AROUSE Albums of the Year: 2019

Our take on the top 15 albums of 2019

by AROUSE and Co.


“Igor. This is not Bastard. This is not Goblin. This is not Wolf. This is not Cherry Bomb. This is not Flower Boy. This is IGOR.”

On May 1st, Tyler, the Creator shared a snippet on his Youtube channel of a distorted synth tone, priming his listeners for his most ambitious experimentation to date. He added that the album is written, produced, and arranged in its entirety by himself. In the days approaching the release on May 17th, Tyler was incessantly repeating the mantra above, stressing the importance of appreciating this album with no regard to his previous works or personas. He even posted on his Instagram story, “listen in full with no distractions no phones no twitter no message boards listen all the way through as it is intended you shitheads.” This request further built the anticipation of an intimate release that the idiosyncratic personality’s fanbase would gladly honor. It was clear he was releasing something unprecedented.

And so he delivered.

Hitting the ground running, IGOR sets off with the rough, yet gently panned, synth from the first snippet that he had shared, instantly recognized by the fans who had followed the pre-release buildup of anticipation. Punctuated by soft crackling and vintage distortion, the very first track hints at the level of assiduous intentionality present in Tyler’s production of the album. What follows--a maelstrom of woozy synths tempered by buzzsaw basslines, as well as an eclectic variety of tone, tempo, and style--serves as a powerful illustration of his growth as an artist. The incredible sense of frisson experienced during the very first song is maintained throughout until the very last, resulting in a beautifully homogenous composition.

The album depicts, in profound sentiment, the bittersweet volatility of emotion throughout the course of a relationship. Helping convey this, comedian and longtime friend of Tyler, Jarrod Carmichael, is featured presenting powerfully insightful quotes throughout the album. One of the most impressive aspects of the album’s arrangement is that it follows a path of depressive lows immediately followed by manic highs. This is displayed in “NEW MAGIC WAND” following the paralyzing effect of being constrained by time in “RUNNING OUT OF TIME,” and “WHATS GOOD” following the disheartening realization of being too submissive expressed in “PUPPET.” This oscillating pattern of mood is shared by people who have been in a relationship all across the world. The ability to interpret and express the messy progression of a deteriorating relationship exemplifies Tyler’s acute ability as an artist to convey even the most misinterpretable feelings. This takes listeners straight into the mind of the cultural icon that is Tyler Okonma.

It should come as no surprise, then, that this work captured the attention of AROUSE’s membership. What is hard to believe, and remains important to mention, is the almost unanimous, incredible landslide by which the record claimed the number one spot on this list. This meticulously crafted LP has launched Tyler into international superstardom and has left an intimidating, but exhilarating, precedent for many years to come.

“As much as I would like to paint a picture and tell you my favorite moments [of the album], I would rather you form your own. If we ever cross paths, feel free to articulate what those moments were for you, keep it timely tho I’m not tryna have an Oprah episode. Stank you smelly mucho.”

Article by Ty Carpenter and Sarah Buckingham
Photos by Sarah Buckingham at Governor’s Ball NYC, May 31st 2019

Norman Fucking Rockwell by Lana Del Rey Lana Del Rey (neé Elizabeth Woolridge Grant) released “Video Games” in October of 201l; last year, it was named Song of the Decade at the Q Awards. The easy profundity of “Video Games” is shocking; it is named for the love her then-boyfriend had for World of Warcraft, and it speaks so eloquently on the intricacies of romantic devotion and dependence because of her use of this detail. She used the mundane, the ubiquitous, to talk about something incredibly complex; and ended up producing something so beautiful that it earned her a devoted following.

That familiar, apparently effortless brilliance defines all of Norman Fucking Rockwell. The album’s title track begins with the elegant instrumentalism that characterizes much of the record, and follows it with “God damn, man-child/You fucked me so good that I almost said I love you.” Behind the lilting piano and her string section, we can hear her both absolutely roasting her subject and feeling silly about how she feels for them; she takes something nearly all of us have felt and places it against a majesty with which we do not typically associate ourselves. In other words, we are both beautiful and utterly ridiculous. Similar combinations of criticism, exaltation, lamentation, and adoration are present in many other corners of NFR. In “Happiness is a butterfly,” both she and her “serial killer” subject are “already hurt”; she tells them not to “be a jerk” or patronize her, but acquiesces slightly only a few lines later, admitting, “I just wanna dance with you.”

