This is a playlist. Click on each song title to hear it
Like the Best Albums of 2019 and Best NYC Concerts of 2019 lists, this doesn’t follow any particular order, or ranking. Most of these tracks are listed in the order they were received here (which doesn’t coincide with release dates for those songs which actually had them). Bottom line: if something’s good enough to make the top 100 of the year, it’s worth hearing. There’s a LOT of music here: you might want to bookmark this page and come back later. The point of this is not to regurgitatef the Best Albums page but also to include material by other artists who may not have put out an album this past year… or ever.
The best song of 2019 reflects the vast backlash against the Trumpie fratboy rape culture unleashed by the election three years ago. With just her acoustic guitar and her powerful alto voice, Karen Dahlstrom‘s defiant, gospel-infused No Man’s Land empowers everybody:
No man’s words can still my voice
No man can tell me where I stand
No man’s will can take my choice
I am no man’s land
In the year of Metoo, it’s a rare political song that isn’t strident or prosaic. It’s also the title track to her new album. Dahlstrom sings with folk noir harmony trio Bobtown, who you might see on this list a little bit later.
And there’s another song on that record that was too good to leave off the list. After the Flood, set in a post-Katrina New Orleans, examines apocalypses both global and personal.
The rest of the list also reflects a lot of wrath at rightwing corporate entitlement and gig economy-era fascism. If you need to get stoked for the 2020 election, crank this stuff.
Changing Modes – Rocket
A sinister surveillance state parable by the protean art-rockers which brings to mind X at their most rockabillyish. “Tell me why the failsafe signal failed/Tell me why the driver never broke a sweat,” co-frontwoman Wendy Griffiths wants to know.
Changing Modes – Fire
The band’s most savagely dystopic song, with a mutating backbeat stomp and wary chromatics from the baritone sax. “Caught by friendly fire/As drones divide the sky/You’ll just give in if you never ask why”
Changing Modes – Glide
The group’s cynicism reaches redline with this sardonically twinkly boudoir soul-tinged nocturne, Griffiths fixing her crosshairs on slacker apathy
All of these from the album What September Brings
The Bright Smoke – American Proletariat
A harrowing, darkly atmospheric, blues-tinged gig-economy narrative. “I fear this more,” frontwoman Mia Wilson intones, than “the employ of and the company of torturers and slumlords…an empire on its knees”
The Bright Smoke – Mauretania
Quincy Ledbetter’s oscillating bassline propels a desperate Joy Divison-esque tableau where everyone expects a “top down trickle down, but it never came.”
All of these from the album Gross National Happiness
Big Lazy – Dream Factory
Drummer Yuval Lion ramps up a loose-limbed slink with his flurries as Andrew Hall runs a trancey blues bassline, frontman Steve Ulrich’s baritone guitar pulling the song deeper into the shadows
Big Lazy – Cardboard Man
This one features Marc Ribot, a rare guitarist who can go as deep into noir as well as Ulrich, adding eerily flamenco-tinged touches. The exchanges between the two, switching in a split-second between styles, are expertly bittersweet
Big Lazy – Exit Tucson
A tense, morose quasi-bolero with all kinds of neat, rippling touches pinging through the sonic picture around Ulrich’s sad broken chords, disconsolately reverberating riffs and a long, forlornly shuffling solo
Big Lazy – Fly Paper
Gloomy noir cinematic theme with a deliciously disorienting blend of tone-bending lapsteel, furtive guitar multitracks and a trick ending. It’s the most Twin Peaks of any of the songs on this list
Hearing Things –Triplestep
Coalescing into a menacing mashup of Ethiopiques and a death row strut, saxophonist Matt Bauder gets the Pink Panther to cross over to the dark side, up to a defiantly soaring alto solo that makes a killer coda.
Hearing Things –Wooden Leg
A subtly sardonic horror theme in the same vein as Beninghove’s Hangmen, Bauder fluttering furtively in the low registers as the band picks up steam: it’s the album’s most deliciously noir epic.
Hearing Things – Stalefish
A more traditional, horror surf take on Turkish psychedelia, guitarist Ava Mendoza firing off slashing chords over baritone guitarist Jonny Lam’s snappy, evil basslines.
