By Jack Rafferty
No ranking this year. Most are from 2020 but not all. This year was shit, but at least there is good music. Didn’t get around to everything I would have liked to. I have included those at the end. Perhaps, I will write belated reviews for them.
Nick Shoulders, Okay, Crawdad (2019).
I didn’t discover Nick until this year. He has swiftly become one of my favorite new artists. Okay, Crawdad is a vibrant debut, filled with all the beauty and grit the Ozarks have to offer. From melodic yodeling and whistling to his high-toned crooning, Nick paves a unique and lovely path for himself in country and americana tunes. Very much looking forward to new stuff from him.
Colter Wall, Colter Wall (2017).
Colter is one of my favorite modern county musicians, and this is my favorite album of his. It contains some gloomier and slow-paced tracks like “Codeine Dream” and “Snake Mountain Blues,” with more upbeat tracks that still contain that tone well-versed in sorrow, such as “Thirteen Silver Dollars” and “Motorcycle.” This album certainly got me out of bed more than once this year. So far, Colter’s newest albumm released this year, hasn’t resonated with me quite as much as previous releases. Perhaps, I need more time with it.
Lankum, The Livelong Day (2019).
The discovery of Lankum was akin to a revelation for me. No album got more listens than this one from me this year, not to mention the rest of their discography. This is their best, though. This is Lankum coming into form. What an absolute treasure of an album. One of the few I have ever found that is nearly perfect. There is such a wealth of great music coming out of Ireland at the moment, and Lankum is very easily my favorite of it all, though I have strong feelings about many artists in that bunch. The Livelong Day is incredible.
Thou, Blessings of the Highest Order/A Primer of Holy Words (2020).
Thou opted for two cover albums this year. One specifically for Nirvana, the other spanning Black Sabbath, Minor Threat, Pearl Jam, Soundgarden, and more. Notable interpretations for me were Nirvana’s “Stain,” “Aneurysm,” and “Even in His Youth.” Also “No Excuses” by Alice in Chains, Sabbath’s “Sweet Leaf,” and “Well Fed Fuck” by Born Against. The covers were a refreshing thing for Thou to do, and they honestly can do no wrong in my eyes.
Lianne La Havas, Lianne La Havas (2020).
Lianne La Havas has captivated me ever since I heard her recorded live performance of “Forget.” This new self-titled release is her most tender and mature work to date. “Paper Thin” specifically got me through a lot this year. So happy and lucky to have an artist like La Havas around. Excellence.
Black Crown Initiate, Violent Portraits of Doomed Escape (2020).
While Black Crown has released some of my favorite progressive death metal of the last decade, their most recent, 2016’s Selves We Cannot Forgive, was my least favorite so far. It was still a really fucking solid album, it just didn’t stand up to Wreckage of Stars or Song of the Crippled Bull, both of which I consider to be masterpieces. So, with Violent Portraits of Doomed Escape, I was hoping for a comeback. My decision regarding that is a complex one. To start, I do think that this album is better than their 2016 release, and I do think that it comes close to their first two. However, I also must acknowledge that I am in a different place than when I really got into BCI. For this reason, I do think my opinion of this album is slightly skewed in terms of comparison. Regardless, from as objective of a perspective as I can provide regarding music, this album is fucking incredible and a real achievement for the band. One of my favorite albums of the year.
Moses Sumney, grae: Part 1 & 2 (2020).
Aromanticism is such a tender and gorgeous fucking album. Ever since I had the joy of listening to it, I have anticipated more releases from Sumney. I was pleasantly surprised when grae ended up being a double album. These albums take essentially everything that made Aromanticism so lovely and just build upon it. There does seem to be a greater inclination toward experimentation with a diversity of sounds here, which is by no means a bad thing. Ultimately, though, I do not think a single track matched “Don’t Bother Calling” from Aromanticism. That being said, I do think grae as a whole project is stronger in its entirety that Aromanticsm, which is a hell of a compliment.
John Prine, John Prine (1971).
Really, I’ve been listening to all of Prine’s albums quite a lot this year, but this one is my favorite, so I’ll stick to talking about it. John’s passing this year really hit me hard, as he has gotten me through a lot. This album and John in general cannot be summed up in a mere paragraph, so I won’t try. One of the most important songwriters of all time. One of the most important albums of all time.
Vile Creature, Glory! Glory! Apathy Took Helm! (2020).
This is the album that caught me the most off guard this year. I had previously known nothing about Vile Creature, and the album cover art (such wonderful cover art!) gave me mixed expectations about how the music would sound. Right out of the gate, from the first second of play, this album is one of the more punishing and emotionally raw I’ve experienced this year. I also love how such a dense sound can come from two people. As brutal as this album can be, Vile Creature does an excellent job of navigating the pacing and by giving the overall experience of the album a greater identity and texture through its lulls. “Lull” seems an inappropriately negative term to use, but I can’t think of a better one at the moment. The album delves into moments of quietude, murkier depth, and at times even vibes that are ethereal, always building back to those crescendos. Such a great, sludgy, doom-laden, quality album.
