Welcome to our 2019 Songs Ranking page! Scroll down to find our Top 10 Songs of 2019, as well as a list of our favorite track from every record we’ve reviewed this year!
Indie rock legends American Football are prepping their next album, and the cut ‘Uncomfortably Numb‘ promises big things. The generally minimal track calmly but hopelessly recalls an alcoholic father and lover’s slow and painful decline. Dreamy guitars and an alternative yet engaging drive keep you wrapped in for the ride. Paramore vocalist Hayley Williams harmonizes with Mike Kinsella beautifully, her vocals coming from an the perspective of a loved one, adding another element of pain to the track. Not to mention the allusion to the classic Pink Floyd track ‘Comfortably Numb‘ (which is another fatherly reference) — American Football promise a personal and powerful record with ‘Uncomfortably Numb,’ which by itself offers enough emotion for an entire record.
Lamb Of God guitarist Mark Morton spent much of the last two years readying his debut solo album Anesthetic. Morton burst into the new year powerfully with the massive track ‘Cross Off,’ featuring the late Linkin Park vocalist Chester Bennington. ‘Cross Off’ is as emotional as it is massive, its huge riffs and Chester’s giant vocals creating such an atmosphere. Hearing new music from Chester (as well as one of his finest, heaviest vocal performances to date) is a great way to start the year, and knowing that Morton has more jams on the way is a bonus, too.
The former kings of metalcore are now the current kings of electropop. Bring Me The Horizon‘s amo is their most experimental effort yet, and features some truly special tracks. No track leaves the same impact as ‘nihilist blues‘ does, though. The song’s dramatic synth intro leads into the bubbling, dark first verse that is filled with a certain disorienting tension. The band’s heavier alternative side is definitely present as the choruses come in with huge flair and attitude. While the melodies, atmosphere, and instrumentation of the track gives it its unique atmosphere, the real kick to the song comes in its bridge. The distinct beat paired with Grimes‘ haunting vocals turns the track into a whole new monster. This track is everything Bring Me The Horizon thought they couldn’t be, and it could not be better executed.
Copeland‘s new album Blushing is the sonic representation of the band’s deepest emotions and dreams, but no track digs deeper into their scars than ‘Colorless.’ The emotionally heavy track begins quietly, gentle guitars and light synths supporting the ghastly, pained vocals through the first verse and chorus. The track builds slowly as it goes, but in every regards: as the instrumental gets fuller, so does its message. ‘Colorless’ expresses a certain sense of confusion and loss, the choruses’ cries of “Now I can't see you / Were we colorless anyway? / Now I can't feel you” painfully expressing a slow but certain falling apart of a relationship. The song builds more intensely, with brass, pianos, and guitars kicking into full effect by the end, with eerie echoes of “I can’t save myself“ bringing the record to a close.
It’s true that anything James Blake touches turns to gold. It’s no surprise, then, that one of the slowest tracks on his new record Assume Form features two of the most high-profile, high-energy artists in the hip-hop world is one of the best rap songs of the year. Dark, reverberating synths underlie Blake’s echoing vocals, while deep trap basses support Travis Scott and Metro Boomin as they deliver their verses. It’s hard to make a low-energy rap track as interesting as this, and even harder to have Travis Scott’s typically high-octane energy dulled down to fit the moodier atmosphere. Every melody and element of this track is brilliant, and it’s only to be expected from one of music’s most eclectic producers.
Rival Sons‘ newest effort Feral Roots is by and far one of their most well constructed, with mature but electrifying blues rock numbers from start to finish. At the peak of the record is the absolutely massive ‘Too Bad,’ the perfect blues rock ballad. Starting evilly with massive powerchords, the vocals come in with massive flair and presence. Things only get more massive as the chorus comes in, roaring vocals and pounding drums combining with dark guitars to create a massive atmosphere. An electrifying guitar solo brings raucous energy to the song before one final chorus brings the song to a huge conclusion. There’s not a moment of this track that doesn’t have you banging your head or sitting at the edge of your seat, ready for the next riff to punch you right in the face.
There are no bands that match Foals in terms of sound and style. Their new album Everything Not Saved Will Be Lost - Part 1 sees them add more of an electronic element to their already pristine sound, which leads to such massive tracks as ‘Syrups.’ The track opens demandingly, its bassline pounding along as the song slowly builds to its massive climax. Foals bring out their best musicianship in this record, carrying the song forward fast and energetically, the drums, guitars, vocals, and all else growing with each passing second. The electronica adds the perfect atmosphere as the acoustic instruments fill in the gaps, showing Foals’ grandiose in its truest form. Things don’t get much bigger than this.
There are many huge moments in Hozier‘s epic sophomore comeback Wasteland, Baby!, yet one song prevails above the rest of them. ‘Dinner & Diatribes‘ sees Hozier’s sound take its best form. The song, about relief from social expectations, sees a bustling instrumental and huge vocals bring it to live. Every instrument is filled with drive, ensuring that whether you’ve tuned in the folky guitar riff or the pounding drums that you’re jamming along. Mix that with Hozier’s bluesy vocals and the album’s underlying choir elements, and ‘Dinner & Diatribes’ is undeniably one of the year’s biggest tracks.
Throughout her debut record Sucker Punch, Sigrid faces life with joy and optimism. However, the record isn’t free from sorrow and pain. ‘In Vain‘ is the album’s central sad song, but also sees Sigrid’s finest vocal performance on the entire record, pairing her softer register with belts and a raspy timbre. The track is also largely acoustic, with guitars underlying Sigrid’s powerful vocals and pained message, ultimately building into a synthpop anthem with popping synths and continual vocals that roar with life and power. Even when in pain, Sigrid can’t help but try and find a way to reason herself (and her audience) into happiness.
Anything’s possible in 2019 - including boyband comebacks. Nick Jonas, Kevin Jonas, and Joe Jonas have finally reunited as the Jonas Brothers, and their big comeback single ‘Sucker‘ promises that they’re now here to stay. The song’s indie pop sound is accentuated by Joe’s DNCE funk, while Nick adds sensuality with his crooning vocals and harmonies. Meanwhile, Kevin holds down the instrumental with simple yet effective precision. The song’s punchy bassline and big drive amplify the brothers’ statement: they’re living the good life, and they’re back to assure that everyone knows it.
The following is a comprehensive list of our favorite songs from the records we listened to this year.
Click the links to check out the full reviews!
Songs noted with an asterisk (*) are track reviews.
Last Updated: March 16, 2019