IV Nurse Day
January 25, 2016

best indie albums 2019

This album is the perfect example of Jade Bird’s astonishing talent and unique perspective.

This is lush synthpop that speaks to unrealized dreams and long-held secrets. The Canadian quartet are showing no signs of slowing down, and the rooms will surely just keep getting larger.–Z.G.

© Indiestyle 2020. —Steven Edelstone, Listening to Girlpool’s startling 2015 debut Before the World Was Big felt like digging into a bag of saltwater taffy, unwrapping small portions that were taut, sticky sweet, and a little bit briny. Crushing is the brave story of a woman—and an artist —coming into her own.

Dat er geen echt onafhankelijke labels meer bestaan (of toch heel weinig) bijvoorbeeld, of dat de term vooral gebruikt wordt …

Cave is his usual eloquent, graceful self, using space and ambiance in ways that underscore themes of grief and healing. He was just as bummed out as ever on Purple Mountains, and he still makes being bummed out sound better than just about anyone else. Over de dalende relevantie van de term ‘indie’ is al heel veel geschreven. While her easy way with melody and the tossed-off sharpness of her lyrical asides were already well-established, what felt new on On The Line is the sense of gravitas that Lewis brings to the proceedings. And yet Purple Mountains also is frequently hilarious and bounces along with some of the most winning melodies that Berman ever wrote.

shows a band at the peak of their powers and refusing to slow down their creative process. Jacklin said, in writing it, she realized “how not very special” she is (evident in “Body,” as she sings, “It’s just my body / I guess it’s just my life”).

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We also heard releases from indie rock greats like The National and Vampire Weekend, proving that even as bands grow and evolve, they can stay true to the indie rock sound. Here are the 35 best. Donnelly, who is in her mid-20s and from Perth, Australia, is the rare indie-rocker who alludes to the ’90s without a hint of nostalgia. —Zach Schonfeld, There is no room for nostalgia in Sleater-Kinney’s reunion. It’s not every day that a debut album feels so meticulous and fleshed-out. The world’s most contrarian and reluctant anti-outlaw outlaw took his sharpest turn away from classic country on his thrilling, cantankerous, funny, and frequently gorgeous fourth album. Oberst and Bridgers are essentially a dream team, bringing out the best in each other, while reminding their fans why they were great in the first place.–P.C. Marrying spectral piano with her own quavering, honeyed vocals, Pratt writes with the kind of wisdom that only experience can instill, but never loses her sense of innocence, either.—Caitlin White. —Annie Galvin, For all intents and purposes, Matt Berninger is a New Yorker.

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In the middle songs like "(He's a) Vacuum Chamber" unexpectedly slow things down, pulling us into a more foreboding sort of loneliness. —Zach Schonfeld, At the southern tip of Philadelphia’s Fishtown neighborhood, there’s an imposing structure on the Delaware River that somehow looks equal parts parking garage, hospital and convention center. He sounds rejuvenated, perhaps buoyed by his new backing band, the Brooklyn psych-folk group Woods.

Few legacy acts in indie rock have ventured as far into the wilds of esoteric experimentation — while also retaining a…

—Ellen Johnson, Big Thief has amassed a large and devoted fanbase the old-fashioned way: by releasing four astonishingly good albums in just three-and-a-half years, by touring relentlessly and seemingly without rest, by Instagramming a lot of photos of themselves grinning and embracing each other in various bucolic settings. Development Senne Torfs. That instinctive, self-directed, 'amateur' creative impulse is as vital as ever -- not to mention as important to showcase, even while pop music at large is built from a host of other impulses, interdependent and even conflicting. Lewis sings contemplative lyrics with a glamorous edge, giving us an album that’s as much a rock ‘n’ roll relaxer as it is a lyrical thunderbolt. 2019 -- the 14th year I've attempted to summarize the year in indie-pop -- again brought a wealth of music within this segment. There's a no-wave anxiety pulsing through French Vanilla's sound -- through the punchy saxophone and bass, and singer Sally Spritz's vocal delivery -- but also California sunshine. Charly Bliss made a huge leap in the two years between their (very good) bubblegum indie-pop debut Guppy and their sophomore LP. If you’re still skeptical, just listen to it outside, maybe while eating a popsicle. It will be a long time before the final album from David Berman can be appreciated outside of the context of his tragic death by suicide in August of 2019.

