EP has somewhat established their presence in South Carolina punk and psychedelic rock, compiled into one candid and cohesive release. Plus, the anticipation for each song is quite satisfying. The track “Stella” changes from a perplexing and confounding atmospheric guitar, to a slow and steady build, thanks to an energetic vocal performance and a lawless bassline. This comes full circle, revolving back around to the start of the rhythm. The similarities in the vocals across the album has a large impact on every track, lending a sense of continuity to the EP. The transitions from punk to psychedelic are seamless and build a lot of hype for the Mids’ next release.

Kyle Petersen

Benny Starr – A Water Album

There’s music that sounds like a place, and then there’s music that digs deep and exemplifies it. A Water Album, the sumptuous LP from rapper Benny Starr, is defiantly the latter. It combines incisive social commentary and a rich, diffuse engagement with the cultural roots of the Lowcountry, unfolding across gorgeously wrought bars that are at once wise and searching. The FOUR20s, who recorded the album live with Starr at the Charleston Music Hall in the fall of 2018, hit the sweet spot between church and jazz club. For a city and region that feels like it needs saving, Benny Starr is our grand philosopher, possible healer, and potential savior. #Starr4Mayor2023

Cayla Fralick – Anyway, Here

Deeply relatable pop-rock albums about heartbreak are a dime a dozen, but they rarely reach the lyrical or musical heights Cayla Fralick achieves on her 2019 LP Anyway, Here. The artist creates a dynamic soundscape that uses ’80s-esque synths, shimmering indie rock guitars, and other production tricks. In the end, she creates a song cycle that chronicles the emotional struggle and communication barriers that hit a relationship hard, then she pokes at the embers in the wreckage until they glow. For fans of indie band boygenius or the Crutchfield sisters, this is your essential homegrown South Carolina addition.

Brittany Howard – Jaime

Brittany Howard is one of the great musical treasures of the past decade, but she’s never really delivered an album that matched her range, expressiveness, and vision until Jaime. Freed from whatever expectations or limitations she felt in Alabama Shakes, Howard delivers soulful queer love songs, deeply funky romps, skittering jazz asides, and feverish spoken word punk jams without any of the retro baggage that tagged her band. Howard is proving to be an artist truly without compare.

Lauren Hurlock

Ranky Tanky – Good Time

It should go without saying that Ranky Tanky’s Grammy-nominated Good Time is really good. If you haven’t treated yourself and spent 48 minutes with it, take this as your sign that you should. It’s a good time, pun intended. A note for Come Yahs: some lyrics reference Southern superstitions and phrases, so you may want to look up a phrase or two. (Unless you know what spittin’ on a broom means, in which case, more power to you.) After hearing a few songs on the album live at High Water Festival, it took weeks to get them out of my head. The instrumentals are catchy, and boy, can Quiana Parler sing. It’s a celebration of Gullah culture, and like the Charleston single house or fresh oysters, it feels right here. Sure, you could transplant it to New York City, but pairing their grooves with the salty air and marsh grass is just so delicious.

Abrie Richison

A Fragile Tomorrow – Generation Loss

Listening to A Fragile Tomorrow’s Generation Loss is like hearing all parts of a song finally come together in a way you never thought they could. After taking a three year break from releasing music, AFT reemerged with a new sound, new music videos, and a new message. The four-piece band’s latest album is more complex than their normal power-pop indie sound. They’ve left their guitar-focused techniques in the past and have welcomed stronger rhythms and lyrics to the forefront, and in my opinion, it’s working beautifully. Generation Loss experiments with psychedelic and art rock vibes while still taking samples from their earlier sound. Their evolution has spread beyond their music by manifesting in their message, as well. On their new album, they promote political activism in response to major issues found in the world today. Songs like “Gun Shy,” “I Fought the War, I Won,” and “The Human Condition,” offer enticing glimpses into meaningful themes about change, growth, and loss. AFT is giving us music that does more than entertain; they are giving us music that empowers and educates, as well. We missed you, A Fragile Tomorrow, but we are glad to have you back, new and improved.

Hozier – Wasteland, Baby!