All of this from the album Here’s Hearing Things
Chicha Libre – Gnossienne No. 1
The legendary Brooklyn psychedelic cumbia band reunited for a South American tour and did a couple of darkly trippy Barbes shows to warm up. This quasi-bolero version of the macabre Erik Satie classic was the encore for night two. From their iconic 2008 debut Sonido Amazonico
The Dream Syndicate – Still Here Now
A bitterly gorgeous, resolute midtempo anthem that picks up with incisive piano and distantly unhinged sheets of Jason Victor guitar, building to a tantalizingly savage solo
The Dream Syndicate – Black Light
Spare, resonantly jangly guitar and eerily blippy keys over a midtempo swing groove in this dissociatively dark psychedelic tableau All these from the album These Times
Loreto Aramendi – Rachmaninoff: Prelude in C# minor
The Spanish organist slayed with this majestic, haunting arrangement at Central Synagogue back in May. She also did a killer (sorry) version of Saint-Saens’ Danse Macabre. Neither of these clips were recorded on organs as powerful as the one at the synagogue, but the performances are almost as much of a thrill
Enzo Carniel’s House of Echo – Chaoides
The French noir cinematic jazz trio killed with this at Nublu 151 back in January. Slowly and methodically, guitarist Marc-Antoine Perrio added washes to darken the fog, finally introducing a few portentous, lingering chords from his Fender Jazzmaster
From their debut album
Dawn Oberg – It’s 12:01
A parlor pop piano smash namechecking a litany of people murdered by the San Francisco Police Dept: “Past time, motherfuckers, to change the guard at the gate.” She slayed with this at the Rockwood back in September
Amanda Palmer – The Ride
Creepy circus metaphors taken to their logical, early 21st century personal and political extreme in over ten minutes plus worth of elegang neoromantic piano art-rock.“Everybody’s reaching to put on a seatbelt but this kind of ride comes without one”
From the album There Will Be No Intermission
Jay Vilnai – The Night We Met
The macabre final diptych on the guitarist/composer’s new murder ballad album Thorns All Over has Oscar Noriega’s moody clarinet rising over creepy, lingering belltones, minimalist guitar lurking in the background, descending to a glacially waltzing dirge.
From the album Thorns All Over
Joanna Wallfisch – Lullaby Girl
Capped off by an ornately gritty glamrock guitar solo, this big art-rock anthem could be peak-era mid-70s ELO. Wallfisch’s allusively imagistic portrait of an unnamed musician’s grimly elusive search for some kind of inner peace packs a wallop. How far do you think she traveled…
Joanna Wallfisch – Road Trip
This tensely pulsing, real-life account of her California tour by bike has a crushing existential subtext:
“I change my background story every time somebody asks/I have worn so many masks”
From the album Blood & Bone
Rev. Screaming Fingers – Dance of the Dust
Speaking of funereal, the organ beneath the loping, savagely crescendoing desert tableau adds immensely to the ominous ambience. From the album Music for Driving and Film, vol iII (The Desert Years)
Michael Winograd – Dinner in Bay Ridge
Don’t laugh, this is a killer song from the pyrotechnic klezmer clarinetist’s latest release. It’s a soberly syncopated, gorgeously wistful, crescendoing number, the group weaving around the melody as it winds out.
From the album Kosher Style
Joshua Garcia – Pockets Full O’Gold
A chillingly metaphorical, Phil Ochs-influenced catalog of stuff a guy keeps buying, set to terse fingepicked solo guitar. “I’ll buy me a family and I’ll buy some friends…I’ll never buy sadness, I’ll leave that all to you.” And it gets better. He killed with this at the American Folk Art Museum last winter
Charming Disaster – Blue Bottle Blues
A swinging, distantly menacing number about poisoning, with strings and droning harmonium; frontwoman Ellia Bisker’s sultry tones enhance the sinister ambience over guitarist Jeff Morris’ gorgeously bittersweet guitar jangle
Both tracks from the album Spells & Rituals
Unnatural Ways – Most of All We Love to Spy
More than nine sometimes skronky, sometimes crushingly ornate minutes of scorching Ava Mendoza guitar chromatics over drummer Sam Ospovat’s precise but relentlessly thumping syncopation.
From the album The Paranoia Party
Dina Maccabee – Even When the Stars Align
After an ueasily charming glockenspiel solo, the art-rock violinist/singer’s vocals dance over a slowly swaying, spare web of textures. “I’m still a million miles away.”
