Top ten 2019-misses of 2020

As list-making season always invites a host of anxieties about albums and singles missed out on, it’s important to remember that we have, indeed, missed out on great stuff, and that our lists are, necessarily, not complete. In lieu of this admission, here are ten of the best albums released in 2019 that I missed last year, listed chronologically. Naturally, most are from the last two months of the year, when life gets rushed, and quality listening-time and Twitter-scrolling trash-time drastically plummets. News slips through the cracks of holiday obligations, albums don’t get uploaded to Spotify in time, personal budgets run out for physical copies, lists need to be written and posted — well, there’s a lot of things happening. Now let’s imagine all the great 2020-misses we have to look forward to next year!

Reol: Bunmei EP
(2019.03.20)

Reol has made a real impact on Japanese popular music this past year, with her hyper auto-tuned electrobot vocals barely distinguishable from the hyper auto-tuned electrobot vocals of, say, MAA, who burst across the music scene for a mere firework of time, and offers something her predecessor never could: longevity and lasting impact. As her star rose ever higher on the charts, it was interesting to take a peek back at earlier work that has taken her to where she is today.

Will Young: Lexicon
(2019.06.21)

Britian’s first Pop Idol winner, back in 2002, has released seven studio albums, but none as worthy of a re-listen as this breezy synth-by-way-of-Sam-Smith collection released at the start of 2019’s summer. I don’t know if this style is any more “Will Young” than any of the other identities he has flirted with over the years, but it’s a style that suits him nicely as an update on the stale options made available to him throughout his career.

Miyuki Watanabe: 17% -REPACKAGE-
(2019.07.10)

Repackages have the chance to make it all better, and 17%‘s does just that, adding additional life to an average album release earlier in the year. No AKB/SKE48 member has ever moved any mountains, but frothy hits like “Cheek-tic-Cheek” don’t have to. They just have to be better than whatever song the group-of-the-week is putting out. Luckily, it’s not that hard!

Misaki Iwasa: Misaku Meguri ~Dai 2-sho~
(2019.11.06)

Misaki Iwasa has made a cozy niche for herself in the enka-pop world, and delivered a second collection of re-worked standards and originals, here growing into her role as a youthful, pop-adjacent entry into a very traditional genre normally reserved for your grandma and the out-of-touch CD-buying population of the Oricon charts — I’m basically both now, an ancient, CD-buying troglodyte, but enka has never struck me as worth the effort until this former-AKB48 member released her gently accessible full-length debut in 2016. As on that one, she seems to be having fun with the songs and style in a manner of playing dress-up that also happens to come off as very earnest, charming, and almost accidentally successful. Here’s hoping she gets more originals to her name in the future.

Doja Cat: Hot Pink
(2019.11.07)

A fall release and busy schedule left me pushing this one down the listening queue until early 2020, when I was immediately crushed not to have discovered it earlier. “Say So“‘s climb to the top of the charts had true potential to be a defining track of the summer, hampered only by aggressive competition from a cascading pile of hits that included The Weeknd’s own slow rise to Song of the Summer victory (official crowning ceremony to be held the evening of Sunday, February 7).

Louise Burns: Portraits
(2019.11.08)

Synth-pop has never sounded so understated as this elegant album of gentle, new wave-inspired tracks by Canadian songstress Louisa Burns. These light-weight, cotton-candy concoctions could use a bit more vigor, as in the somewhat anemic “Over You” which begs for a bit more muscle over atmosphere, but otherwise enchant as much as they occasionally frustrate.

Lady A: Ocean
(2019.11.15)

Back when Lady A were still going by Lady Antebellum and beset by a different type of cringe, they released this competent collection of country-pop hits. Neither the group’s best, or sharpest, it nonetheless boasts a tight production by Dann Huff, long-time veteran of pop and country legends from Mariah Carey to Selena to Shania Twain.

Therapie TAXI: Cadavre exquis
(2019.12.06)

French-pop trio Therapie TAXI may have lost some of their dance-pop chops to take a more straightforward approach to their sometimes-absurd tongue-in-cheek style, but to excellent ends. While I miss the rush and energy of tracks off of Hit Sale, Cadavre exquis boasts the same spirit, an attention and care to electro-pop not often heard outside of the high-brow, curated nooks of DJ booths. Their trademark sense of play only enhances this group’s uniqueness, promising a future as bright as the risks they’re clearly willing to take.

