Most Anticipated Albums of 2019
- Maeve McTaggart
- Mar 1, 2019
- 4 min read
It’s hard to deny that 2019 has started strong. With the charts already boasting the new album from Ariana Grande and teasing singles from artists like Billie Eilish, it has to leave us wondering – can 2019 get any better than this? And are we finally saying thank u, next to that godforsaken mumble rap? I have good news and bad news, the album release dates scattered through the year are looking hopeful but unfortunately, I think the face-tatted mumble rappers are here to stay. Think of it as our sacrifice to the musical gods, maybe they’ll send us Frank Ocean soon.
Catfish and the Bottlemen – The Balance (April 26) The Brit Awards branded them the breakthrough act of 2016 and shortly after, they released their second studio album in two years which was hit with some heavy criticism. NME discarded The Ride for lacking in invention in the shadow of their debut while Paste Magazine referenced Catfish’s FIFA-found fame in calling the album too try-hard, too caught up ‘in transforming its songs into soccer field-sized anthems.’ Two years later, the band are finishing up a UK and Ireland tour and have just announced their headline spot at Indiependence this August. Their recent singles ‘Longshot’ and ‘Fluctuate’ seem to have been less tempted to regurgitate their previous hits, hinting at a more mature sound which has so far struck balance between their sing-along factor and indie-rock roots. For Catfish, things are deservedly looking up. Need to catch up? Try ‘7’, ‘Tyrants’ and ‘Longshot’.
The 1975 – Notes On a Conditional Form (Late summer of 2019)
While most bands would take time to revel in the international success of a number-one, award-winning album – not The 1975. A Brief Inquiry into Online Relationships, a more experimental and eclectic release than what the group have usually exhibited, was just the beginning of the bands new ‘Music for Cars’ era. Front-man Matty Healy has already warned that this second installment, Notes On a Conditional Form, will not be sharing the first’s sound. Instead of the Bon Iver-brushed jazz and poppy musings, it’s set to reignite the dream-like indie of the band’s early EPs. Referred to by Healy as a ‘nighttime record’, Notes On a Conditional Form is going to seek to explore mental ruminations, rather than the mammoth social quandaries posed in A Brief Inquiry – and it’s worth seeing if it will rise to it’s same heights. Need to catch up? Try ‘Anobrain’, ‘Fallingforyou’ and ‘Sex’ – the 2013 sound Notes On a Conditional Form pledges to emulate
Foals – Not Everything Saved Will Be Lost Part 1 & 2 (Spring 2019)
Following the announcement of a two-installment musical venture, spasmodic indie-rock band Foals have held attention for the first time since 2013 single My Number topped charts. In discussing the content of the new album, front-man Yannis Philippakis said the band needed a ‘violent change and make sure, whatever the next record is, it’s not friends with the last two.’ Not Everything Saved Will Be Lost’s violent change was perhaps the parting of Foals’ founding bassist last year – leaving fans fearing the loss of the definitive bass lines of past hits. Singles ‘Exits’, ‘Sunday’ and ‘La Luna’ have certainly so far filled the void. Less isolatingly introspective and more universally accessible, Yannis cited the inspiration for the project as the guilt which comes with being ‘a 21st century human.’ Both parts of the project are seeking to find balance in a world upside down, with immersive cinematic music videos bringing lyrics to life and getting fans excited. Need to catch-up? Try ‘La Luna’, ‘Bad Habit’ and ‘What Went Down’.
Hozier – Wasteland Baby! (March 1)
Having resided solely in the fevered, leprechaun-ed imaginations of Irish-Americans since 2014, Hozier broke his silence last year with the explosive Nina Cried Power EP. A protesting and emotive song inspired by activists here in Ireland and abroad, ‘Nina Cried Power’ reminded us just how much we need Wicklow’s golden boy. The 5-song strong Dinner & Diatribes is the last elucidation to what Wasteland Baby! will sound like before it’s release on March 1st – and it’s sounding good. The thumping acoustics and drum sets of his most recent singles are reminiscent of that brooding ‘Take Me to Church’ which brought Hozier international stardom in 2014 and, after five years, he’s about to prove he hasn’t lost it yet. Need to catch up? Try ‘Nina Cried Power’, ‘Almost (Sweet Music)’ and ‘Dinner & Diatribes’
Billie Eilish – When We All Fall Asleep, Where Do We Go? (March 29)
At just 17, Eilish is continuing her streak of being Gen Z’s most prodigious artist. Her 2017 debut album don’t smile at me, made it’s mark in the global charts with lamenting and hitting tunes like ‘bellyache’ and ‘ocean eyes’ and her transcendent track with Khalid, ‘lovely’, solidified her talent. It’s clear from her ‘Same Interview, 1 year later’ with Vanity Fair however, that Eilish is not the same girl who bared it all with upbeat ukuleles on don’t smile at me. Perhaps now less jaded by her newfound fame, her most recent single ‘bury a friend’ is dark, raw and haunting. The seventeen-year-old has had to grow up quickly as she has racked up Instagram followers by the millions, when we all fall asleep, where do we go? is expected to be more than just a simple coming-of-age, it’s Eilish trying to find her way in the spotlight. Need to catch up? Try ‘when the party’s over’, ‘my boy’ and ‘WHEN I WAS OLDER’.
Honourable mentions:
The Japanese House – Good at Falling (March 1) Lana del Rey – Norman Fucking Rockwell (mid-2019)
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