By SoDak
As the pandemic spread, I curtailed buying records, at least for a little bit. I spent a lot of time listening to Willie Nelson, New Model Army, and Nomeansno. I found much comfort in these favorites. I greatly missed sharing time with friends at concerts, or anywhere for that matter. As the year progressed, and one zoom meeting followed another, music definitely served as a respite. As isolation continued, I returned to my musical addiction and continued to feed it. Below, I provide a list, in no particular order, of the music that I enjoyed the most during 2020.
Records:
Psychedelic Furs, Made of Rain (2020).
I was so fucking excited to get a new Psychedelic Furs record. Have been waiting for a long time. Yet, I was a bit worried I would be disappointed. As Null noted in his review on this site, the band managed to pick up where they left off, moving forward in a very satisfying way. The sound is very expansive and full. There is a weightiness and somber feeling to the whole record, as the critical edge is ever present. I really like how mellow much of the record is, as it creates a space of reflection. Love it.
Brian Fallon, Local Honey (2020).
My wife and I listened to this record a lot throughout 2020. I think it is the best solo record that Brian Fallon, from Gaslight Anthem, has done. In fact, I think it is a masterpiece. Very cohesive. Perfect songs, moving lyrics, beautiful music, and great vocals. Great to listen to as the dark descends and there is time for reminiscing.
Elder, Omens (2020).
Following Reflections of a Floating World (2017) is not an easy task. On Omens, Elder further incorporates keyboards and synths into their spiraling progressive hard rock sound. The guitar remains hypnotic, with some very heavy moments. Each song is a long journey, in which I just let go and move with the flow. I love Nick Disalvo’s vocals. Lyrically, this record is focused on society in ruins.
Joan Shelley, Like the River Loves the Sea (2019).
Fortunately, Five-Inch Taint reminded me that I needed to pick up Joan Shelley’s record from 2019. This is a very mellow, beautiful, folk record. I first became of aware of Joan via Bonnie ‘Prince’ Billy, as they often sing together. I immediately fell in love with this record. Makes me think of great records by Kate Wolf and Mary McCaslin.
Terry Allen and the Panhandle Mystery Band, Just Like Moby Dick (2020).
This record was like a gift. Always appreciate a new record by singer-songwriter Terry Allen. If you like Guy Clark, Jimmie Dale Gilmore, Joe Ely, Sam Baker, and Butch Hancock, this is a record for you.
Charley Crockett, Welcome to Hard Times (2020) and The Valley (2019).
Charley is on a roll. Each record captures my attention. He finds the sweet spot in country music with some blues elements. His voice is warm. He has a distinct delivery. There is a lot of struggle captured on Welcome to Hard Times.
Pallbearer, Forgotten Days (2020).
Like the Elder release, I was eager to get the new Pallbearer. I loved what they accomplished with the previous record, Heartless. The new record integrates the heavy doom elements from their first records, while retaining the clean vocals of the most recent release. This record is chilling. The guitars hold weight, creating an emotion that connects to the vocals in a powerful way.
Myrkur, Folkesange (2020).
I would have missed this record if it was not for Five-Inch Taint, as he insisted that I would like this one. This is a full-on Scandinavian folk record, rather than the black metal that the band is known for. Strong vocal performance. Delightful.
Testament, Titans of Creation (2020).
Crushing guitar riffs. Testament is among the classic thrash bands, making their best music so far. The big four thrash bands need to learn from Testament, Death Angel, and Overkill how to make excellent contemporary records.
Dool, Summerland (2020).
Was really taken by this band from the Netherlands. With a mix of dark rock and gothic stylings, this record permeated my life. There are many moments, especially on some of the choruses, where I hear a Rush influence. Fascinating.
Be Well, The Weight and the Cost (2020).
Damn, this is a great hardcore record. In fact, it is the best hardcore record I have heard in this particular style in many years. Be Well includes members from Battery, Bane, Darkest Hour, and Only Crime. There is an emotional depth in the lyrics and singing. I really like how Brian McTernan’s voice breaks from time to time, adding a vulnerability to these songs. “Magic” and “Confessional” stand out to me. Thanks to Wayne for the recommendation.
