It is quickly nearing the end of the year and we wanted to provide you with one last look at what came out in 2019. Each album was able to hold its own despite the array of albums released throughout the year. This can be a reminder of what you listened to, or a possible introduction to a new artist.
“Thank U, Next” was antithesis of “Sweetener.” It showed her range and depth, lyrically. In “Thank U, Next” Grande confronts the negativity with no sugar coating. She is vulnerable and honest with her audience – breaking away from that stereotypical happy go-lucky pop sound she is often associated with. Songs such as “needy” and “imagine” capture that soulful vocal ability she’s known for having with the backing of a seamless blend of electro-pop, blissful ambiance and smooth spacious trap. Grande shows depth, while also keeping her pop fans happy with more upbeat songs such as, “make up,” “7 rings,” and “bloodline.”
“Billie Eilish’s album is a harmonious clashing of dance music, pop, rap and folk. Eilish’s edgy yet angst visuals only assist the album which reveals the various faucets of Eilish. Eilish is unafraid to be vulnerable with her fans and explore darker themes. The beautiful, the weird, and the self-aware all mesh beautifully as every song within the album flows into the next, despite experimenting with every song.”
“Chase Atlantic is unafraid of deviating from the typical generic “pop” sound. On the contrary, they successfully and unapologetically integrates a mixture of dreamy vocals, hip-hop, electronica, rock, R&B and pop.” Read further on their second album release of the year, “Phases.”
“Every moody song in “III” expresses her story of self-love, growth, and the power within femininity. Every song is experimental but they come together beautifully as an album to tell the story of her growth as a more self-loving woman.”
“Fear Inoculum” kept true to what is most loved about Tool. Most of the songs on the album range between ten to fifteen minutes long. Almost every song goes through a range of complex but well managed drum beats, which are accompanied by the whisper-like melodies of Maynard James Keenan and driven home and juxtaposed by Adam Jones’ zig-zagging guitar licks. The only thing that the album lacked was the usual vocal flex that is done by Keenan. Don’t expect any of his usual screams on this album. This album is more “calming,” in the vocal aspect.” (Read the rest of the review here)
“K-12 is much more than a concept album, it is a short film. It stars Martinez, as “Cry Baby,” displaying her condensed tale of school life. The K-12 film is well produced, dramatic, kooky, bright and pastel. Despite the visuals being deceivingly innocent, much like Martinez’s lyrics, her short film is one of pain, growth, and the primitive world that is known as the educational system.”
It’s a very chill and relaxing “mini-album.” BoA is a Korean pop-star and falls under the K-pop category, but her songs aren’t what you hear in the mainstream. Her music isn’t distracting but instead very pleasant. Very much comparable to coffee shop music as it isn’t overly nuanced or complicated. The album gives late 90’s throwback r&b vibes. It’s very romantic with pop hooks. If K-pop isn’t your vibe this is a nice introduction.
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