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Great Albums Made by Women in 2019

Last year, in an attempt to make myself a little more woke, I challenged myself to create a list of albums that highlighted great music made by women in addition to my normal list of favorite albums from the year. My decision to do it again was reinforced by the fact that I listened to over 1000 albums this year and less than 15% were by women or groups fronted by women. That number might be different for you, but on average I believe women make up a severe minority of the music that gets consumed. There’s a lot of great music being made by women that deserves to be highlighted, so take a look at what I’ve put together here and maybe add one or two into your rotation.

Republic

ARIANA GRANDE – THANK U, NEXT–This album was released only about 6 months after Grande’s previous album, Sweetener. And it was a pretty tumultuous 6 months. Ex-boyfriend Mac Miller had passed away and her engagement to Pete Davidson was called off. Much of thank u, next appears to be inspired by these events with direct references to her exes, ending relationships, and the ways that she coped with them, both healthy and unhealthy. Lyrically this is Grande’s most personal and vulnerable album, an aspect that is reinforced by the fact that there are no featured artists. This is easily the best album that she’s released so far.

Dead Oceans

BETTER OBLIVION COMMUNITY CENTER – self-titled–This group is a collaboration between singer-songwriters Phoebe Bridgers and Conor Oberst. The former being one of the most promising and exciting songwriters to come up in the past few years and the latter being indie folk and emo royalty. The album claims to follow a concept, but it must follow it very loosely. The important thing is this is one of the best collections of folk rock tunes released this year. Bridgers has yet to really disappoint me in anything she’s involved in, and Oberst sounds like he’s genuinely having fun. It’s certainly one of the most interesting things he’s been involved in for awhile.

Scofflaw

DIALITH – EXTINCTION SIX–Symphonic metal is a difficult genre to pull off. There’s a balance you have to strike between the orchestration and the badass metal riffs. Dialith strikes the balance right where I like it with a bit more emphasis on the metal. Their orchestration doesn’t sound like it’s played on a cheap keyboard (an especially impressive accomplishment when you remember that this is an unsigned band). Finally, but certainly not least, vocalist Krista Sion has a beautiful, near-operatic voice that complements the music without over-singing. The songs are never overblown or over-done. No one element tries to steal the spotlight from the others. Overall it’s a very impressive debut.

Polydor/Interscope

LANA DEL REY – NORMAN FUCKING ROCKWELL–I used to be a pretty outspoken critic of Lana Del Rey when she first came onto the scene and accusations of her being inauthentic flowed freely. Over the years though, my opinion has softened as she’s turned herself into something of a real deal. Her songwriting and stylistic choices have only gotten better over time and Norman Fucking Rockwell is where they really go to the next level. Cries of insincerity go right out the window track after track, bolstered by the quieter instrumentals on this album. There are a couple missteps, but it does have just about the best Sublime cover I’ve ever heard.

Nice Life/Atlantic

LIZZO – CUZ I LOVE YOU–I know it’s kind of “the thing” to like Lizzo right now but truth be told, if you’re going to do pop rap, this is the way to do it. Lizzo is an incredibly solid songwriter and you can quickly tell that there’s some decent substance here. Her lyrics are full of feminist and positive messages delivered without a patronizing tone. The instrumentals are inspired by funk, soul, and disco of the ’70s and ’80s with a couple clear nods to Prince. These aren’t songs that exist to just be hits, deliberate care was put into them. Like I said, this is pop rap done right.

Compass

MOLLY TUTTLE – WHEN YOU’RE READY–I mentioned Molly Tuttle’s album earlier this year, and it’s managed to remain one of the most impressive country and Americana albums of the year. Like I mentioned in that video, Tuttle is a very talented guitarist and songwriter. She’s not only the first woman to win the International Bluegrass Music Association’s Guitar Player of the Year award, but she’s one it two years in a row. Her playing is on display on a couple tracks, but it’s also there in many others for those who listen for it. Her songwriting is impressive as well, so even casual listeners will enjoy this.

Rhyme & Reason

PRONOUN – I’LL SHOW YOU STRONGER–Pronoun is a bit of a one-woman indie-pop band project by singer and songwriter Alyse Vellturo, and it’s some of the best damn guitar pop I’ve heard this year. I’m not quite sure exactly what genres and decades intersect on this album or where, but I think I hear some ’80s thrown in there with some early 2000s indie pop and a couple others. The real draw on this album for me though are the hooks. Some of the guitar hooks on here are just so strong that I have to stop what I’m doing to listen, and sometimes I’ll even play the song again. I’ll definitely be looking for Vellturo’s future releases.

Kanine

TALLIES – self-titled–Speaking of solid indie pop, we have Tallies with their self-titled debut. This is like a modern take on new wave with some surf tendencies. Reverb and jangly guitars abound with single-note leads played throughout the tracks. I’d compare them with Real Estate or maybe DIIV with some more modern surf like Best Coast thrown in. The new wave influences come in with some clear nods to bands like The Cure, especially their more pop leaning tunes. It’s great music for a summer cruise with the top down.

Prosthetic

VENOM PRISON – SAMSARA–I wasn’t going to let you go without mentioning at least one more metal album on this list. Venom Prison mix death metal with elements of hardcore without going full deathcore, and it’s some truly brutal stuff. A true highlight of the band is vocalist Larissa Stupar. The female voice always brings a unique quality to harsh metal vocals, and Stupar’s is especially powerful. Her lyrics take the traditionally dark and disturbing themes of death metal and use them to bring the horrors of misogyny and rape culture to light (that is, when you can understand her). They also tackle subjects of fascism and mental health, making this not only a brutal album, but a socially aware one.

Sub Pop

WEYES BLOOD – TITANIC RISING–I’ll be honest with you, I didn’t get this one at first. This album was getting so much hype and I just wasn’t seeing why. After a few listens it finally hit me what an accomplishment this album is. The production here is just absolutely spot on. Weyes Blood just nails that Carpenters-esque ’70s soft rock and makes it sound timeless rather than retro or dated. Natalie Mering’s sentimental and somehow hopeful lyrics guide you through the struggles of life in the modern world. This is easily one of the prettiest albums of the year, and I can’t believe I almost missed it.

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