Kvelertak, Splid (2020).
Kvelertak knows how to fuckin’ rock. They carry forward with a new singer who is awesome. The harmonies on choruses are powerful. They get the most out of the guitars, as there are distinct parts, layers, and tensions that add to their captivating sound. I was pleased when Null finally listened to the new record, as he gets so happy. Enthusiastically, he called me to tell me he has been listening to them on headphones and his belly is covered with cum from excitement.
Terveet Kädet, TK Pop 1980-1989 (2019).
Blistering Finnish hardcore punk. Was thrilled to get a hold of this collection. I get goosebumps each time I put it on, as it takes me back to the mid-1980s, when I would listen to Terveet Kädet records with friends, especially Matt.
Black Market Brass, Undying Thirst (2020).
This is a wicked record, fusing funk, Afrobeat, a killer horn section, and heavy guitars. I would love to see this band perform.
Bixoga 70, Quebra-Cabeca (2018).
This Brazilian band blends Afrobeat, cumbia, and funk, creating some trippy songs. Brilliant.
American Aquarium, Lamentations (2020).
Used to see this Raleigh, North Carolina, band perform on a regular basis, when I lived there. They continue to evolve, as BJ Barham follows his muse. This record, produced by Shooter Jennings, is rather somber. “Me + Mine (Lamentations)” starts off the record speaking about the false promises of corrupt politicians and the robbery of working people. There is a comfort in the matter of fact singing of Barham, as he notes the death of the American dream (myth).
Jill Andrews, Thirties (2020).
Loved her work in Everybodyfields, as well as her first EP. Have not been as excited about the records that followed, as it seemed that what was very distinctive about her voice was being buried in overproduced songs. Her new record has a better balance, where her voice is more powerful. Many tender songs focus on growing older, which evoke memories and pull at heartstrings.
Necrot, Mortal (2020).
Seeing Necrot play live made me a fan, as they tore it up. As a result, I have been able to appreciate their songs much more, especially the relentless drive that propels their songs. “Sinster Will” is my favorite on the new record, as it has a touch of what I love about Mammoth Grinder.
X, Alphabetland (2020).
The return of X, as far as a new record, is wonderful and long overdue. While the new record does not have the same explosiveness of their first records, it does capture the range of their styles on later records. Makes me want to dance around the room, given that we are not able to enjoy shows right now.
Cal Smith, The Best of (2009).
Great collection by country singer Cal Smith. Love the tone of his voice and how it resonates.
Nadia Reid, Out of My Province (2020).
This New Zealand singer-songwriter peaked my interest this year with this gentle record. The mix of instruments sound great, as the pedal steel, keys, and guitars move in and out of the songs, while her vocals are clear.
Ian Noe, Between the Country (2019).
This is a pleasant debut by Ian Noe, who is a singer-songwriter. Existing in the space between folk and country, he shares stories in his mostly mellow songs.
Unicorn, Too Many Crooks (1976).
Thanks to Null for introducing me to Unicorn. I picked up the boxset of this country-rock band from the 1970s. This was one of my favorite records by them. Warm sound, as is to be expected.
Altin Gun, Gece (2019).
Altin Gun makes me really happy. They play Turkish psychedelic-fusion rock. The guitar is ripping, creating a driving force. Acoustic touches are ever present. Excellent music.
Spell, Opulent History (2020).
I really loved the previous record by retro-heavy metal band Spell. The new record is even more melodic, as they further develop their trippy, atmospheric sound.
Bloodiest, Bloodiest (2016).
Jimmy “Explosive Diarrhea” B encouraged me to check out Bloodiest, which includes members who played in Russian Circles and Yakuza. Great drum and bass sound anchor many of the songs. Heavy, slower paced songs create an edge, which feels dangerous on this record.
Caspian, On Circles (2020).
Excellent, mostly instrumental record by Caspian. They have exceptional abilities at creating tension and beauty, as the songs build.
Lori McKenna, The Balladeer (2020).
With her eleventh record, Lori McKenna voice sounds very warm and strong. Wonderful country-folk record.
