We’ve decided to do things a little differently this year. Instead of each of us writing our 5 Favorites, we had a discussion about what the best “Shop Favorites” are. You could break these up into three different categories: Most, are the albums that got a lot of play in the shop. We like to call it “Record Store Music.” It’s got a certain something that catches and holds your attention for a full spin. Another category would be “Albums that make a connection.” You’re a diverse bunch and it’s important to us to keep in mind those unique albums that might not appeal to everyone, but are just perfect for you. These really only get played if we notice you’re looking for a certain kind of thing…or if you specifically ask for recommendations! This is the stuff that we couldn’t wait to share with the right customer. Lastly, we wanted to include some albums that maybe don’t appeal to everyone, but we felt were so good, they just couldn’t be left off this list. Being a music lover is an evolving relationship.

We feel it’s important to challenge your taste or even your understanding of what music can be. Between all of us who work here, we have collectively, over 70 years at Stinkweeds! This amount of time changes the dynamic of taste. In many ways, our taste has infused with this store and this list will certainly reflect this. But quietly, in our own time, our personal taste has taken their own interesting twists and turns. We really wanted this list to reflect both of those dynamics.

Here are 25 albums that we feel both collectively represent this store, and ourselves.

Be sure to check out our Top 5s of 2019 From Friends of Stinkweeds list we released last week, as well!

Big Thief – Two Hands [4ad]

This band has been a Stinkweeds favorite since their first release in 2016. This past year, we were rewarded with two albums from Big Thief! The first (U.F.O.F.) was a more stripped-down approach, resembling singer’s, Adrienne Lenker’s solo outings, but still no less captivating than any other releases. This surprise second album was a return to the more “band heavy” releases, but seemingly with a new perspective on capturing these songs and performances. It has a more “live” energy, using less of the studio magic and relying on the magic they are able to produce on a stage, in front of an audience, which could arguably be more substantial for a band like Big Thief. There is nothing staged or processed about the impact this band is capably of creating on its audience. They are quite simply a rock band, with little to no other defining factors, aside from Lenker’s fragile delivery, heartbreaking songs and a looseness that comes from believing in and understanding the song so well, she could play it in her sleep. After telling a customer that I thought Big Thief was one of the best bands in the past decade, they asked “why?” I had no other answer than they just know how to write and play a song.
-Dario

That voice!
– Kimber

Mavis Staples – We Get By [Anti-]

There was a heartbreaking realization in 2017, when this gospel/soul veteran released her album, If All I Was Was Black. Mavis Staples was a member of the family gospel group, the Staple Singers. This group provided the soundtrack for the civil rights movement, playing events alongside Dr. Martin Luther King Jr. In fact, it was after an early sermon from Dr. King, where Pops Staples (guitarist and leader of the Staple Singers) called a meeting with the group to discuss putting a focus on protest songs, saying “Now if he can preach it, we can sing it. That could be our way of helping towards this movement.” The heartbreaking thing about all of this is that Mavis Staples has been working hard for justice since the days before the Civil Rights Movement. To hear these recent album, some 50+ years later, asking those same questions and calling for the same justice, you can’t help but weep for her frustration and applaud her resilience. On We Get By, this frustration and resilience is so much more apparent. You hear a voice that is driven by an urgency and fear that things might not change in her lifetime, but a faith that knows the world will come out on the side of righteousness and she will fight for it with every breath she has in her. If ever there was a reason to listen and react to a message, it’s the fact that Mavis has been saying it for so many years and hasn’t lost an ounce of passion. Consider every possible definition of the word “Listen,” then listen to Mavis Staples.
-Dario

Mavis Staples, at 80, delivers the most relevant record of the year on race and the black experience in the U.S.
– Kimber

Durand Jones – American Love Call [Dead Oceans]

Lightning Dust – Spectre [Western Vinyl]

Since 2007, Lightning Dust has released 4 albums, with the biggest gap between this most recent and their 2013 release. It seems that these gaps are the result of a band that approaches their music in the most organic way. While each album shows immense growth, there is no sense that they need to pick up on any trends or please anyone but their own sensibilities. Their unique blend of shoegaze-paced, stripped down rock n roll, dark, folk melodies and 70s psychedelic flair remains as prevalent and masterful as it did on their debut album.
-Dario

Lankum – The Livelong Day [Rough Trade]

