Music festivals have been cancelled this summer – barring, of course, your occasional Smash Mouth-headlined superspreader event. In lieu of putting on new shows, established festivals have tried a variety of “virtual” events. Some have gotten a series of artists to perform from their homes; some have been re-airing a bunch of old performances. All are trying to make it feel like an event, with varying degrees of success.
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??
I tried to discern some overarching theme with this year’s Best Songs list. One has to write something in these intros, after all. I never came up with one (other than that the songs are all, you know, good). But maybe that diversity itself offers a narrative thread.
The only thing many outsiders seem to associate with Vermont music is jam bands. Mostly one jam band, really. Now, I’m sure learning that Vermont has other genres wouldn’t surprise any outsider. But learning that the music being created in those genres is equally vibrant – and equally supported by the local music scene – might.
The Aztext ft. Xenia Dunford – Everyday Sun
Last month I wrote about Xenia Dunford’s dual comeback EPs. They split along genre lines: the first singer-songwriter Americana, the second a little jazzier. Now she’s dabbling in a third genre: hip-hop. On rap duo The Aztext’s new single “Everyday Sun,” Dunford proves herself a perfect hook singer. The blend producer Rico James creates with her voice and an infectious horn line sounds like a ’70s Stevie Wonder jam.
February’s a short month, but you wouldn’t know it from the amount of music that came out. The second installment in our monthly-except-when-it’s-not series spans everything from synth dance-pop to choral composition, indie rock to acoustic funk, Godspeed You! Black Emperor noise to Parquet Courts pastiche. There’s a song inspired by hitting the road and one inspired by hitting the sheets. Let’s start there.