Zephaniah OHora, This Highway (2017) and Listening to the Music (2020)
These records offer strong country, honky-tonk music. There is a heavy Merle Haggard vibe, which is deeply satisfying to me.
Kyle Nix, Lightning on the Mountain and Other Short Stories (2020)
Kyle Nix plays country music with nice kick. The title track is catchy and has a great fiddle. Very pleasant record.
Ram, The Thorne Within (2019)
Swedish metal band throws down with their record from 2019. Good driving riffs.
All Them Witches, Nothing as the Ideal (2020).
Heavy, trippy, and superb. All Them Witches manage to continue to create super catchy, innovative songs. Love this record.
Blackwater Holylight, Veils of Winter (2019).
Was a year late picking up this one by Blackwater Holylight. Brilliant record. There is a good reason why so many folks were raving about this psych-doom record.
Gillian Welch, Boots No. 2: Lost Songs (2020)
This boxset is excellent. Three CDs packed with recordings by Gillian Welch and David Rawlings. Top-notch folk songs, beautifully sung.
Moving Targets, Humbucker (2020).
Have been excited about Moving Targets regrouping and recording. Another great release by this punk band, when punk had a much broader sound. There are moments on this record when I hear Buffalo Tom elements. Catchy, melodic songs.
Ways Away, Ways Away (2020).
Ways Away features members from Samiam, Knapsack, Racquet Club, and Stick to Your Guns. As to be expected, they play emotional, melodic punk in the vein of these bands. I love it.
Howling Giant, The Space between Worlds (2019).
Beert turned me…to this band. Very good psych-doom record.
Wytch Hazel, III: Pentecost (2020).
I really liked the previous Wytch Hazel record. Their newest record is a very strong offering. They draw from Wishbone Ash and Rainbow. I did not know that they are a Christian band, until this record. This is reflected in their lyrics. I basically try to ignore the lyrics, as they are silly, in the same way that songs about Satan are ridiculous, even if more amusing.
Autonomads, One Day This Will All Be Gone (2014).
Finally picked up records by the Autonomads. This anarcho, punk, ska band has duo vocals. There are many similarities to Citizen Fish. They make me dance around, while singing along to songs, inspiring revolution. Let’s get to it.
Napalm Death, Throes of Joy in the Jaws of Defeatism (2020) and Smear Campaign (2006).
Rumbling grind that gives me goosebumps. This past year, I filled in the missing Napalm Death records in my collection. I am particularly a fan of the latter half of their discography. The new record is perfection, as they continue to integrate an array of influences, while producing high-quality grind. At this point in life, I need as many new Napalm Death records as possible.
Turnstile, Time and Space (2018).
Missed this one when it was released. Remember seeing it on year-end lists. Glad that I picked it up. This hardcore band makes me want to start a floor mosh, as dozens of friends roll all over the ground and each other. Check out “Come Back for More.”
Grupo Pilon, Leite Quente Funaná de Cabo Verde (2019).
Six powerful songs by a group of Cape Verdian teenagers in Luxembourg. The songs are filled with great bass lines, nice guitar parts, and catchy vocals. Get up and dance.
Aktor, Paranoia (2015) and Placebo (2020).
Aktor are a Five-Inch Taint recommendation. They play super-catchy, melodic, hooky-laden metal. Fun stuff from the brilliant Professor Black.
Joshua Ray Walker, Wish You Were Here (2018) and Glad You Made It (2020).
Beautiful, mellow country voice. When I heard his songs “Canyon” and “Voices” I knew I was going to be a fan of his. Both of these are tender ballads. Other songs are solid toe-tapping numbers. Check him out.
Joe Bouchard, Strange Legends (2020).
While not an outstanding record, I enjoyed this release by former Blue Oyster Cult member Joe Bouchard. He plays most of the instruments. It was a pleasure to hear his voice again, and to remember the role it played on classic BOC records. Many of these songs would make good BOC songs if they were further developed in the context of the band.
Arlo McKinley, Die Midwestern (2020).
Very good country-folk record. Gritty songs from the rustbelt. Rich voice.
Alice Bag, Sister Dynamite (2020).