Airi Suzuki: i
(2019.12.18)

Former °C-ute and Buono!-member Airi Suzuki has one of the most infectious, warm stage presences I’ve encountered: if you were lucky enough to catch the limited-time solo live uploaded to her account, or one of the limited-time concerts from °C-ute, in the spring, it was easy to catch the piercing charm whistling through the screen. Unfortunately, a bright smile only goes so far, so it’s a good thing that Suzuki’s music is upper-tier material, harking back to both mid-90s and early-00s J-pop trends. With i, she assembles a sophomore collection more than worthy of following up 2018’s brilliant Do me a favor. Suzuki has real potential to fill the desperately vacant top-J-pop-girl hollow, if only Hello! Project’s rules about streaming allowed her the space to.

mirage²: KISEKI
(2019.12.25)

Idols are a dime a dozen in the industry, so there was never any hope that anything major would come of a cut-and-paste group like mirage², destined to exist for a mere year as a tie-in with a TV drama, but the group shared a bright, kinetic aesthetic across its marketing that culminated in a breezy, joyful EP of inoffensive, niji-iro joy. RIP miracle², and sisters mirage² and Girls².

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Top 10 East Asian pop/rock albums of 2018

With labels scrambling to debut as many rookies as possible to distract fans from recent scandals, lawsuits, and the ever-shrinking pool of legacy groups from which to draw, it’s been nearly impossible to keep up with the mostly mediocre or one-off mini-albums K-pop released this year. While this practice isn’t anything new, it does make it harder to enjoy a genre whose days of tent-pole hits with the power to unite eyes and ears nationwide has passed. However, these lowered standards (followed by lowered expectations) makes it easier to spot the masterpieces and the true stars who have stuck around, not because sacrificing a giant chunk of their life to the entertainment industry has left them with so few other options, but because of a passion and talent that won’t be swayed by the setbacks of Plan A. Since we outside the industry might never know which are the latter and which are the former, we can only sit back and patiently wait to see how business-as-usual versus genuine enthusiasm separates the herd.

A similar ennui permeates J-pop, which swam in its own self-referential muck this year, drawing on numerous tactics that worked in the past while only occasionally breathing anything fresh and new into the mix that didn’t reek of pandering. Meanwhile, we all stood back and watched as the mighty idol oaks began toppling one by one, from GEM, to X21, to PASSPO, a dizzying domino effect that revealed the same systemic cracks as in K-pop’s foundation. Perhaps it is because of this uncertain climate that suddenly the familiar feels good, a reassuring grip to hang onto until the genre realizes it can’t keep running on marbles. And when done with passion, sometimes you can still catch a frisson of that ol’ J-pop feeling, coursing softer, but no less mighty and proud.

Here are ten of those mighty albums and mini-albums, in no particular order, released in 2018, that prove K-pop and J-pop aren’t dead, that despite their diminishing influence as a powerhouse, a New Sweden, or a cure for the Billboard Hot 100, it still has much to offer if we are patient enough to receive.

JONGHYUN: Poet | Artist
More appalling revelations have surfaced in the K-pop industry recently, but none so tragic as the death of Jong Hyun, principal vocalist for one of SM’s most popular boybands, SHINee. Jong Hyun, who was found dead of an apparent suicide in his apartment in December of 2017, was mourned by both fans and industry insiders, the latter who didn’t express surprise so much as grief-stricken resignation. While the exact details of the situation will never be known, it is obvious from his absolutely heartbreaking suicide letter that Jong Hyun was under an immense amount of pressure and in an enormous amount of pain, which was dismissed by both personal acquaintances and professional help. But rather then risk misinterpreting the letter, it is simply important to note, again and more than ever before, that for a star of any kind, fame and celebrity can often be a contributing factor to, not an escape from, mental health issues. It would be unfair to imply Jong Hyun found relief in music or even enjoyed it very much at the end, as good as that would make the rest of us feel – maybe he did, maybe he didn’t. Yet that doesn’t make his last solo album Poet | Artist, any less of a tribute to and record of his last months. Filled with soaring pop/R&B gems, the album is both testament to K-pop’s enduring ability to fight back against cookie-cutter accusations and lack of emotion, and proof to anyone who would deny that Jong Hyun worked hard. He really did work hard. They all work so hard.

