{"id":7243,"date":"2020-02-04T06:37:30","date_gmt":"2020-02-04T11:37:30","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=7243"},"modified":"2022-11-13T13:03:50","modified_gmt":"2022-11-13T18:03:50","slug":"the-agit-reader-top-10-of-2019","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/the-agit-reader-top-10-of-2019\/","title":{"rendered":"The Agit Reader Top 10 of 2019"},"content":{"rendered":"

\"Meitei,<\/a>#10
\nMeitei
\nKomachi
\nM\u00e9tron Records<\/h4>\n

I find myself spellbound when taking in Komachi<\/i>, Meitei\u2019s delicately crafted mix of nostalgia and loop-making science. It rewards unbroken attention, wrought as it is with quiet details, gentle moods, and subtle changes. The simple act of listening carefully will reward you, even if, like most of us, you have no reference point for what the artist is trying to accomplish. For a more profound experience, it\u2019s worth meditating on the concept of Wabi-Sabi, which Meitei describes as \u201ca Japanese aesthetic and worldview centered around finding beauty in imperfections as well as the transience of life.\u201d Indeed, the album invites you to an ocean of sounds that seem washed onto shore from a world long passed. And the sound of the ocean itself (as well as bubbling brooks, bouncing rivers, and crashing waves) frequently accompany the spare rhythms. Rarely do these 12 tracks achieve anything like momentum. Rather they have the effect of slowing your breathe, wheeling back time, and transporting you to someplace smaller, more placid and much more humane.\u00a0MS<\/strong><\/p>\n

 <\/p>\n

<\/h4>\n

\"The<\/a>#9
\nThe Delines
\nThe Imperial
\nDecor Records<\/h4>\n

With their second full-length collaboration, The Imperial<\/i>, Willy Vlautin (of Richmond Fontaine) and Amy Boone of (of the Damnations) have released a masterful combination of sultry torch songs and flickering broadcasts from the forgotten corners of America. Sympathetic playing from the cream of the Pacific Northwest, including Tucker Jackson\u2019s pedal steel, Cory Gray\u2019s keys and delicate arrangements, and Freddy Trujillo\u2019s oozing bass, lifts these solid, sharp songs. Vlautin and Boone sketch these characters in grim settings and precarious situations with love and understanding. Surging with nostalgic strings, the title track\u2019s one-sided conversation with an old lover who\u2019s landed in jail breaks every heart for miles with line like, \u201cSo let\u2019s have one last drink. Hold my hand under the table before I leave.\u201d Elsewhere, album closer \u201cEddie and Polly,\u201d draws to a darkened conclusion with the revolving final chorus reminding us, \u201cThe party never stops so the pressure starts.\u201d RS<\/strong><\/p>\n

 <\/p>\n

\"Oso<\/a>#8
\nOso Oso
\nBasking in the Glow
\nTriple Crown Records<\/h4>\n

For some, it\u2019s probably wild to think that emo would be a route for a rock resurgence this decade. Thanks to bands like The World Is a Beautiful Place & I Am No Longer Afraid to Die, The Hotelier, and a bevy in between, this genre started to hit its stride again in the mid-2010s with some truly momentous records. It felt like almost everything, for a matter of time, was imperative listening.<\/p>\n

Fast-forward to 2019 and emo risks becoming templatized again, with uninspired all-dude bands releasing records of outright whining and incessant math rock riffs. Thankfully, Jade Lilitri, the singer-songwriter behind Oso Oso, arrived to reset our expectations. While there were plenty of releases that rubbed shoulders with Basking in the Glow<\/i>, none came even remotely close to this album\u2019s simple majesty. With more than half its songs contending for top honors, a purely catchy guitar rock album hasn\u2019t resonated this well since early Jimmy Eat World \u2014 and even then, Basking in the Glow<\/i> arguably shines brighter. Once you clear \u201cIntro\u201d and hit \u201cThe View,\u201d you\u2019re carried off on a set of seamless, yet distinguished, songs, all of which hold choruses you wish wouldn\u2019t end. Not to burden Lilitri with being emo\u2019s savior, but after this, who else is better suited than him? ML<\/strong><\/p>\n

 <\/p>\n

\"Crows,<\/a>#7
\nCrows
\nSilver Tongues
\nBailey Records<\/h4>\n

Having earned a reputation during the first few years of their existence for their live show, London’s Crows finally delivered their debut full-length in 2019\u2014and it didn\u2019t disappoint. Equally noisy, ethereal and catchy, Silver Tongues<\/i> is reminiscent of the output of such shining luminaries as Spacemen 3 and Loop, although with a bit more energy, the Crows are probably more likely to be on amphetamines than LSD. Over just the first three cuts, the album segues easily from the cacophonic dirge of the title track to the amped-up “Demeanour” and subsequently to the shoegazing swirl of “Empyrean.” The rest of the record is similarly shapeshifting and equally mesmerizing, managing the neat trick of being at once visceral and atmospheric and moody. It’s an absolute stunner, to be sure. SS<\/strong><\/p>\n