Straight ahead, controlled, catchy punk rock. Alice throws down pleasing songs of defiance and protest.
Maggot Heart, Mercy Machine (2020).
This German band offers discordant, energetic songs, with touches of Voivod and punk rock.
Hyborian, Volume II (2020).
Riff-laden, driving metal. Great energy. My neck is sore from headbanging.
Bask, III (2019).
Bask really caught my attention this year. They blend progressive metal with Americana music. Great guitar work. Beautiful melodies. Very moving record.
Wire, 10:20 (2020).
Wire dropped this pleasant eight-song record in 2020. The dreamy guitar over catchy rhythms pulled me in right away. I liked this record more than the previous release. Pretty mellow songs, reflective of latter Wire records.
Idle Hands, Don’t Waste Your Time (2018) and Mana (2019)
Looks like Idle Hands has changed their name. Regardless, this Portland band put out some good records the last couple of years. Occupying a space between gothic, punk, and metal, they create a beautiful mood, with big choruses and reverb on the vocals.
Black Pumas, Black Pumas (2019).
Very good modern psychedelic soul music. Great songs.
Khan, Vale (2018).
Enjoyed spending time with this record by this psychedelic stoner rock band from Australia.
The Gun Club, The Las Vegas Story (1984).
This hypnotic, pulsating record by the Gun Club filled many late nights. Jeffrey Lee Pierce’s vocals have grown on me over the years, and I am enjoying digging deeper into his catalog. His bluesy voice has a country twang, which I like.
Willy Vlautin, Northline (2017)
I loved Richmond Fontaine, and I greatly enjoy Willy Vlautin’s novels. His lyrics and stories always focus on the everyday lives of working people. This album is all instrumentals, filled with sweeping country sounds. They serve as a great complement to his novels, capturing the moods and losses that are present. Tender songs for the lost.
Khruangbin and Leon Bridges, Texas Sun (2020).
Psychedelic soul band Kruangbin join with Leon Bridges to create a beautiful, smooth EP.
Songhoy Blues, Resistance (2017).
Was thrilled to get records by this Mali band. While they are similar to other Tuareg bands, they throw in moments when they rock the fuck out, with driving drums and distorted guitars, such as on “Voter.”
Power Trip, Opening Fire: 2008-2014 (2018).
So many great musicians died in 2020. Riley Gale, the singer of Power Trip, was among them. Was a great joy to see them play several times through the years. I finally picked up this collection of songs from seven inches, compilation tracks, and B-sides. Great contemporary thrash, ripping songs.
Ashbringer, Absolution (2019).
This black metal record really grabbed me. I randomly ordered it, rounding out an order with Prosthetic Records. It is beautiful and moving, creating an incredible atmosphere. The drums and guitars are expansive. Really love what this band is doing.
Svalbard, When I Die Will I Get Better? (2020).
Not sure why I picked up this record, but I am glad that I did. This hardcore punk band, incorporates atmospheric black metal and post-rock elements, creating a dynamic sound. Additionally, the shared vocals add some great layers and textures to the songs. They also have good political lyrics, so this is a plus.
Interrobang, Interrobang (2017).
This band includes two members from Chumbawamba. Love that these old punk rockers are rocking out again, playing angular songs, filled with anger and reflections on time passing.
The Budos Band, Long in the Tooth (2020).
Instrumental soul band, the Budos Band, offer up some heavy meditative songs. They have not failed yet.
Here Lies Man, You Will Know Nothing (2018).
Had been missing this record by Here Lies Man. This is addictive once it grabs me. Funky, dirty, Afrobeat, with intense guitar work. Good, good shit.
Nothing, The Great Dismal (2020).
Had some catching up to do with Nothing. Five-Inch Taint long ago told me to check them out. The loud, pulsing, dreamy dimensions of this band pull at me. Within the songs, I am reminded of various new wave music from the 1980s that I liked. These songs are then processed through big amps into a desolate world.
A Culture of Killing, The Feast of Vultures, The Cry of a Dove (2020).