On the surface, this is an album of old world Irish folk songs. But, listen with intention and you will find a wholly modern record, with the intensity of current ambient works by the likes of Johann Johannsson, or Colin Stetson, lyrics that speak to youthful angst and regret, and production that breaks the tradition of folk music either being overproduced to replicate the sound of great concert halls, or under-produced to the point of someone singing into a can. Lankum paints sound into beautifully complex and introspective pieces that have film score complexity played through old instruments made of wood and animal skins. If you told me last year that one of my favorite albums was going to be an album of Irish folk tunes, I would have said “not likely” or… “Yeah, maybe if it’s paired with ambient drones and minimalist, dissonant chords, played through antiquated instrumentation with very little rhythmic elements.
-Dario

Brainstory – Buck [Big Crown]

This band picks up on the trend brought on by Chicano Batman, of vibed-out L.A. smooth groves, played through a haze of legalized pot use. The viscous blend of Art Laboe “Oldies,” mixed with some of that 70s L.A. “Yacht-Rock” scene makes for something truly electrifying and undeniably likable. They go as far as adding a little bit of that AM radio haze and that lo-fi sound that comes from backyard garage recordings on an 8-track. You will be transported to hot summer days in the 60s, in East L.A. Grab your cassette deck and take the 710 to the beach.
-Dario

Oh Sees – Face Stabber [Castle Face]

This band has A LOT of albums. And, truth be told, if you like one you’ll probably like them all, equally. I think this one makes the cut because it’s just so god damn fun! The album opens with a hectically rhythmic squeaking dog toy! What follows is over an hour of anything from Zappa-inspired psych prog, to surfy grinders, to raw noisy punk tunes, to Can-inspired Krautrock, to even some ambient electronic. If one were to look for some sort of cohesive factor, it might be found in the nightmarish absurdity sprinkled throughout. Oh Sees are a psych rock band through and through. These albums aren’t made for a casual listen. They are a companion piece to insomnia and paranoia. We need to take the darker and weirder parts of our brain out of for a walk, every now and then.
-Dario

Jaime Branch – Fly or Die II [International Anthem]

This review is as much to praise the fine work that the International Anthem label has been doing for the past few years. It’s no surprise that one of the most inclusive and forward thinking jazz labels would be coming out of Chicago. We highly recommend you browse their catalogue. You may even see some familiar names.
On Jaime Branch’s second release on International Anthem, perhaps with a little more frustration and dissonance to reflect the trajectory of the world, since the first Fly or Die album in 2017, Branch recalls jazz back to the days when the notes were more about the world around you than they were about…just the notes. There’s a dark tone that is reminiscent of Charles Mingus and the “vibe” is right out of the early 70s, Pharaoh Sanders/Alice Coltrane playbook, but only reminiscent. This is future and present jazz and makes no effort to quote the greats, in any way. Sure, you’ll hear the influence. Any great piece of music is going to resemble its influence. But Branch and ensemble play the way only the most seasoned jazz musicians can. All the hard work and practice serves to allow the player to abandon everything and just… create, without having to lean heavily on memorized parts. On Fly or Die II, the musicians are an open faucet of creativity.
-Dario

Jessica Pratt – Quiet Signs [Mexican Summer]

Listening to this album, I’m reminded of the old film and television trope of swinging a watch in front of someone’s face to have them immediately glaze over into a state of hypnosis. There’s a dreamlike quality to Pratt’s songs, voice and production. Well-drenched in roomy reverb and accompanied by a tape hiss that takes on the quality of a backing instrument, Pratt carries timeless, haunting tunes with mostly just a lightly strummed acoustic guitar and a voice that could fit inside a ring box. Quiet Signs is one of those albums that may only get played in the shop by suggestion, but it’s mostly been an “at home” listener for most of us. This album deserves a couch.
-Dario

Ghost Funk Orchestra – A Song For Paul [Karma Chief]

Portishead, Stereolab, Quentin Tarantino, these have all been used when describing Ghost Funk Orchestra’s A Song For Paul. If those name drops don’t intrigue you, I don’t know what would. At times you feel you’re taking an elevator ride, martini in hand, next to Uma Thurman wielding a samurai sword, and at other times you’re in the middle of an orchestral rainforest where sounds seem to be rising from the ground, falling from the trees, and beckoning in the ever-encompassing fog. Hazy vocals joined by funky fuzz, quavery keys, and sultry brass combine together and create exactly what you would imagine a Ghost Funk Orchestra to sound like.
-Paula

Kit Sebastian – Mantra Moderne [Mr Bongo]

There’s a beautiful thing that happens with “throw back” trends. While bands are always pulling from the best of what the past has to offer, a “throw back” can often take something that might not have been considered the height of taste in its time, and breathe new life into it. Kit Sebastian plays what some might consider kitschy, 60s, “party music.” This was like elevator music, but with an element that might spark more conversations. With a little bit of time and a bit more self awareness, we can enjoy this music as something unique and even worldly. And, who doesn’t love to imagine that party, full of ACTUAL mid century modern furniture, Italian suites and beehive hair-dos.
-Dario

