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.
Bishop LaVey – Romulus
Kane Sweeney’s last single addressed ancient mythology, and his follow-up stays in that old world, this time riffing on the Roman Empire. His thundering wail of a voice suits the subject, as does his “doom-folk” genre styling. If Game of Thrones were still going, he would have fit right in with the wildlings north of The Wall.
Lissa Schneckenburger’s early albums feature song titles like “Lady Walpole’s Reel” and “Fair Maid by the Sea Shore.” As you’d probably guess reading those old-timey titles, these were not her own compositions. This professional fiddler has been studying and performing the traditional music of America’s Northeast ever since she was six. She even got her degree on the subject in 2001 from the New England Conservatory of Music.
On her new album Thunder in My Arms, though, this expert player of centuries-old music tried something new: recording her own songs. And not compositions that sound like old reels and jigs either, but contemporary folk-rock songs. Songs that sound like the 21st century, not the 17th.