Ulcerate, Stare into Death And Be Still (2020).
I’ve learned to expect the best from Ulcerate. Their 2016 album, Shrines of Paralysis, really pushed the boundaries of sound and composition in experimental death metal, while still remaining sonically consistent throughout. This has been the trend with all of their albums, becoming more refined and honed with each release. This year, they have surpassed everything prior with Stare into Death And Be Still. It is one of the most complex and rewarding death metal listens I have had the privilege to experience in a long while. Ulcerate have really nailed establishing atmosphere without sacrificing the importance of riffs or the immaculate grooves they create. The guitars could possibly be just slightly more up front in the mix, but other than that it is truly a powerful experience.
Laura Marling, Song for Our Daughter (2020).
Love Laura Marling. Love everything she does. Love the different feelings and sounds and character she brings to each new album. Song for Our Daughter isn’t my favorite release of hers, but that is by no means a damning statement. It simply didn’t resonate with me as others had. It is still excellent, and deserves attention and praise.
Orville Peck, Pony/Show Pony (2019/2020).
I had enjoyed Peck’s 2019 debut quite a lot, and talked about it on my list, though looking back, I don’t think I really did it justice. Peck is possibly the most interesting and exciting new artist in country music. From his intoxicating theatricality, sense of drama, apocalyptic crooning, fantastic melding of so many styles and genres, his inclination toward film-making and experimentation with imagery, Orville has truly soared from day one. It is also important to note the multitude of ways that he has subverted tropes of country as a genre through integrating elements of drag, gender fluidity, racial diversity (without seeming pandering), and so much more. This is certainly not to say that Orville is the first to do this, but with the attention he has received as an artist, it is notable. While I had mentioned on 2019’s list that I loved some tracks on Pony, while disliking others, that has since ceased to be true. Some tracks just needed more time to simmer in my brain. That album is masterful, and Peck’s follow-up EP, while not quite capturing the grandness of Pony, contains “Summertime” and “No Glory in the West,” which I consider to be his best songs yet. His collaboration with Shania Twain is intriguing, but kind of missed the mark for me. Overall, though, I eagerly await anything Orville goes on to do, as it will be wonderful, I am sure.
Sightless Pit, Grave of a Dog (2020).
When I heard there was a group forming that contained members of The Body, Lingua Ignota, and Full of Hell, it’s fair to say I lost my fucking shit. Each of those groups (Ignota specifically) has captivated me powerfully in recent years. Lingua’s 2019 album, CALIGULA, is my favorite album of the last decade. It is that good. Despite all of this hype, I must say that Grave of a Dog was slightly disappointing for me. I mainly chalk that up to being the fault of my own expectations. This album has grown on me as the year has progressed, but it took me a while to get on board with it. While I still enjoy each individual member’s original projects more, I respect Sightless Pit’s ambition and the sounds that they experiment with. Some notable tracks that I do really enjoy are “Kingscorpse” and “The Ocean of Mercy.”Lingua Ignota has also released some interesting covers this year, such as “Jolene” and “Wicked Game.” I enjoy them, but very much look forward to new material. The one single released in 2020 of new material, O Ruthless Great Divine Director, shows that Lingua will only continue to progress and flourish as an artist.
Sadistik, Delirium/Elysium (2020).
Seems like there isn’t a year that goes by where I don’t have a Sadistik project to cover, and I always have good things to say. This year Sadistik delivered two EPs with differing vibes. I will say that I tend to gravitate toward Sadistik’s darker releases than his more melancholy ones, which makes me prefer Delirium to Elysium. They are both great, though.
The Black Dahlia Murder, Verminous (2020).
TBDM continues on their trend of “we are never going to make a bad album, ever.” I do feel like, at this point, folks who know and listen to TBDM know what to expect from their music. It is not to say that they are predictable, simply that they maintain a standard of quality for themselves. Sure, there are albums that are better than the others, but TBDM remains pretty fuckin consistent throughout their discography. They don’t experiment much, but they don’t have to. They are very fucking good at what they do, and they know they don’t have anything to fix, only build upon. Verminousis yet another wonderful addition to their discography. This one didn’t resonate with me as much as Nightbringers, but I figure that is more due to where I’m at in my own tastes, and no fault of the band.
Terminal Nation, Holocene Extinction (2020).
Few albums fuckin’ smacked the shit out of me more than Terminal Nation’s incinerating death metal-imbued hardcore powerhouse, Holocene Extinction. This album doesn’t slap, it just kicks you in the fucking jaw and will not apologize about it.
clipping., Visions of Bodies Being Burned (2020).
clipping.’s There Existed an Addiction to Blood nabbed the #4 spot on my 2019 list. Every release by clipping. continues to solidify them as one of the most inventive and enrapturing hip hop groups operating today. Visions of Bodies Being Burned is no exception to this. A worthy follow up to TEAATB, Visions immerses its listener in ever-darker Horrorcore brilliance. I still think I like TEAATB more, but only slightly. If I were ranking this year, this one would be very high on the list.
IDLES, Ultra Mono (2020).