 <\/p>\n

\"Trash<\/a>#6
\nTrash Kit
\nHorizon
\nUpset the Rhythm<\/h4>\n

The recent glut of underground acts riffing heavy on the danceable post-punk of late-70s and early-80s has sometimes revealed the downside of imitation being the sincerest form of flattery. And while these vamps on The Slits, A Certain Ration, Malaria, and the like certainly make for quality listens, they can be a little indistinct after a while. Trash Kit, by contrast, are an exception and a stand out. Offering a beguilingly original take of this recent trend with its 2019 LP Horizon<\/i>, the band combines the taught minimalist grooves of those inspirations we know so well, but adds doses of spiritual jazz moodiness, highlife <\/span>guitar\u00a0buoyancy (in addition to other African pop traditions), and even a little good ol’ math-rock angularity. And with Rachel Aggs<\/span> alternately haunting and vibrant violin standing out among it all, Horizon<\/i> becomes a record that isn’t so much reminiscent of any movement that came before it\u2014or even paying tribute to one\u2014but rather offering its very own bold statement for the present and the future. NK<\/strong><\/p>\n

 <\/p>\n

\"Purple<\/a>#5
\nPurple Mountains
\nPurple Mountains
\nDrag City Records<\/h4>\n

After years of pursuing other projects and false starts at getting back to music, David Berman returned with Purple Mountains<\/i>, an album as strong as any he\u2019d put out in his years leading Silver Jews, then committed suicide. That biographical punctuation made this self-titled album\u2014full of vibrant, nuanced playing from members of Woods\u2014hard for many of us to write and talk about. Like the poet Jack Spicer\u2019s line, \u201cMy vocabulary did this to me, your love will let you go on,\u201d the 10 songs on Purple Mountains<\/i> keenly know language\u2019s vitality in shaping each of our worlds and also its hopeless inadequacy. It\u2019s easy to read this album as one last punch at the stone monuments of life before giving in but it\u2019s just as easy to see it as the starting blocks leading into another long, rich run. On the riotous honkytonk stomp of \u201cThat\u2019s Just the Way I Fell,\u201d Berman almost laughs through \u201cI spent a decade playing chicken with oblivion\u201d with self-aware, dark bravado that would make Merle Haggard smile. The stasis of the character on \u201cMargaritas at the Mall\u201d orbits around a haunting garage organ and pedal steel leaving smoke trails. His laconic delivery of the line, \u201cThe dead know what they\u2019re doing when they leave this world behind,\u201d on \u201cNights That Won\u2019t Happen\u201d doesn\u2019t belie the shake in \u201cAll the suffering gets done by the ones we leave behind.\u201d These songs will provide comfort in times of grief for years down the line. RS<\/strong><\/p>\n

 <\/p>\n

\"Kim<\/a>#4
\nKim Gordon
\nNo Home Record
\nMatador Records<\/h4>\n

The most effective anthem of our crash-landing decade is Kim Gordon\u2019s \u201cAirBnb.\u201d The lyrics really are about an AirBnb, with \u201c47-inch flat TV, parking garage, Andy Warhol prints on the wall.\u201d The place is a \u201crustic, romantic Malibu getaway,\u201d and you know it\u2019s a really good find, cause she repeats \u201cSuperhost!\u201d over and over. In her desperate, breathy, unbalanced delivery, she ironizes the rotten, rotting center of the obese American Empire. I\u2019ve read a million angry polemics these last few years, but none of them ignites the smoldering ashes in my blood like this song. And the seven tracks that follow are no less necessary. \u201cCookie Butter\u201d hits hard, moving from the way she spits the words out in the first minute to the vulnerability of \u201cI hide\u201d halfway through, followed up by two minutes of hateful noise. Isn\u2019t \u201cMurdered Out\u201d exactly how you want to feel when the world has messed with you for the last time and you\u2019re finally ready to stand up for yourself? This is Kim Gordon at 66, as angry and brave as ever, making all the indie babies look like a bunch wet blankets and blasting a gruesome hole in your lazy malaise. MS<\/strong><\/p>\n

 <\/p>\n

\"(Sandy)<\/a>#3
\n(Sandy) Alex G
\nHouse of Sugar
\nDomino Recording Co.<\/h4>\n