Perhaps one of the most impressive features of this album is the near-Stoic level of personal and cultural resignation she expresses in songs like “The greatest” and “Cinnamon Girl.” As per usual, these songs are riddled with deep sadness, but they are accompanied by an implicit assertion of the idea that there is perhaps more power in the acceptance of the inevitable than there is in trying to fight against it. This particular separation of NFR from the rest of her discography is also part of what makes it such a powerful album; removed from persona, from regret, from self-denial, from decrying one-sidedness and neglect (nb: I love everything Lizzy has ever made), NFR stands alone as a marker of wisdom, maturity, insight, honesty, and, perhaps unexpectedly, comfort: she is at ease with her man-child; she is in love; she is alone; she is tired; she is, somehow, hopeful.
written by Morgan Amonett

All My Heroes are Cornballs JPEGMAFIA

When I first heard JPEGMAFIA’s music a few years ago I knew right away he was an artist to look out for. On All My Heroes are Cornballs Peggy drops a lot of the abrasion that had previously dominated his music (there are certainly still abrasive moments to be found on this album the second half of Kenan vs. Kel is a great example of this) in favor of a much more melodic sound. This really shocked me at first as I expected a much louder album than this but I couldn’t be more happy with the way this thing turned out. Peggy puts out one sticky hook after another throughout this entire album all without losing the experimental edge that made his music so interesting to begin with. The production on each song is amazing and unique yet it all comes together and feels like one long intense dream. On top of this lyrically Peggy is on his A game here dropping so many memorable refrains and one-liners throughout the album. This album has some of my favorite song titles ever such as “Grimy Waifu” and “Jesus Forgive me, I am a thot” and these 2 songs are worth the price of admission alone. And I couldn’t talk about this album without mentioning that FANTASTIC album cover and how Peggy plays with gender identity all over this album in very interesting ways. This is one of the most adventurous hip-hop of the year and I definitely recommend giving it a shot even if you haven’t been a fan of Peggy in the past. Also he covers “No Scrubs” by TLC on here so like you owe it to yourself to hear that.
Cody Riley


Ginger was one of our top picks of 2019. Though there was great saturation of incredible music in the year, if you’re familiar with the group BROCKHAMPTON, you’ll find this decision an easy one. From start to finish, each track brings you a separate sound, and seemingly, a separate genre. A modern boy band, BROCKHAMPTON is currently (the group has formed and reformed multiple times over the years) made of more than 10 members, with five vocalists on deck. This layered and intricate approach to the typical structure of a band allows for their creative music and genius production methods. Each track on the new album highlights different members talents, with unique overlays and samples in each. The album, based on its diversity and exciting sound, is great listened front to back, back to front, or on a track by track basis. Each song has merit, and that’s why collectively, the album indeed rocks. This video tracks the boys inspiration in ginger’s name, as well as the album cover. Much of the concepts that inspired the work revolve around issues the members face, such as prejudice against race and sexuality, as well as mental health issues.

My favorites: Sugar, If You Pray Right, Dearly Departed, I Been Born Again, Ginger

The first track on the album, but the third released. A slow tempo and consistent backbeat are met at the front door, lulling you into a self-exploratory coma about being, simply, an angsty teen. Regardless if you listen closely to the melody or to the lyrics, NO HALO allows for a near religious experience on self-awareness and growth. The themes of adolescent confusion and misplace are nostalgic and bittersweet. The music however, hovers between a lullaby and an invigorating prayer. Listen for yourself for a personal interpretation.

Song number two is a trip on its own. This track relies more on the vocals than the previous and utilizes mad harmonies to emphasize the melody. A conquest for love, the artists put their feelings out in the open and offer a ballad in return.

The third single to be released, BOY BYE is also a rare song from the group that features all of the producers and vocalists. It’s clear from the effort the collaboration and unique touch that each member brings to the track. A stand-out offering on ginger, and well worth a listen.

The shortest track on the album, but not to be ignored. With a surprise feature from Slowthai, a British rapper, the track relays some politically charged lyrics and an addictive beat for a slow burn of a night.

Enjoy a night in or a night out with this bop. It sounds like your favorite meatloaf tastes – sweet, savory, and great for multiple occasions.

Single number two to be released, and by far the best video in my humble opinion to grace the album. Dropping between an alien-like refrain and off-kilter rap with sound sampling throughout, the track relies on a marching melody and upbeat mood. At about 3:30, a melancholic turn takes the song to another dimension. As interesting as it is fun to listen to.

