Critics of ranked lists like this see it as a bug that they’re entirely subjective and somewhat arbitrary. I see it as a feature. There’s not really any difference between #12 and #13. Frankly, there’s not all that much difference between #1 and #25. But my feeling has always been, everyone gets that. No one actually thinks you can mathematically rank works of art. But the trying offers a wonderful opportunity for music nerds to look back at the best of the year, and for the sort of vigorous debate on which such nerddom rests.
This Top 40 looks nothing like the actual Top 40. None of these songs charted, and I don’t think any of them aspired to. That is no knock against them, which probably goes without saying here – anyone reading music blogs knows that much. The adjectives “great” and “popular” occasionally attach themselves to the same track, but not often enough.
So just think of this as an alternate history of 2019 singles. It has no horses, and no town roads. It doesn’t teach love, patience, or pain, and isn’t 100% that anything. It also, as the headline says, only includes artists from one rather small state. But this wildly subjective, somewhat arbitrary survey of the past 12 months should serve as a small introduction to the wealth of talent in one community on the geographic fringe. There was a lot of wonderful music being made this year, much of it far from the big cities, or the Billboard charts. Duh.
Allison Fay Brown – Summit
I’m going to try to write something longer about Allison Fay Brown’s marvelous new EP later this week, so I’ll just leave the lead track here as a teaser. Like a good short-story writer, Brown offers just enough narrative details to intrigue while leaving plenty of gaps to fill in yourself. For instance…what’s in that box on the doorstep??
Don’t call Hallowell’s debut album “Christian rock.”
For one, it’s not really rock (though, like “indie rock,” these days the term “Christian rock” encompasses an array of genres). But more importantly, the label pigeonholes the music. Joseph Pensak, the man behind Hallowell, may be a a Presbyterian pastor singing spiritual songs, but his music wouldn’t really fit on any modern CCM playlist. He says that, though he likes some of the music contained within, he disdains reductively labeling a genre simply “Christian”: “It makes my skin crawl and sadly some amazing bands got unhelpfully placed in that genre and thus didn’t get heard by the much larger audience they deserved. As Sufjan said somewhere, ‘Christian’ is a terrible adjective.”