Ultra Mono took some time to grow on me, as I was initially disappointed in it. It wasn’t a bad record upon first listen, by any means, but it certainly did not meet my expectations following the superb Joy as an Act of Resistance. After giving the album some breathing room, and allowing myself some time to adjust to it by appreciating it for what it is and not what I was expecting it to be, I can happily say that I really enjoy this album. It still doesn’t light a match to Joy, but there are some great fuckin’ tracks on here. Some notable ones are “War,” “Grounds,” and “Anxiety.”
Igorrr, Spirituality and Distortion (2020).
It is pretty much guaranteed that whatever Igorrr releases, it will be intriguing. Spirituality and Distortion upholds this expectation. This album sees the most eclectic and varied sonic landscape from Igorrr yet, which is quite the achievement, given the absurd variety in their previous releases. Still some of the oddest choices of integration and mixing of sounds that you will find in any genre. There are many sections on this album that feel much more musically focused, however, something I always longed for the group to hone further, as they were at times hit or miss with their experimentation for me. It sometimes felt as though certain sounds were played with to an extent of being creative, but not really evoking anything emotionally. This has thankfully improved with every album, with this one really showing improvement. This album also has the most time featuring soprano vocalist, Laure Le Prunenec. She is my favorite part of the ensemble, so this is very welcome. Igorrr remains beyond description or definition. The abstract and undulating amorphous being of dreams.
Phalanx, Golden Horde (2020).
Absolutely fucking blistering grind/punk leaning death metal. Crusty razor-sharp tones, raspy, tormented vocals, pummeling rhythm. Good, good shit. I want more.
Cosmovore, Intro the Necrosphere (2020).
Cosmovore does a particularly grimy and lurking death metal, and what this band really nails is atmosphere. Though not as dissonant and way more low-end note focused, I get Artificial Brain vibes, just more abrasive, straight forward, pummeling. There is still that sense of drama and the ethereal feeling evoked from the high vocals, however. Really short but wonderful EP.
Ulthar, Providence (2020).
Speaking of Cosmovore, I really enjoyed the hell out of Ulthar’s debut of the same title. While the whole Lovecraftian thing is achingly overdone at this point, the sound Ulthar utilizes does meld well with themes of the cosmically nightmarish and the horror of the unknown. I love how heavy this band leans into the blackened elements that they introduce to their Bay Area-inspired death metal roots. Providence just takes everything that was good about Cosmovore and makes it better.
MSW, Obliviosus (2020).
Best funeral doom album of the year. Slow and gorgeous and harsh.
Imperial Triumphant, Alphaville (2020).
Vile Luxury was a real stand-out gem of dissonant experimental music. Alphaville sees a greater realization of Imperial Triumphant’s identity as a band. The chaotic and depressive dystopian thematics and soundscapes are all the more apt each year. Love this band.
Huntsmen, Mandala of Fear (2020).
American Scrap made it quite high in my list a few years ago. I really enjoy Huntsmen’s melding of sludge and American folk. I still think I like their previous record more, but Mandala of Fear still has a great deal going for it. It can seem rather lengthy upon repeat listens, but there are some wonderful moments here.
Elder, Omens (2020).
This album has Elder at their most ethereal and prog-rock focused. I’ve noticed the trend toward this, especially with their most recent full length, the beautiful Reflections of a Floating World. This most recent installment carries that direction even further, stepping greater distances away from the sludge and stoner doom of their earlier sound. While some of the psych elements remain, this is a much lighter, though no less demanding, listen. Omens is a fantastic journey and one that only Elder can provide.
Primitive Man, Immersion (2020).
Primitive Man already proved itself as a goliath with Caustic. Immersion merely establishes what we all know to be true. Primitive Man is one of the heaviest bands in existence. One of the most brutal and punishing musical experiences one can have. Absolutely malevolent.
Albums I Should Have Taken Time to Listen to or Given More Time to:
Pallbearer, Forgotten Days
Caligula’s Horse, Rise Radiant
Pyrrhon, Abcess Time
Wayfarer, A Romance with Violence
Emma Ruth Rundle, Thou, May Our Chambers Be Full
Havukruunu, Uinuos Syomein Sota
Oceans of Slumber, Oceans of Slumber
Inferi, Of Sunless Realms
Undeath, Lesions of a Different Kind
Ichiko Aoba, Windswept Adan
Marche Funebre, Einderlicht
Gorillaz, Song Machine, Season One: Strange Timez
Bell Witch, Aerial Ruin, Stygian Bough Volume I
Wake, Devouring Ruin
Unleash the Archers, Abyss
All Them Witches, Nothing as the Ideal
Dumal, The Confessor
Mrs. Piss, Self-Surgery
Matt Heckler, The Magnolia Sessions
Adrianne Lenker, songs
Paradise Lost, Obsidian
Night, High Tides - Distant Skies
Serocs, Vore
Of Feather and Bone, Sulfuric Disintegration
Sutrah, Aletheia
Oranssi Pazuzu, Mestarin kynsi
The Ocean, Phanerozoic II: Mesozoic, Cenozoic
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