This track is very different from any other on the track, with a more mellow beat and simpler melody. Little sampling is used, and the focus is minimal with vocals. But the message is sweet, and the song still, a delight.

This one strikes me for its entry. Harsh whispering creates an ominous tone immediately and impresses upon the listener a heady and heavy coming track. Multiple vocalists offer their unique take to the track’s flow, and the hypnotic beats somehow make sense of the various sources of sound into a cohesive melody.

The album’s namesake, and one of my personal favorites, GINGER has the “best” or most popular melody of the tracks IMO. From the beginning, the harmonious voices and repetitive beats entice the listener to immediately feel the track, and I found it to be a fan-favorite from the start. It’s a great track to dance abrasively, or simply nod your head to in the back of the room. Enjoy in your way.

An angry track. Take him with you on your next abdominal workout. At 4 minutes, it’s about how long that would last anyway.

Generally, for me, the least memorable track on the album, with a melody that gets lost in the rubble. Heavily reliant on simple rap vocals, the track does offer some personal value in lyrics.

As if closing a Sunday service, this gospel-reminiscent rap track brings a final melancholic tone to finish the album. With emotional political discourse to finish out, Victor Roberts II offers his first musical effort in a track named after him, with a final, beautiful chorus from the rest of the vocalists, calling for coming together of all the “hurting.”
Madlin Deignan

Father of the Bride - Vampire Weekend

Baby, I know pain is as natural as the rain. I just thought it didn't rain in California

The silent six-year gap preceding the most recent Vampire Weekend release was as tumultuous as it was innocuous. Founding member and producer Rostam Batmanglij left the group, and lead singer and songwriter Ezra Koenig uprooted his east coast life to start a family in Los Angeles. Conversely, both other members of the band are literally just named Chris.

Ezra Koenig embarked on the project with the intention of creating a double album, citing Fleetwood Mac’s “Tusk” and Springsteen’s “The River” as inspiration. Instead, a revolving door of collaborators like Steve Lacy and HAIM morphed the album into a set of distinguished suites.

The lyrical style remains personal and ambiguous, but the subject matter has evolved from romanticized accounts of high society to the malaise over life in modern America. The lead single Harmony Hall speaks of coping with the world despite the bastardization of many once dignified pillars of society. Similarly, Rich Man is written from the perspective of an individual detailing his rise to success while calling into question the ethical merits and holistic value of his wealth.

In the face of turbulence, the now California-based band finds comfort in the nature of the Golden State. Big Blue, for once in my life I feel close to you proclaims Ezra in the anaphora driven poem Big Blue. The band pays homage to the Epicurean Californian past, channeling the tasteful palette of the 1970s with jam band inspired riffs in Sunflower and Flower Moon. 13 years in, the band remains inspired musically and lyrically as a reflection of their new surroundings.
Michael Rocca

Lizzo “Cuz I Love You”

In April 2019 Lizzo released her third album, titled “Cuz I love You” after teasing it since January of the same year. It was her first album released since her EP “Coconut Oil”, which was released in 2016. “Cuz I Love You” received a lot of acclaim when it was released, and it included some of my favorite Lizzo songs. Lizzo debuted the album with its title track, then followed it with a chart topper, “Like a Girl”. The album also includes popular songs, “Juice”, “Truth Hurts”, and “Tempo”. The latter features renowned rapper Missy Elliot, which caused a lot of people to go crazy (myself included). I personally think that this is Lizzo’s best album yet, because so many of the songs have been chart toppers and are just fun to listen to. If you listen to the album in order or shuffled, it doesn’t matter. It definitely deserved the hype it got and I can’t wait to see what Lizzo comes out with next.
Meghan Yeager

