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Those 2019 albums you should have heard: British

6 December, 2019

We finished the count with the British records that most attracted attention in 2019.

Nilüfer Yanya

The debut of the Londoner of Turkish origin is an exercise that explores the gaps created by the rhythm of modern life.

With a telephone answering machine as a thread, the peculiar voice of this young composer is "scratching" in the marasmus that causes us so much vertigo, in order to pursue those ideas that could "do us good."

We are facing an honest, committed and full work of a remarkable effort to create a conceptual work that addresses all these "monsters" that only serve to fill us with fear. That is, valid fears but that does not serve to curse the thing.


It seemed difficult for the British to overcome, but they did it again, delivering a disc with more delicate and dreamlike atmospheres, dream spaces that conjugate wonderfully with a greater presence of synthesizers.

Less thunderous, but not for that reason with less rock, they make the dense moments pass with grace before the joy that they print to their tones. There are times we can hear when a composer enjoys his creation and this is the case.

This first part of their announced double album demonstrates that they are powerful architects of very sticky songs, without sacrificing style and seal, leaving aside proven formulas or simple sounds, simply looking for their own way.

The Chemical Brothers

To Tom Rowlands y Ed Simons The only possible response to the state of world decay is dancing. His most political record since they broke into the scene electronics reaffirms the idea that when everything is lost we have to raise our voices as we move.

That's why they don't know borders and locations. The unification proposal is deployed throughout this album and accentuated with the name of this ninth study plate.

From the acid house to the ultra-revolutionary beat, through the rare pop, full of sickly atmospheres, this new work means the most refined of what they have presented in the last decade: it is a kind of summary of everything tried and the pinnacle in that fusion between the protest and the rhythms that yell at you: don't leave, get up and sing with us. A marvel!


More than a conceptual album we are facing a kind of testimonial that manages to take us by the hand through the different stages that afflict a convict.

The debut of this young rapper could not be more fortunate and cathartic by telling us with extreme precision the phases that his older brother lived in prison. Thus, we go from moments of anguish to courage, until we reach acceptance, and, why not? also at certain moments of hope.

But it's not just the ones he tells us. Although it does not have a musicalization rich in instruments, the piano serves as a kind of accomplice that is giving the appropriate tone to each of the stories that make up one of the candidates for best hip hop album of the year.

DC Fontaines

Riff hard and direct with all the mystique of post-punk is what bring the Dublin in a dream debut where they give opportunity to show their disenchantment for politics, in the company of the existentialism of this era.

The global economic crisis goes hand in hand with an identity problem in the face of migration, marginalization and a new sign that racism is more alive than ever. This group understands perfectly that the limits are extinguished, so that their base is the guitars but that does not prevent them from extending their compositions to different terrains, rumblings that work well to exemplify this state between courage and disappointment.

It is notorious that they are angry, we know that they do not know what to do, we understand the violence contained, because it is we, the working class, who for more jobs that add up fail to see a better one, if it is sometimes enough to charge. As the name of the record indicates: we are a "raw verse", an attempt to sing, a sketch of a successful citizen. The album is a damn blow of reality.

Text published in Gaio Ninja

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