Crumb – Jinx [Crumb Records]

Fontaines D.C. – Dogrel [Partisan]

Ok, we’re kinda suckers for post-punk. There’s a sincerity to the genre that is at the same time derivative. You can point to all the usual suspects to draw comparisons, like Wire, Joy Division, or even Fontaines D.C. hometown predecessors, Virgin Prunes. But, these newer bands tackle the songs with such sincerity, it sounds like the product of young musicians just doing what they can with their instruments. They play like those bands because those bands were just doing what they could with what they had, as well. The simplicity shapes the sound. But, under that simplicity is the embrace of those “wrong” notes and dissonant chords that truly define the genre and create something that is as much an artful expression as it is a channeling of youthful angst. Fontaines D.C. is one of a few up and comers that are starting to redefine punk. Bands such as Idles or Protomartyr, – like Fontaines D.C. – are redefining the genre in their own subtle ways. It can be argued that those 70s and 80s bands were ahead of their time. Perhaps were’ finally catching up.
-Dario

Y La Bamba – Mujeres [Tender Loving Empire]

Luz Elena Mendoza and her band Y La Bamba conjure up a wonderful mix of psychedelic dream pop (Cocteau Twins), skeletal folk (CocoRosie, Devendra Banhart), field recordings and traditional Mexican folk music. There is an element of timelessness throughout and the album is so eclectic, you can listen over and over without it seeming too familiar. Even if none of the bands referenced here pique your interest, it’s worth a listen, as this record completely stands out on its own and commands attention by shoppers every time it’s played in the shop.
-Lindsay

Cate Le Bon – Reward [Kemado / Mexican Summer]

Reward is a kind of brave and bold album that comes only a few times a decade. There is never any shortage of experimental music. But, where Reward breaks away from most albums is it’s ability to execute those abstract ideas and ambitious arrangements without sacrificing the song. This is instrumentation that could work great on it’s own but is elevated by Le Bon’s confident vocals and strange, poetic lyrics. It resembles pop…but you know it isn’t pop. I’m reminded of the early 2000s when we started hearing these kind of bold ideas from bands like Dirty Projectors, Blonde Redhead, Animal Collective, Arcade Fire and Of Montreal. There was this magical time when strange ideas were embraced and woodshedded until they made sense. It’s refreshing to hear artists like Le Bon keeping these ideas alive.
-Dario

Cactus Blossoms – Easy Way [Walkie Talkie Records]

This album is a great example of why we’re doing a “Shop Picks” instead of individual ones. While this album probably got played in the store more than any other album this year, it might not have ended up on anyone’s personal list. That isn’t to say it isn’t well worthy of a Top 5. It speaks more to the nature of an album like this. It is brilliant in it’s levity. Resembling a 1950s Everly Brothers record, you kind of feel like you’ve known this album your whole life. That’s not to say that it isn’t full of new ideas and energy. There are plenty of fresh, musical ideas, as well as some lyrical content that speaks to our current social climate, like the song “Downtown” which addresses the economic gap or “Please Don’t Call Me Crazy”, which comments on modern consumerism. This album is overwhelmingly easy to listen to. But, there’s plenty there to take that deeper dive, if you choose.
-Dario

Weyes Blood – Titanic Rising [Sub Pop]

I recently saw an interview with Weyes Blood singer Natalie Merring where she discussed one of her favorite songs, “Stardust”, by Hoagy Carmichael. She said of Carmichael’s legacy, “You complete a mission as a musician when you can finally distill the essence of suffering into something gorgeous.” Listening to the songs on Titanic Rising, one gets the sense that this is what Merring is working towards and some might argue, has achieved. Titanic Rising is an ambitious work, with big, sweeping, cinematic arrangements and classic melodies sung with a delicate power that makes it all so believable. These are timeless songs that could be appreciated by any generation. But, Merring’s roots as a musician, including her stint in early 2000s noise ensemble, Jackie-O Motherfucker, make for some very interesting and sometimes abstract ideas. These ideas might only be noticeable to those looking for them, since these tunes are incredibly strong and palatable.
-Dario

Allah-Las – Lahs [Mexican Summer]

I think something special has been happening with this band right under our noses and we’re only just now noticing. Allah-Las has been on our radar since their 2012 debut self-titled album. Perhaps because it was among many beachy, 60s, psych rock albums that were coming out at the time. But, looking back at their catalog, Allah-Las has remained a consistent force in the genre. There has been subtle growth without falling too hard on trends and just enough change to not alienate their fans. This is a rare thing. You can measure the longevity of a band in more than one way. Some bands breakup. Some bands just go through the motions for as long as they can sustain it, playing their old tunes for anyone that still wants to hear them. Some bands veer off in such a dramatic fashion that they either end up in a wreck or crossing over the median to head in a completely different direction. But, some bands maintain growth in their own voices. Allah-Las seems to have worked just as hard on Lahs as they did on that first album, only they have completely mastered their language and have road tested enough ideas to feel confident in their own skin. It’s still the same beachy, vibey tunes. But, there’s so much more to enjoy on this album.
-Dario