When We All Fall Asleep Where Do We Go by Billie Eilish

Part of what made 2019 such a great year for music was the diversity of what became popular. It really felt like a lot of different styles of music found success this year, and it made finding new tunes a really exciting endeavor. On When We All Fall Asleep, Where Do We Go, Billie Eilish avoids the question of what kind of music to make by embracing that diversity wholeheartedly and just going for everything. It’s been a long time since I’ve heard an album as daring in its sound and vision as When We All Fall Asleep, and longer still since I’ve heard one stick the landing as well as this does. It’s truly incredible how much ground is covered here- Bad Guy meshes synthpop and trap to the best bass line you’ll hear all year, Xanny is a jazzy, glitched out piece of soul, Bury a Friend has an industrial menace to it that brings Marilyn Manson to mind, and When the Party’s Over is a heartbreakingly beautiful ambient piano ballad. Not everything works- You Should See Me in a Crown, for example, is a rather awkward stab at dubstep that just kinda sounds like a mess- but it’s easy to forgive mistakes here, both because of Billie’s charisma as a vocalist and because Finneas is the best producer of 2019. Every single song here sounds amazing, and it’s because Finneas has this uncanny ability to create an intoxicating atmosphere out of whatever he touches. His production brings a dark, moody vibe to the record, and it really brings everything together and makes this eclectic mix of songs sound like a proper album. When We All Fall Asleep is a testament to what can be done with just two people, but it’s also a reminder of how good music can be when the singer and producer have such an obvious understanding of what each other wants as Billie and Finneas do. Dark, diverse and daring, When We All Fall Asleep isn’t just my favorite pop record of 2019, it’s also the most exciting. With her whole career in front of her, this album serves as a monumental mission statement, and I can’t wait to see where she goes next.
Sam Stahler

Ventura by Anderson.Paak

Anderson.Paak’s album Ventura is smooth, bright, and beautiful. With the energetic “King James,” sexy “Make It Better,” and buoyant closing track, “What Can We Do?”, Paak performs 11 multi-layered, groovy tracks that exhibit, once again, his multifaceted artistry.

Looking back at Paak’s 2015 Malibu and 2018 Oxnard, these records, full of smashing features, artsy samples, and energetic percussion, developed the mature sound we hear on Ventura. On each of his records, Paak has a sense of space: first, by naming four of his five records after towns in California where he has lived and second, by filling every ounce of his tracks with confident experimentation and a rich layering of lyrical weight and sound.

On Ventura, features by Andre 3000, Brandy, and Smokey Robinson add maturity and multidisciplinary ease to Paak’s R&B litanies. With each of these features, Paak collaborates with his fellow artists, allowing their vocals to mix, layer, and shine next to his.

Anderson Paak filled the latter half of the past decade with a stellar, beautiful body of work, ensuring more beauty and groove to follow in the coming years.

-Genevieve Wagner

1000 Gecs by 100 Gecs

I think the first thing I need to address about this album is that it’s not for everyone. It’s a REALLY fucking weird album, with half the beats sounding like they’re from the “What’s Lil Uzi’s email?” video. 1000 gecs mixes a lot of different genres together – pop, EDM, trap, ska – with pretty disorienting results. If you can get past the bizarre combination of sounds present on the album, then you’re in for a really fun time. I think my favorite part of this album is how earnest the whole thing is. Songs like “ringtone” and “gec 2 Ü” actually have some pretty wholesome lyrics about relationships and friendships – showing that beneath the flashy production of this album is a warm, beating heart. And lots of big trucks.
Nathan wilson

Titanic Rising - Weyes Blood “Waiting for the call from beyond / Waiting for something with meaning / To come through soon” Titanic Rising is, in my eyes, a masterpiece. In ten neatly packed songs, Natalie Mering, a.k.a. Weyes Blood, pairs her angelic voice with both electronic and orchestral arrangements to create a feeling and a narrative that is both true to modern day as well as timeless. Her lyrics also speak to this, as she delivers her anxieties on the current state of our world, like climate change, capitalism, and the death of romance, in a way that could fit anywhere in the narrative of the past century.

In an interview with The Frame, she said that the sound of the soul is “an echoey, strange chamber.” This quote really feels like it came to fruition in this album. Though her voice isn’t necessarily overwhelming, the songs themselves can be. The feeling of overwhelm is intentional, referring back to the album title and cover art: she wants to convey a sense of “drowning”, both in yourself and in the song. This progresses as the album goes on: the first half of the album is still reflective, but more lighthearted than the second half both in music and themes.

She starts by reflecting on growing up in “Things Are Gonna Change”, love in the modern age with “Andromeda” and “Everyday”, and being only human in “Something to Believe”. Then there is an instrumental track which leads into the climax with “Movies”, in which she begins to criticize one of her first loves, movies, for distracting herself and others from “real” matters with the lyric ‘the meaning of life doesn't seem to shine like that screen.” The “real” matters are pressing issues like the pain and destruction of the world and its people, which she speaks about in the following tracks. However, she makes sure to share her opinion that life is still worth living and worth trying to enjoy despite all these apocalyptic issues in “Wild Time.” She urges listeners with the words “don't cry, it's a wild time to be alive.” The last track before the final, instrumental track (that fittingly sounds much like background music to closing credits), “Picture Me Better” reminds us that despite all these things, we might as well try to look on the bright side of uncertainty while we wait “for the call from beyond...”