EXO: COUNTDOWN
Every year, I can count on SM Entertainment to release an album driven purely by the heady excesses of dance-pop. With no agenda to inform or break new ground, than to revel in This Very Moment in Time, COUNTDOWN is the perfect response to accusations that K-pop has lost its fun side. The big twist is that it’s not a domestic Korean release, instead following in the footsteps of countless K-pop groups clamoring for a piece of the Japanese music market, and just like them, these tweaked experiments prove just as, if not more, enjoyable than their homegrown counterparts. Switching to Japanese hasn’t put a single stumble in EXO’s steps, as they tackle propulsive bops from “Electric Kiss” to “TACTIX” with an enviably aggressive energy.

Fairies: JUKEBOX
Fairies are one of the few J-pop girl groups to make it out of 2018 alive, and the fact that they haven’t suffered the same fate as their Avex sisters seems less arbitrary with a closer listen to JUKEBOX. The album is a crystal clear distillation of J-pop, with the upbeat, dance-centered modern cool of songs like “Bangin’” and “Fashionable” playing alongside the very Avex-specific pop of songs like “CROSSROAD” and “Synchronized ~SYNCHRO~.” Where the album really excels is in its lack of typical idol-pop, the likes of which AKB’s sister groups have churned out this year at a rate James Patterson would find alarming. The state of the J-pop girl group, whether mainstream or niche, is an ever-evolving fluctuation, subject to the whims of fickle and sometimes bored managers and their demanding shareholders. Cherish each moment of fun in the here and now as JUKEBOX does: your favorite group is probably on the chopping block next.

Kyary Pamyu Pamyu: Japamyu
Once upon a time, you couldn’t stalk three paces around this blog without coming across a glowing review of Yasutaka Nakata’s work. But when the inspiration dried up, it dried up hard: first for Perfume, then for Kyary, then for his own solo work. All seemed according to schedule when Digital Native dropped in February, and with it, any last hope that a slump was about to become a revival. Japamyu is not that comeback either, nor is it the Kyary album that fans have been waiting for, but it is the album we were given and it is a tight one, almost holy in its brevity. Catchy hooks sail past on a conveyor belt of hits from “Harajuku Iyahoi” to “Kimi no Mikata” at a speed which almost clear slices your fingertips off. Its bread-and-butter approach to composition and adherence to conciseness should make this feel phoned-in, but the idea that this album has been whittled down to its true essence is too tempting. Given the outrageous indulgences Nakata has churned out in the past few years, this album is a cheery distillation of what he’s still capable of, if someone could just harness and steer the genius, or tell him to just pull it together already.

Ai Shinozaki: YOU & LOVE
Ai Shinozaki finally released a full-length album this year, uninspired title and all. Still, her brand of laid-back pop is the perfect antidote to the artificial hyper-energy of the Oricon charts, a continuation of the breezy sound on all of her previous singles and EPs. Heavy on synths, many of the songs evoke earlier legacy-trends, such as the 80’s radio-jam “Cupid,” and the shuffling bop of “Blanket.” The second half of the album starting with “Baby I’ll Wish…” contains a collection of lost POWER OF WORDS-era Rina Aiuchi hits. There’s nothing here to push Shinozaki into the upper echelons of J-pop history, but its effortless grace feels like a gift, a victory of small steps and persistence that finally paid off.

BoA: WOMAN
There are many times when promo tracks are not accurate reflections of their albums, and “Woman” is one of them. The title track for BoA’s second major Korean release of the year is a doozy, the epitome of BoA’s legacy, and it provides all of the classic Janet Jackson-feels you could want, but it’s hardly the best track of the album. This is where the listener is free to take his or her pick, from the jazzy-pop of “Like It!” to the slow burn of “Hwatgime (Irreversible),” to my personal favorite “Encounter,” an electro-house #1-in-the-making, where distorted vocals weave through a template of loose textures and rhythms in a sublime patchwork of melodies. While ONE SHOT, TWO SHOT was a good, if scattered, selection, on WOMAN, everything BoA touches turns to gold, and it’s our own fault if we had forgotten, in the long interim of releases, just how amazing she is for even a moment.

Airi Suzuki: Do me a favor
As a former member of popular, now-defunct, girl-group C-ute, Suzuki is no stranger to showbiz. So although Do me a favor is her debut solo album, it hardly feels like one. Instead, it feels like a throwback, at times to the decadence of TK-era pop, up through the early 00s, when J-pop was king, not yet aware of the encroaching transformation imminent with R&B and hip-hop’s influence and a young New Yorker named Hikaru Utada. At other times, it couldn’t be anything other than an album produced in 2018, where it’s able to mix all of those potent memories with modern sensibilities into marketing magic. Airi Suzuki makes Do me a favor feel this oldness and newness like a second skin, like cherry-picking influences from all the past career highlights is the natural product of progress, one the Internet has trained us to expect: see how a very-contemporary idol-pop song like “Candy Box” follows a slower, cooler jam like “perfect timing.” It’s the type of segue that only works in a space and time defined by both E-girls and Keyakizaka46, by both Tokyo Performance Doll and Tsubaki Factory. There is only one other album on this list that is less surprising, and just as rooted in a wholly Japanese pop experience, marrying past and present styles in homage to everything that was and everything that will be, and this one was the least expected.