Amyl and the Sniffers – S/T [ATO]

This Australian band delivers just what we need right about now. Some snotty, fuzzed-out, frenetic punk rock from down under. They carry all the familiarity of 70s glam and punk with a fresh invigorating flair. Their self-titled album is tight, catchy and unnerving in all the right ways.
-Lindsay

Corridor – Junior [Sub Pop]

French Canadian dream punk at its finest! The music we play in the shop is the house plant that ties the room together. We like bands that make you feel like you’ve walked into some small club in the hip part of town that hasn’t been infiltrated by the culture poaching developers. Corridor has all the elements, from the simple thumping bass lines, resembling Joy Division as much as it resembles Air.
-Dario

Sasami – S/T [Domino]

This is what I love about the cyclical nature of music. Eventually, it gets back to the stuff you liked 20 or 30 years ago. Sasami is a bright star among the growing trend of indie pop artists who lean heavy on the tried and true sincerity of a song played through guitars and drums. The recordings are tastefully “lo-fi,” the use of synth or any effect is subtle and used with great care. There are many similarities to bands like Mirah, Broadcast, Yo La Tengo, Microphones or even Stereolab. But, along with similar current artists like Jay Som, Stephen Steinbrink or Frankie Cosmos, Sasami is part of a movement all its own. At the core of this movement is heartfelt songwriting. The production is minimal because the songs don’t need much. I can imagine much of this album didn’t change from demo to finished product. There’s an art to making this kind of simplicity work. Sasami is a true artist.
-Dario

Brittany Howard – Jaime [ATO]

This is a bold and brave undertaking by a voice that (as the old saying goes) “could sing the phone book.” Brittany Howard is the powerhouse alto that fronts the Alabama Shakes. And, as much as that band deserves all the respect in the world, it is on this, Howard’s first solo outing that the ideas break some serious barriers. There are so many things on this album that shouldn’t work! But, like listening to a Thelonius Monk solo album, the ideas somehow manage to emerge from chaos to reveal some true genius. With a little research, you’ll find that this is, in part, due to the Grammy Award winning co-producer, Shawn Everett. In a recent interview, Everett spoke of a contraption of their own making; a drum set made entirely of snare drums that was meant to be played with chop sticks. See what I mean by ideas that shouldn’t work?! But, if you can pull something like that off and pair it with socially conscious messages and one of the best voices in the business and you’re sure to have something special in the end.
-Dario

Julia Jacklin – Crushing [Polyvinyl]

Australian singer-songwriter delivers a heart-wrenching album composed of the overwhelming emotions tied to the title word “Crushing”. She is incredibly vulnerable, honest and very likable. It’s got a few head-bobbers and party-jammers, but overall, speaks volumes in a “me too” era of reclaiming one’s self (and body) in a time of growth and realization.
-Lindsay

Purple Mountains – S/T [Drag City]

Purple Mountains is David Berman of Silver Jews. His first album in over a decade continues down wonderfully familiar paths of heartbreak, bitterness, humor and biting wit. This album culls all the wackiness of a Silver Jews album with a new sense of professionalism and musicianship. Berman was an outsider in every sense of the word. This album is a beautiful testament to Berman as a writer and leaves a warm place for all of his fans to feel connected to something real in this strange and now, very lonely world.
-Lindsay

Disques Debs International Volume 1 – An Island Story: Biguine, Afro Latin & Music Antillaise [Strut Records]

We’re breaking our own rules here (sorry to all the contributors who so kindly followed our instructions). That rule was to only include music that was released this year. But, this album got so much play and went home with so many customers that we couldn’t ignore it! Disques Debs was a label started in the 50s in the French Caribbean by Henri Debs. It featured music from the multiple styles you could find in the Antilles islands. This is an album that scratches a lot of itches. You’ve got percussive afro-latin rhythms, catchy horn hooks, rhythmic piano, vintage charm, passionate singers and tons of French. You want to sell a song? Sing it in French. There are no shortage of similar compilations. Sometimes they sound a little thrown together, banking on the fact that people just love to hear music most people haven’t heard before. But, sometimes a compilation can represent a time and place so well that you are all but transported there, in that sweaty, open air cafe, drinking a rum soaked drink, amongst the locals and expats.
-Dario