Remind Me Tomorrow was the first great rock album of the year, and it would behoove any and all of Van Etten’s fans, even those who staunchly prefer her folk-leaning material, and rock ‘n’ roll aficionados of all stripes to open their ears (and their hearts) to this beautifully executed pivot. You can hear it in the church-choir backing vocals, in how Morby shouts “Oh!

“Make Art Not Friends” is both a song title and an artistic credo for this album, though the confrontational nature of Simpson’s posturing doesn’t obscure the fun he has tearing through guitar solos over pumped-up, synth-heavy blues-rock.–S.H. Full of transformation and deserved indignation, The Center Won’t Hold is the first Sleater-Kinney album since the rest of the world started to catch up.

Friend Ship is the Phoenix Foundation's most personal work and also their most engaging since their 2010 classic, Buffalo. Del Rey’s stately sixth album is completely out of step …

—Max Freedman, Stella Donnelly references the ’90s one minute and 10 seconds into her debut album, Beware of the Dogs.

Now three LPs deep, modern punk legends Pup delivered yet another collection of excellent finger-pointing jams with Morbid Stuff.

Julia Jacklin’s Crushing is a striking search for self, a call to upend that which tethers you down.

—Ellen Johnson, Cate Le Bon’s Reward cleaves into two distinct halves, one that pulses with ideas and legible emotions and another that wanders, sputters, and jars under a pretense of free-associative experimentation. The overall sullen tone makes it seem likely they're not finding easy answers to their questions.

Using a host of outside vocalists, complete lyrical writes on select songs from Carin Besser and Mike Mills, and a short film accompanying the release, I Am Easy To Find functions as an testament to restlessness and creative longing.

The resulting collection might be the strongest of a prolific career, on a record as self-assured as it is easy to get lost in.–Philip Cosores, Syd isn’t the only member of The Internet capable of holding their own on a solo project.

She proves that stripped down can be powerful, and genre is not the law.

Een krachttoer van jewelste, want enkel Bon Ivers ‘i,i’ en het grootse ‘Remind me tomorrow’ van Sharon Van Etten hielden de band van een dubbele topnotering.

Dare I say it's more unique, adventurous and rewarding than any of Cooper's previous bands -- or, for that matter, than most pop-rock bands of our era.

The songs quietly ask questions of themselves, about the past and what we're all up to, day by day. whose second album Bird Songs Of A Killjoy is one of the best folk albums of 2019. The Melbourne band Twerps had a solid near-decade run as a melancholic, melodic guitar-pop band. Lyrically, the album is often a bleak and unsparing portrait of a difficult man beset by loneliness. A record that reflects on home, small towns, and whatever holds you back, Means To Me is, ironically, one of the freest-sounding albums of the year. But for the first time in quite a while, Berninger went back to his hometown of Cincinnati on “Not in Kansas,” I Am Easy to Find’s keystone track. Modern Nature's debut album How to Live lies somewhere between interrogative folk-rock and atmospheric synthpop, with both psychedelic and earthy vibrations.

This is an emotionally multi-faceted album to luxuriate in. All rights reserved.PopMatters is wholly independent, women-owned and operated. Anybody who has heard “Money Machine” and claims they don’t remember the hook is lying.–D.R. —Ellen Johnson, New York indie-folk outfit Big Thief have been touring constantly for four years in conjunction with their first two full-lengths—2016’s Masterpiece and 2017’s Capacity—and their third album U.F.O.F. But to make matters a bit confusing—the “indie rock” sound isn’t just one thing.

That’s especially true on Titanic Rising, which finds Mering edging her peculiar psych-folk closer than ever to the sound of traditional pop music. The artists on this list lean in varied directions, gaining inspiration from forbearers across the last few decades – post-punk sounds, the original UK 'indie-pop' scene, dream-pop, stylish pop hybrids (e.g.

It’s a status quo that’s both decaying our souls and reigning very much supreme, and these songs register ambient anxiety that pricks the brain like a migraine that won’t go away. Through all the abrasiveness and unexpected turns, there are moments when it’s undeniably catchy.

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