Dina Maccabee – –Tall Tall Trees
An unselfconsciously gorgeous late Beatlesque anthem set in a theatre where the show never starts; Roger Reidbauer contributes a deliciously spiraling, dipping guitar solo
From the album The Sharpening Machine
Roosevelt Sykes – Dirty Mother for Ya
The blues pianist revisits his ridiculously funny 1934 hit. ”Some people call it suggestive. Actually, I have no control of your thoughts. Listen to the words so you don’t get the wrong understanding,” says one of the only two dead artists on this list. From the Ann Arbor Blues Festival 1969 compilation
Beat Circus – The Last Man (Is Anybody Out There?)
A surreallistically swinging, apocalyptic, Lynchian blend of beat poetry and a Balkan-tinged chorale set to menacingly orchestrated desert rock. Think of how empty all those “luxury’ condos will be in the next five years.
From the album These Wicked Things
Girls on Grass – Because Capitalism
“Capitalism ruins everything worth doing,” lead guitarist/frontwoman Barbara Endes intones over a stabbing Motown beat, to a guy who’s only in it “For the cash, and the underage ass”
Girls on Grass – Commander in Thief
“I come from superior genes,” the narcissist-in-charge brags over a swaying Flamin’ Groovies drive, the faux bombast of the guitars matching Endes’ sardonic lyric
Both tracks from the album Dirty Power
Binky Philips & the Planets – Blink
A desperate narrative that could be a Vietnam War tale, or apocalypse by gentrification.”This will not stand from where I’m sitting!”
From the album Established 1972 NYC
Kinan Azmeh – The Fence, the Rooftop and the Distant Sea
Back in May on the Upper West Side, the great Syrian clarinetist teamed up with Brooklyn Rider cellist Michael Nicolas for an achingly gorgeous duo performance of this elegaic exile’s suite with an almost macabre cello interlude laced with sepulchral harmonics, ending as a poignant Arabic ballad. This clip is the version for clarinet and string quartet
Fabian Almazan – Everglades
An allusively gorgeous, thirteen-minute neoclassical jazz piano epic, with a broodingly emphatic bass solo, the chords rising with a crushing intensity. Is this about fighting alligators…or alligators fighting to survive?
From the album This Land Abounds With Life
Curtis Eller – Radiation Poison
Don’t let the bluster of those of jump blues-inspired horns fool you: this is about an invisible killer. The charismatic banjo player may reference Nagasaki and the New Mexico atom bomb tests, but in the post-Fukushima era, the song has even more relevance. “Everybody’s been exposed.”
From the album Poison Melody
Noctorum – Piccadilly Circus in the Rain
A bleakly gorgeous, syncopatedly swaying portrait of quiet working class desperation in real estate bubble-era London. “There’s no creative work amid the swarming bees”
From the album Afterlife
Russ Tolman – Kid
A searingly spot-on account of a girl from a broken home whose teachers think that she “might be talented at art,” but her refrain is “Please don’t make me go home.” The janglerock backdrop, with Kirk Swan’s incisive terse guitar fills and Robert Lloyd’s mandolin, is a little more gentle and sparkly than the bandleader’s legendary psychedelic band True West
From the album Goodbye El Dorado
Sharon Goldman – Sunset at the Border
Over brooding parlor pop, the purist acoustic tunesmith connects the dots between the North American refugee crisis and Gaza wallbuilding.
From the album Every Trip Around the Sun
Rose Thomas Bannister – Heaven Is a Wall
A shapeshifting fable about border walls packed with the cynically appropriated Old Testament imagery that the psychedelic Great Plains gothic songstress loves to use to drive a point home. She killed with this at Union Pool back in September with her band
Yale Strom’s Broken Consort – O Mighty Stronghold
Whoever thought a Hannukah standard could be so epic: Moroccan flair, sweeping strings, biting oud and an exhilirating violin-cello duel.
From the album Shimmering Lights
Theremin Noir– Carlotta’s Portrait
The Bernard Hermann theme from Hitchcock’s Vertigo is rich with aching, increasingly enigmatic piano from Uri Caine and morose violin from violinist Mark Feldman as bandleader/keyboardist Rob Schwimmer puts the quavering icing on the cake with his theremin.They slayed with this at Greenwich House Music School in October – at the group’s first-ever show, twenty years after they’d released this on album
Son of Skooshny – Staying In
One of the alltime great baseball songs ever written – hang in there til you get to the end, where janglerock icon Mark Breyer puts everything in perspective, at his haunting, unflinching best. Getting there is a ride that brings to mind the 2016 World Series (Breyer’s beloved Cleveland Indians went down ignomimously to the typically cellar-dwelling Chicago Cubs).