Hey! Say! JUMP: SENSE or LOVE
Speaking of groups being dissolved, this really puts pressure on Arashi, doesn’t it? Johnny’s has had a hard time of it in the second half of the 10s, with groups like SMAP on the outs and the constant rumors of Arashi members’ personal lives interfering with the company’s streamlined vision. And the younger groups groomed to take their place saw lineup hiccups this year as well, with Sexy Zone member Sou Matsushima going on hiatus to treat a panic disorder, and even Keito Okamoto “taking a break” from Hey! Say! Jump to “study in the U.S.,” which we has nothing to do with his penchant for absolutely verboten idol-extracurriculars. (It’s uncertain what Johnny’s finds more offensive: that people can’t control their natural desires to hook-up, or that they are caught doing so. It is also unclear if he will actually be able to return to the group following the company’s scramble to do damage control, but history isn’t on his side). Yet the H!S!J train rolls on, and SENSE or LOVE does a fine job of pretending nothing is amiss. Okamoto’s presence lingers but is hardly missed, as the remaining eight members commit to professionalism. All of this might seem to mark the album as desperate, or at the very least nothing but a catchy distraction, but it works in the album’s favor, loaning it a sense of urgency absent from previous albums that relied more on a relationship with fans taken for granted. The other most traditional album on this list, SENSE or LOVE is low on surprises, but expert at reminding listeners why they come to Johnny’s in the first place, and most importantly, asking them very politely, and very softly, to stay.

BAND-MAID: World Domination
BAND-MAID is becoming a staple here at appears, and no complaints — they already appeared on the best reissue list earlier this week, and now calmly grace a spot in the ten best albums list as well. But this is no mindless consolation — these women have earned their spot with talent and consistency, regularly releasing some of the metal genre’s best music in any language, anywhere. World Domination finally acknowledges the band’s ambitions, bravely asserting themselves when many of their peers are content to stay local. BAND-MAID want more, as stated in the album’s riff-laden, guitar-heavy, drum-bashing lead single “Domination.” Ditching the maid-costume gimmick at this point might be suicide, but it continues to be largely irrelevant to everything the group does and is capable of, and if the worst it did was enhance their appeal, it could be forgiven. But alas, keep your eyes on the true prize: expert musicianship and a growing craftsmanship that reveals itself in the relationship each member continues to hone with her instrument. The pace at which this band moves is mind-blowing, and to release another career-defining album within one year proves this band has the habits of hard work and focus necessary to meet any goal they set. First Japan, then the world.

Seungri: THE GREAT SEUNGRI
In a world full of baby-faced rookies, Seungri, at age 27, is a K-pop grandfather. The youngest member of legendary group BIGBANG, Seungri has been in the business more than twelve years and has already released two solo EPs, and an album in Japanese. Now, after a five-year pause, we get THE GREAT SEUNGRI, which contains this year’s most joyous K-pop single, “1, 2, 3!” Like his earlier solo work, the album relies on big horns, an enormous hook, and the inherent cool of its lead singer. “1, 2, 3!” is the type of song that demands personality, the type of song a debut singer, as yet bereft of connection with its audience, could never pull off. But it’s all cake for Seungri, who takes the song and infuses it with enough character to make even the keenest listener forget that its mostly absent chorus is almost entirely instrumental. Elsewhere, collaborations abound on TGS and while it’s never quite clear who’s helping whom, all parties benefit. The album is rounded out nicely by both ear-wormy dance hooks and slower, more hip-hop-influenced numbers that make it, if not one of the most interesting YG albums of the year, certainly the most complete. TGS is an album you can play from start to finish, secure in the knowledge that nothing is filler, and that nothing sounds like it’s simply trying to recapture a time and place that can now only be reached through an old CD collection.

Honorable Mentions

JUNHO: Souzou
Sumire Uesaka: NO FUTURE VACANCES
Sakurako Ohara: Enjoy
Monari Wakita: AHEAD!
E-girls: E.G.11