Very few artists take the trajectory that has been sought by Alexander Giannascoli. As his star has risen and his portfolio increased, he\u2019s made it a mission to get even weirder, to push the boundaries of his bric-a-brac bedroom pop, adapt it to a full band, and make an album, in House of Sugar<\/i>, that posits his fever-dreaming genre-jumping as a mainstream commodity. I\u2019d like to imagine that Giannascoli knows his precedents: freaks like the Elephant Six stalwarts, Thinking Fellers, Sun City Girls, or R. Stevie Moore, who dabbled in cross-cultural experimentation and collage aesthetics. The whole of House of Sugar <\/i>feels incomplete, with many songs not actually songs but snippets that bleed into each other and segues that connect the weightier moments. For some, incomplete may sound like a denigrating attribute, but for Giannascoli it signals praise, as his ability to seamlessly weave such a profound collection of sounds is a quality that works for a choose-your-own-adventure type of record. In that, House of Sugar, <\/i>demands multiple listens, with multiple interpretations, and multiple identities when it\u2019s all said and done. The best part is you can\u2019t wait to see what he does next. KJE<\/strong><\/p>\n

 <\/p>\n

\"Aldous<\/a>#2
\nAldous Harding
\nDesigner
\nNonesuch Records<\/h4>\n

As she revealed on her breakthrough sophomore album, Party<\/i>, Aldous Harding is an artist capable of shapeshifting not only track to track, but at times somewhere between verses. Her third album, Designer<\/i>, seemingly belying its title, is similarly slippery, with Harding\u2019s voice being the most slithery of its elements.<\/p>\n

With \u201dFixture Picture,\u201d the record begins with a honey-toned acoustic reverie. Here, she evokes a somewhat bittersweet vibe, her band slowly joining in to fill in the empty spaces and add their voices to hers. By the second track, though, Harding has already changed pace, adapting a different voice and cadence for something more airy and light. The highlight here, though, is first single \u201cThe Barrel.\u201d The song\u2019s mid-tempo groove plays off of Harding\u2019s mix of voices, and the juxtaposition makes it all the more unearthly. Produced by noted PJ Harvey collaborator John Parish, Designer<\/i> feels intimate, without being desolate, and intricate without being too precious, and something utterly unique. SS<\/strong><\/p>\n

 <\/p>\n

\"Big<\/a>#1
\nBig Thief
\nTwo Hands
\n4AD<\/h4>\n

It\u2019s hard to pick just one of the two stellar releases from Big Thief this year, because both of them come from very different realms, and both come from a band that is just starting to peak and feel completely comfortable in their powers. Those powers belie all of the pigeonholing rock crits have bestowed upon Adrienne Lenker and company. U.F.O.F.<\/i> is the sound of a folk-inflected, semi-precious indie band recording in an intimate space, mostly acoustic and hushed. In those moments of quiet reflection, the band takes on a singular persona that falls somewhere between Fleetwood Mac (circa Tango in the Night<\/i>) and\u2014wait for it\u2014Radiohead, simply for being greater than the sum of their parts and rising above any terrestrial anchors into an expansive sonic universe. Two Hands<\/i>, in stark contrast, shows Big Thief at their most raw and dynamic. It is perhaps a statement (or just an in-the-moment document) that the band does have the chops and complexities that those who want to cast them aside aren\u2019t listening hard enough to hear. I\u2019ve seen the quartet live several times over the past two years and can attest that Big Thief is a band much bigger than themselves or the neat little corners they get painted into. That they can rage in improvised chaos, bending distortion and volume at their whim, or craft a hypnotizing lullaby with just voice and guitar, displays a range and nuance few American bands possess these days. KJE<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

#10 Meitei Komachi M\u00e9tron Records I find myself spellbound when taking in Komachi, Meitei\u2019s delicately crafted mix of nostalgia and loop-making science. It rewards unbroken attention, wrought as it is with quiet details, gentle moods, and subtle changes. The simple act of listening carefully will reward you, even if, like most of us, you have […]<\/p>\n","protected":false},"author":10,"featured_media":7248,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2479],"tags":[2368,2289,2367,2282,1136,2363,2365,2313,2364,2553,2366],"class_list":["post-7243","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-best-of-the-year","tag-sandy-alex-g","tag-aldous-harding","tag-big-thief","tag-crows","tag-kim-gordon","tag-meitei","tag-oso-oso","tag-purple-mountains","tag-the-delines","tag-top-10","tag-trash-kit"],"yoast_head":"\nThe Agit Reader Top 10 of 2019 - 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