I feel like I could go on and on about this album, even more than I already did. But seriously, give this one a listen. It’s worth it.
- Mackier Herrlinger

Pony Rex Orange County

Pony wasn’t what I was expecting for a third album from Rex Orange County, but I’m not mad about it. Rex sings a lot about his growth over the past year, both personal and interpersonal. “10/10” is especially relatable and motivational with its message about getting through a tough year and ending dysfunctional relationships. On “Pluto Projector” the 21 year old artist questions his purpose, “what if all this counts for nothin’/Everything I thought I’d be?”, a common theme for members of our generation.

The sound of the album felt a lot cleaner than past tracks we’ve heard from him. I was expecting more of the self-recorded, staticky undertone heard on Rex’ previous albums Bcos U Will Never B Free and Apricot Princess. This different, more pop-leaning, sound threw me for a loop, but with a good blend of meaningful, slower songs, and synthed-up anthems, I find Pony enjoyable when in any mood. I think there is a song on the album for everyone, and very much enjoy singing along to my favorites.
- Amelia Gingras

Solange's "When I Get Home"

“When I Get Home” is filled with love. Love for Atlanta, and Solange’s roots. Love for black artistry, with features and production from other prominent black artists, such as Pharrell Williams, Tyler, The Creator, Earl Sweatshirt, Standing On The Corner, Sampha, Steve Lacy, and many others. A love of music, with her refusal to stick to any specific genre. Above all else, a love and respect of self.

Solange is so many things all at once, and she finds the perfect balance of her talents and strengths on “When I Get Home.” She has found her voice and feels in complete control of her talents with this album. Solange creates a holistic experience, with great vocal performances, great compositional skills, and such a keen ear for what works. She doesn’t waste a single second of the runtime, with the interludes even being integral to the listening experience.

Solange also shows her creative prowess in other mediums, to incredible success. “When I Get Home” has an accompanying art film, which is gorgeous, and the ultimate way to the listen to and experience the album. It is filled with allusions to Houston and its culture, and shows Solange’s prowess in every facet of what she does

Solange has found the best version of herself in “When I Get Home,” not only as a musician, but as an all-around artist.
Bad Opinion Guy

King Gizzard & The Lizard Wizard – Infest the Rats’ Nest

Last April, King Gizzard’s “Planet B” thrash-inspired single gave us a glimpse at a darker, heavier side for the psychedelic stoner rock outfit from Melbourne, Australia. The Fishing for Fishies album released later that month did not include the single. Instead, that album presented a more bluesy spin on their signature sound. Many fans speculated that the omission of “Planet B” meant another album was in the works, a metal album. By the end of June, the band released two other singles, “Self-Immolate” and “Organ Farmer,” and confirmed the album’s title Infest the Rats’ Nest with social media teasers. At this point it was clear that this would be their heaviest album to date.

Being a huge fan of both heavy metal and King Gizzard’s previous work, the hype was real. It was still very King Gizzard, keeping in line with their garage rock guitar tones and signature psychedelia, but it was also clearly influenced by thrash metal bands like Metallica and Slayer, with double-kick and hammer-on solos all over the place. A few metal purists on the internet say it isn’t real metal, but I think you just need to listen to the first 10 seconds of “Hell” to prove them wrong.

With all the King Gizzard stuff, I think it really takes a few listens to truly appreciate it from a lyrical perspective as a concept album. The first half of the album is about environmental disaster in the not-too-distant future and then gets progressively more wild, eventually turning into a story about a superbug that plagues humanity, survivors escaping the dying Earth to Venus, and opening a portal to Hell. What’s more metal than that?
-Nick Morris

Wasteland, Baby! - Hozier

For the first time since 2013, Hozier has welcomed us back to join his choir with this 14 track album. Wasteland, Baby! will energize your soul and get you foot-tapping to the drum. The undertones of gospel music trickle deep into his Irish-folk based music. As a testament to Hozier's love of rock and roll, the album's beginning track "Nina Cried Power" is an anthem to American's most politically impactful rock stars- Nina Simone, Billie Holiday, Joni Mitchelle, and Marvin Staples. The title track "Wasteland, Baby" wraps up the invigorating an album with a softer tune- comfort like something you would sing to a child to put them to sleep. The romantic quality of this track will wrap you tightly in the simplicity of the guitar picking. Whether you gain comfort or courage from Holzer's church gospel, "let's get lost and let the good times roll."