This is the second record by this Italian band. Their records are very low-fi, sounding like demos in many ways. In this, the band sounds like early Cure mixed with The Mob. Their artistic and lyrical presentation has similarities to Crass. Interesting band.
Way Out, Arc of Descent (2018).
This is a great release on Atomic Action! Records. I love the driving, pulsating bass lines. The vocals sound similar to The Chameleons, just in a more punk rock way. Looking forward to more music by this band from Rhode Island. Love them.
War on Women, Wonderful Hell (2020).
Excellent, politically charged punk rock. This is my favorite record by them so far, as the vocals and instruments sound awesome. Check out “White Lies.”
The Pretty Flowers, Why Trains Crash (2018).
Great melodic, new wave-punk. If Null had this on cassette in the summer of 2020, or 1986, he would be a fan of The Pretty Flowers. Catchy songs. Would like to see them play with Denver’s Black Dots.
Lawrence Arms, Skeleton Coast (2020).
For some reason, I am a sucker for many Lawrence Arms records. There is something in the catchy punk rock and vocals that grabs my attention and makes me emotional. This is a very strong offering from them. No real surprises in their punk rock, but it is very satisfying.
Hum, Inlet (2020).
This is a stunning record from beginning to end. The sound is incredible. The shoegaze element really works here, as it is not boring, and is much more dynamic. Powerful record.
Tomberlin, At Weddings (2018).
Null shared this artist with me, as part of his pandemic summer listening. The vocals are fragile, vulnerable, and beautiful. Darkness pervades these sparse folk songs. Great record.
Sturgill Simpson, Cuttin’ Grass (2020).
An award should be given to Sturgill for the cheesy, yet funny, album cover of him on a riding lawnmower for a record focused on cutting bluegrass versions of his songs. I really like Sturgill’s rich voice within the context of stripped down acoustic songs, whether done bluegrass or country, rather than the fuzzed out guitar rock on the previous record.
Gurf Morlix, Eatin’ at Me (2015).
This is my favorite of Gurf’s records that I have. Here the songs are stripped down in a more sparse presentation, really highlighting his excellence as a singer-songwriter. Reminded me of what I love about Sam Baker’s albums.
Emily Smith, Echoes (2014).
Good record by this Scottish folk singer. Here there is a blending of Scottish music with touches of mellow bluegrass, thanks to Jerry Douglass playing dobro and lap steel on the record. Emily’s vocals are very strong.
Tennessee Jet, The Country (2020).
Very good folk-country, for the most part, record. On “The Raven and the Dove,” I hear a Kris Kristofferson influence, which works well on this song.
Elephant Tree, Habits (2020).
Heavy, melodic hypnotic metal band from the United Kingdom. They sit alongside Pallbearer, on the Heartless record, creating beautiful, big songs. Check out “Sails” and “Faceless.”
The Prids, Do I Look Like I’m in Love (2018).
Fell in love with The Prids at a show in Oregon. The male and female vocals are haunting. Wonderful bass parts are mixed with dreamy guitar lines. Whether they are playing mellow or fast songs, I am hooked.
Greet Death, New Hell (2019).
Somewhere in the shoegaze, slowcore realm, Greet Death make songs to comfort one during a pandemic, as thoughts of death circulate in my mind. Time and place matter, I suppose.
Lifewentpear, About About (2019).
The Leatherface influence is all over this record. This alone sold me. Solid punk rock record. Cool guitar hooks, emotional climaxes, and gruff voice.
Empress, Premonition (2020).
Great Canadian metal band. I hear elements of Mastodon, Isis, and YOB in their sound. This record sounds big and dynamic.
Night, High Tides—Distant Skies (2020).
The 1980s influence is everywhere on this record. They nail the cheesy elements, but in a wonderful way. Punchy guitars, soaring vocals, and big choruses. The record is fun and definitely the best record by this band.
Arcadian Child, Protopsycho (2020).
I am starting to think that Five-Inch Taint might be feeding my music addiction, as this was another suggestion from him. This Cyprus band plays enthralling psychedelic, Mediterranean, stoner rock. Who needs drugs when you have music like this? Fuckin’ great stuff.
Woods of Ypres, Woods 4: The Green Album (2011).