Marc Ribot’s Ceramic Dog – Fuck La Migra
A punk rap that needed to be written…and it’s a good thing that this guy did it, with a little Texas blues thrown in for maximum context.
From the album YRU Still Here
The Manimals – The Maze
Vintage Bowie mashed up with dissociative psychedelia and slashing powerpop, a surprisingly dark diversion from New York’s most unpredictably theatrical female-fronted rockers.
From the album Multiverse
The Long Ryders – Had a Dream
“I had a dream that Trump was dead,” guitarist Tom Stevens intoned in the psychedelic Americana legends’ slashingly updated take of this cynical MTV-era video hit at WFMU’s Monty Hall last year
Los Wembel’s de Iquitos – Lamento Salvatico
Slinky, catchy minor-key psychedelic cumbia with layers of eerie wah-wah and jangle, lots of reverb and suspicious noises flickering through the mix from the timeless Peruvian Amazon band largely responsible for inventing the style.
From the album Vision del Ayahuasca
The Echo Session – Mystery Man
First-class retro 60s jangle-psych from Scotland, evoking the Pretty Things circa SF Sorrow
Jason Yeager – Reckoning
A creepy, carnivalesque anti-imperialist protest jazz anthem: with a tune and a vocal this coldly dismissive, who says revenge songs need lyrics?
From the pianist’s album New Songs of Resistance
Petros Klampanis – Thalassia Platia
What seems to be a wistful, Middle Eastern-tinged jazz waltz turns out to be far more conflicted, with its aching lushness and a biting, upper-register bass solo
From the bassist’s album Irrationalities
Petroloukas Halkias and Vasilis Kostas – Palio Zegorisio
Centuries-old Greek hill country psychedelia with a tricky dance groove, shifting from major to minor and back, from the iconic clarinetist and his lauto-playing protege
From the album The Soul of Epirus
47soul – Machina
A slow, ominously emphatic shamstep anthem and searingly imagistic account of Palestinian life under the occupation. “Sold out by the left, right when you left, why, you’re not filming?” They totally ripped with this in their Lincoln Center debut in October
From the band’s latest album Balfron Promise
Julia Haltigan – Mind Eater
“I don’t even wanna stay connected,” the luridly torchy New York bandleader sings in this relentlessly troubled new wave look at a world on the express track to self-destruction.
Julia Haltigan – Wool
A hazy. slowly swaying, noir-tinged nocturne where you can “lose your mind in the summer heat, waltz yourself down the broken street…passing through scenes that I know too well…”
From the album Trouble
Miguel Zenon – Viejo
A lush, sweeping, aching increasingly symphonic ballad with hints of Satie, Bartok and Angelo Badalementi – and a final dance – from the intense alto saxophonist and string quartet
From the album Yo Soy la Tradicion
Holy Grove – Blade Born
A slowly swaying early 70s-style riff-rocker, guitarist Trent Jacobs searing through a thicket of triplets, then toward Sabbath menace and finally a hallucinatory nitrous hailstorm
From the album Live From The World Famous Kenton Club
The NYChillharmonic – Easy Comes the Ghost
Percolating, bubbling synth and circus-rock piano phantasmagoria, shifting through a polyrhythmic maze to a determined disco strut that ended sudden and cold: a welcome, energetic coda at their Joe’s Pub show after a mostly subdued day at the Charlie Parker Festival
The Sirius Quartet – New World
The edgy string quartet sarcastically juxtapose contrasting references to Dvorak’s New World Symphony and Shostakovich’s harrowing String Quartet No. 8: look how far we haven’t come, violinist/composer Gregor Huebner seems to say
It’s the title track to their latest album
The New Thread Quartet – Michael Djupstrom: Test
A four-sax epic that shifts swiftly from moody ambience to increasingly agitated overlays, bagpipe-like flourishes, noirish trills, poltergeist flickers and sharp-fanged close harmonies. Bernard Herrmann would have been proud to have assembled this deliciously sinister tableau.
From their album Plastic Facts
Doomstress – Your God Is Blind
”You’ve been deceived,” frontwoman Alexis Hollada snarls in this shapeshifting slap upside the head of warmongering religious nuts, rising to a spine-tingling outro.