ARIZONA BABY by Kevin Abstract

ARIZONA BABY was promoted with the slogan, “Teach me empathy. Teach me how to feel. Teach me how to change.” Throughout his third solo album, BROCKHAMPTON leader Kevin Abstract goes into the heart-wrenching details of the conflicts, hate, and low points he has faced as a result of being gay and black in America. But despite its’ subject matter, ARIZONA BABY sounds like a summer road trip from Houston to Atlanta. Relaxed, melancholy, sometimes uplifting, and really hot. Still, it is just as much a needed release of pent up trauma and emotions. Abstract is “too scared to let a therapist talk” to him, yet this album somewhat resembles a therapy session. Inner struggles with relationships, sexuality, suicidal thoughts, insecurity, guilt, anxiety, and loneliness are expressed and dealt with over the album’s 11 tracks.

Abstract sounds different on each song, flexing his versatility by delivering a wide range of flows over diverse production. “Joyride” has the most Jack Antonoff (Of Bleachers, and fun. fame) sounding production, with Abstract delivering a catchy hook over Antonoff’s grand instrumentation and boastful horns. On “Peach”, a certified summer-love-song banger, Abstract feels nostalgic about a relationship from his past while Dominic Fike belts out an addictive chorus.

Abstract is lost, and yearning for an ex-boyfriend over soft guitars and swelling strings, on “Baby Boy”. It features a previously teased (and incredibly catchy) Ryan Beatty chorus. “Corpus Christi”, named after Abstract’s hometown, is a very personal display of emotions stemming from relational problems with family and friends. This is also the first time he addresses the departure of Ameer Vann from BROCKHAMPTON.

Overall, ARIZONA BABY is a warm and beautiful, but tragic release of trauma and bottled emotions, and remains my favorite album of 2019.
by Caleb Goddard

Full Top 50 Albums of the Year

  1. Tyler's IGOR
  2. Norman Fucking Rockwell - Lana Del Ray
  3. All my heroes are cornballs - JPEGMAFIA
  4. Ginger brockhampton
  5. Father of the Bride - Vampire Weekend
  6. Cuz I love you - Lizzo
  7. When we all fall asleep where do we go - Billie Eilish
  8. Ventura - Anderson.Paak
  9. 1000 gecs - 100 gecs
  10. Titanic Rising - Weyes Blood
  11. Rex Orange County Pony
  12. when i get home - solange
  13. infest the rats' nest - king gizzard & the lizard wizard
  14. Wasteland, baby! - Hozier
  15. arizona baby - kevin abstract
  16. Nothing Happens - Wallows
  17. Anger Management - Rico Nasty & Kenny Beats
  18. All mirrors - Angel olsen
  19. You and I - Barns Courtney
  20. III - lumineers
  21. Charli - Charli XCX
  22. Feet of Clay - Earl Sweatshirt
  23. fishing for fishies - king gizzard & the lizard wizard
  24. Let's Rock - The Black Keys
  25. Berkeley's On Fire - SWMRS
  26. ZUU - denzel curry AND Jesus is King - Kanye West
  27. lookout low - twin peaks
  28. sensational - yung gravy
  29. mujeres - y la bamba
  30. Cheap Queen - King Princess
  31. I, I - Bon Iver
  32. Almost Free - FIDLAR
  33. social cues - cage the elephant
  34. beware the dogs - stella donnelly
  35. Revenge of the Dreamers - (comp)
  36. immunity - clairo
  37. Neotheater - AJR
  38. 7 way tie between: Oso Oso - Basking In The Glow, Magdelene - FKA Twigs, Morbid Stuff - PUP, fine line by harry styles, case study 1 - daniel caesar, We Are Not Your Kind - Slipknot, and Remind Me Tomorrow - Sharon Van Etten
  39. American Football - American Football
  40. Show Me The Body - Dog Whistle
  41. Amyl And The Sniffers - Amyl And The Sniffers
  42. winona forever - feelgood
  43. dudu - b boys
  44. Pony - Orville Peck
  45. Julia Jacklin - Crushing
  46. love is here - crocodiles
  47. basketball breakups - good morning AND anak ko - jay som
  48. Voyager - 311
  49. Rattler - Petite League
  50. the curse - the spyrals
  51. Big Thief - U.F.O.F