This record is very different than the other Woods of Ypres records that I have heard. I was quite struck by several songs on this record, such as “Shard of Love” and “I Was Buried in Mount Pleasant Cemetery” in particular. The former has a beautiful opening, before the deep, rich vocals start. There is emotional weight in the singing, which brings tears to my eyes. At times, the vocals on these songs remind me of aspects of how James Hetfield sings on some songs. The lyrics to “Wet Leather” are haunting: “Life is just pain and piss; It’s nothing that I miss. Life is just pain and piss, it’s just temporary.”
The Lord Werid Slough Feg, New Organon (2019).
This is some weird heavy metal. At times is sounds like the offspring of Iron Maiden and Jethro Tull, in a good way. Stimulating and satisfying record.
John Chibadura and the Tembo Brothers, Mune Majerasi.
A friend gave me a mixed tape about twenty years ago. The tape was not labelled. It contained many South African and Zimbabwe artists. There was a song that I loved, which I had not been able to figure out who it was until this past year. Thus, I was finally able to pick up a record by John Chibadura. This blending of jit and sungura music and his vocals make me very happy and encourage me to get up and move.
Concerts:
Well, shit. I only made it to four concerts before the pandemic broke out in the United States. I had purchased an unlimited pass to two venues for 2020. Guess, it served as a donation, which is good. I hope that they make it through this fucked-up situation. I enjoyed performances by Picturebooks, Michelle Moonshine, Cloud Nothings, Criteria, and Wolf Parade.
I also streamed the live performance of New Model Army, which marked their fortieth anniversary. It was a wonderful, moving show. I was very emotional watching them play and thinking about all the times I have shared with comrades, while listening to their music and rambling down dirt roads.
Films:
Country Music (2019).
Five-Inch Taint and I were going to watch this together, but the pandemic prevented this. Sure would have enjoyed sharing the experience with him. The impossible task is to cover the entire history of this genre of music and the artists. Nevertheless, this documentary series is impressive on many fronts, and I like the relationships explored, especially the rich cultural interchanges that have always been part of country music.
Punk (2019).
This documentary series is comprised of four episodes. It is not very comprehensive, merely a slice of an extensive and growing realm of music. It is also mostly focused on more mainstream punk rock. Nevertheless, it was enjoyable to watch.
The Bee Gees: How Can You Mend a Broken Heart (2020).
Great film. Love the exploration of the history of the band. Interesting discussions of how the brothers and their band members wrote many songs while working out details in the studio. The band had a long career with many changes in their sound. They also wrote many excellent songs for other artists.
Dolly, Here I Am (2019).
Dolly always makes me smile. She is quite fascinating. She is a brilliant songwriter and musician.
The Go-Gos (2020).
Very good film, covering the history of The Go-Gos, their struggles, and the challenges that they confronted.
Once Were Brothers: Robbie Robertson and the Band (2019).
Outside of certain songs, I have never been that interested in The Band, even though I recognize that they were very talented. Nevertheless, I really enjoyed this exploration. It did make me appreciate Robbie Robertson’s contributions to a greater extent.
Desolation Center (2018).
Good story about a series of Do-It-Yourself shows that were done in the desert in California, as well as one on a boat in a bay. Minutemen, Sonic Youth, Meat Puppets, Redd Kross, and others played at these shows.
Other Music (2019).
Interesting story about an independent record store, the community that formed within the shop, and the sorrow when it closed.
Cassette: A Documentary Mixtape (2016).
This low-budget film explores the various ways cassette tapes were woven through the lives of folks who grew up with them. The film curiously integrates interviews with the engineers and designers of cassette tapes, while also highlighting how people used these tapes to make mixed tapes, record band practices, share poems and stories, etc. Quirky and beautiful.
Laurel Canyon (2020).
This film is quite unique in its organization. The visuals throughout the film are based on images by the photographers who happened to document the community of musicians who lived in Laurel Canyon. From time to time, the photographers are interviewed and these scenes are presented on the screen. Whereas the interviews with musicians are only heard, as part of narrative, and not seen. Thus, the film has a strong emphasis on the contributions of the photographers.
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