From the Texas metal band’s album Sleep Among the Dead
The Diplomats of Solid Sound – Brave New World
A subtly Tex Mex-tinged, lushly orchestrated, cynically spot-on oldschool soul take on how social media and online dating are killing romance. Here’s a live youtube clip
From the album A Higher Place
Funkrust Brass Band – Uncanny Carnival
A dark Balkan-tinged anthem with a quote from the busker-rock playbook that’s so obvious but also such a good joke that it’s surprising that other brass bands haven’t used it
From the album Bones & Burning
Nusrat Fateh Ali Khan – Haq Ali Ali
Longest song on this list, over twenty minutes of broodingly chromatic, Middle Eastern-tinged modes and bristling vocal cadenzas that tend to be more incisive and brief than the late great qawwali icon usually indulged in. The group take it doublespeed at about the eight-minute mark and don’t look back
From the album Live at WOMAD 1985
The Sometime Boys – Painted Bones
Lead guitarist Kurt Leege’s mournful washes of slide guitar, Mara Rosenbloom’s pointillistic electric piano and frontwoman Sarah Mucho’s brooding, gospel-tinged vocals mingle over a nimble bluegrass shuffle beat
From the album The Perfect Home
Ashley Bathgate– Robert Honstein: Orison
A slow, gorgeous, tectonically shifting soundscape, textured top to bottom with gravelly murk, fleeting echoes, keening overtones and echo phrases from the cellist’s multitracks
From the album Ash
Michaela Anne – If I Wanted Your Opinion
An unexpectedly fierce oldschool honkytonk feminist anthem: she makes it clear that the last thing she wants is to be judged on looks
From the album Desert Dove
Sarah Pagé – Pleiades
A softly pulsing deep-space raga, akin to a sitar drifting gently further and further from earth to the point where the vastness becomes terrifying
From the cutting-edge concert harpist’s album Dose Curves
Alltar – Spoils
Hailstorm guitar tremolo-picking and a slow, evil chromatic riff set off relentless crush and lo-res distortion ,with a final rise from super-slow, to just plain slow and ceaselessly grim
From the doom metal band’s album Hallowed
The Well – Sabbah
Opening with a sitar-like drone and then hitting a stomping drive and a doomy, catchy Children of the Grave chromatic theme, with a little Ozzy and some unhinged Ron Asheton proto-punk
From the album Death and Consolation
Jaimie Branch – Prayer for Amerikkka,
A ferocious stoner protest jazz diptych: stark gospel sway, venomous hip-hop speaking truth to power, lush strings and a flamenco-infused stamped out. Damn.
From the album Fly or Die II: Bird Dogs of Paradise
Amy Allison – This Prison
A typically metaphor-loaded chronicle of depression, done as classic honkytonk with flangey guitar: Allison admits that this cold, lonely place might keep her out of trouble, but she needs to break out – if only she can find that missing key
From the album Pop Tunes & the Setting Sun
Zosha DiCastri – Cortege
A processional for chamber orchestra that juxtaposes frantic, Bernard Herrmann-esque terror with steadier motives and suspenseful atmospherics, drawing on the ancient Roman wartime siege narrative that inspired Leonard Cohen’s song Alexandra Lost.
From the album Tachitipo
Nancy Braithwaite – Edith Hemenway: To Paradise For Onions
This menacingly neoromantic suite for clarinet and small ensemble are a David Lynch title theme waiting to happen, with a Duet for the End of Time at the end. Not bad for a piece by a nonagenarian composer whose work has never been previously recorded
Title track from the new album
Joel Harrison – Ballad of Blue Mountain
Tightly unwinding, cleverly looped, Terry Riley-ish vibraphone, lingering clouds of guitar and sax passing through the sonic picture, and Indian sarod building slowly to a forceful peak.
From the album Still Point: Turning World
Above the Moon –Fight the Sea
Kate Griffin’s fierce, angst-fueled twin-guitar attack propels this insistent twin-guitar stomp,
“Can’t see the forest through the trees…fight the ways that you can’t fight me.” They slayed with this at Marcus Garvey Park back in August
From the album Patterns You Create
The Eastern Blokhedz – Baba
Having come this far, it’s time for this blog to get nostalgic. This is a psychedelic pop take on Brighton Beach Russian barroom music. Guitarist Wade Ripka’s irrepressible faux Soviet band didn’t play this at their May Barbes show but they did at the one before that. Maybe you had to be there