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
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
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-
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~
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
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
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
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
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
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.
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.