Five years have passed since Hozier’s last album, but he’s back to remind us of his endearing voice and meaningful lyrics – though many of us never forgot. In his new album, Wasteland, Baby!, Hozier delivers a variety of styles, offering extensions of what we loved about his self-titled debut, as well as some completely new sounds to enjoy. Each song is different in tempo, instrumentation, and message. On “No Pain,” the guitar takes center stage, while Hozier’s vocals win the battle for attention on “To Noise Making (Sing).” His lyrics dance between life and love and pain, and all of the emotions that go with them. In “As It Was” he sings, “Whatever here that’s left of me is yours just as it was.” In “No Pain” Hozier croons, “As Mack explained, there will be darkness again.” Although Hozier hasn’t changed and is stronger in his unique style and sound, I would still call it a rebirth of his art. Wasteland, Baby! is more of what we love about the singer, but in a way we haven’t seen before. He’s taken us to church and he’s taken us to the wasteland, and there’s no telling where he’s taking us next — but I know I’m along for the ride.

Kevin Wilson

Wilco – Ode to Joy

Wilco’s latest LP, Ode to Joy, arrives 25 years into the band’s career and is replete with the sort of subtle beauty and understated virtuosity that the enigmatic ensemble has conveyed on previous releases. We recently caught up with the group’s steadfast bassist John Stirratt to ask him what makes the new tunes special. Stirratt maintains that this particular song cycle benefits from the fact that frontman Jeff Tweedy “is more confident and direct as a lyricist than he’s ever been before.” The material is “sort of quiet, subdued, and jarring, in a way,” he adds, “but really strong across the board.” Describing the process of assembling standout tracks such as “Everyone Hides,” “Quiet Amplifier,” and “Before Us,” Stiratt told the City Paper that, “there was a little bit of push and pull, with Jeff wanting to make sure that the lyrics were heard, and that the music wasn’t cutting in where it shouldn’t.” All in all, though, this older and wiser outfit, which also features Nels Cline, Pat Sansone, Mikael Jorgensen, and Glenn Kotche, seems to have found just the right balance in the recording studio yet again, making this one of the best listens of the year.

Hootie & the Blowfish – Imperfect Circle

Instead of merely turning on the smoke machine and playing the hits, like scores of other acts of a similar vintage, Hootie & the Blowfish has been out on the road for much of 2019 in support of an album that just dropped in November. Surprisingly, it contains some of the group’s strongest work in the studio thus far. The first thing you notice about Imperfect Circle is the astounding fact that Darius Rucker’s voice remains as rich as it was when copies of Kootchypop first flooded the Lowcountry over a quarter century ago. And the band — comprised of Mark Bryan, Dean Felber, and Jim Sonefeld — is in top form. There are, as always, nods to Bob Dylan, R.E.M., and others in the overall feel, but it’s safe to say that what Hootie & the Blowfish do is now immediately recognizable as its own distinct amalgamation of sound. It doesn’t hurt that some of the new tunes were co-written with Chris Stapleton, Ed Sheeran, and others. Yet, the highlight is the LP’s closing track, written collaboratively by all of the band members, called “Change” which finds Rucker addressing impermanence. It certainly seems like a fitting companion to Cracked Rear View’s “Time.”

Shovels & Rope – By Blood

“Intense” is the best way to describe the record delivered earlier this year by Johns Island duo Shovels & Rope. The act’s stellar new release, By Blood, beautifully showcases Michael Trent and Cary Ann Hearst’s artistic intimacy and adopts a running theme of interconnectedness, in a larger sense. As songwriters and performers, the pair consistently evoke a bygone era in American music on By Blood without ever making it feel like it’s lost in the past. And if you detect a certain swampiness to these tunes, that’s for good reason — they were all recorded right here in Charleston, at the couple’s backyard studio. There are too many standouts to mention by name but the most interesting cut on the album is an original story song based on the traditional murder ballad “Pretty Polly.” Throughout this LP, the pair sounds vulnerable, confident, gritty, and ethereal all at the same time. By the time the needle hits the inner groove bringing the title track and the entire sonic journey to a fitting conclusion, you’re bound to feel emotionally drained, but in a good way.

Well, that’s all folks for 2019. Don’t be sad because we will have a few other music retrospectives at charlestoncitypaper.com, including our top local music stories of the decade. We’ll keep writing over the next few weeks and will return on Jan. 8. Stay safe, happy holidays, and happy New Year from all of us at the City Paper.