The Top 19 of 20

And we’re back! Another year has come and gone. How was it for you? Did anything memorable happen? I feel like there was something... oh yeah, there was everything! Contesting the definition of uncontested, social unrest, war, murder, plagues, Wonder Woman 1984- it was intense. Let’s not just blow past this SolarWinds fiasco too. What the hell is happening to this country? Where are the adults? These are supposed to be the prime years of Gen X rule and yet 70 something boomers on multiple pharmaceuticals still hold the reins of government. Mitch holds most of the power in Washington and he has proven himself to be the most ruthless politician out there since Frank Underwood (and as popular as Kevin Spacey). Boomers and Millennials are boxing out the lost generation between them. It’s a real Jan Brady situation. Have I even spoken about the global pandemic yet? A mutating super virus with unknown long term consequences continued to infect and dominate the entire world. This is War of the Worlds without the alien invasion. Maybe Tom Cruise could help? Just don’t ask him to throw a baseball or any balls for that matter.

Being a nonessential worker, I spent much time at home this year. Silver linings were plenty though; more family time, less commuting time and more tv and movies than I knew were possible for a person in the prime of their life. I caught up with most things until I gave up on new content and am now behind again. Long amounts of time, probably days, were spent in 80s movie deep dives. The majority of which were rewatches which gives the endeavor an extra twist which I'm not sure was a positive one. This path eventually led to rediscovering nearly the entire Michael J Fox filmography which I'll leave for you to make a judgement on. For what it's worth, Bright Lights, Big City is out of control and just wildly miscast, if anyone out there cares. I’m currently watching all the Godzilla movies from the 50s to the 70s. Best one so far has been 1965's Invasion of the Astro-Monster. It was a genius decision to bring aliens into the storyline, really just next level thinking. Tough decision coming up as I’m on the fence about whether ‘zillaless Rodan and Mothra films are considered essential viewing. Complicating matters is that revisiting the two Tron films is next on my list, and I'm anxious to start that Bridges masterclass. As you can see, distractions became important concepts in 2020. Whatever gets you to the next day and the one after that, keep doing it until you want to try something different. There are no rules to this new reality except for the rules you have to follow- masks, social distancing and wash your hands.

In terms of music, the records listed below are all something special to me. During this almost year long quarantine, I had more time than usual to spin records, look into new bands and give old ones a second chance. Music made this year tolerable by connecting me to my past, grounding me in my present and offering a view of a hopeful future.

Even with that being said, I have to state the likelihood of my missing records on this list that I forgot about, forgot to listen to or forgot to even know about is a high, high, high possibility. This is what feels right to me though, in this moment in time and at the end of a very insane year. 

2020- goodbye, so long, get the hell out! Six days into 2021 doesn’t feel all that different, the smell still lingers but it should be gone soon. A couple more weeks should do it. Let’s all look onward and upward esp when we’re getting vaccinated. Only freaks look at the needle going into their arm. With an extended family member who is a nurse, the last word on 2020 has to be thank you front line workers and essential workers. No one reads this anyway but I just want to put the sentiment out into the world.

Let’s take just one last look back, shall we?

19

Jeremiah Sand

Lift It Down

An album written in reverse. Not in the "Paul is dead" or “here’s to my sweet satan” kind of way that had evangelicals spinning records backwards like Grandmaster Flash. This album can be played in the standard direction to get its point across. Though, now that I’m thinking about it, I’m not ruling anything out with this record. If you want to be like DJ Jimmy Swaggart, I’m not gonna hold you back. In fact, let me know what you find out. Jeremiah Sand’s music was initially created out of necessity but then became much more through inspired dedication. Born out of cinematic genius and then shaped by devotees who tried to discover the one true path. Per the doctrines handed down from up high, these songs are not meant to be a perfect creations. In fact, man(d)y couldn’t help but laugh on first listen. The expectation and goal for these recordings was perfect imperfection and the worshipper that fell to their knees in service (Randall Dunn, Milky Burgess, Linus Roache, Dan Boeckner and crew) delivered this baby with exacting precision. Prophets and their cults like to blur the lines between truth and lies, reality and propaganda; be they real or fake. That’s unfortunately a very important 2020 concept and reality. Why should the music this year be any different, be it newborn in this calendar year or from the past resurrected for new ears and minds? Jeremiah Sand guides you like a shepherd through eight tracks of solidly mediocre philosopher bliss. Without the aid of strong hallucinagins, I’m not sure how effective this stuff would be to turn anyone on to his worldview. Yet, it’s well documented that’s exactly what it did. No matter how lowkey you keep your Cheddar Goblin filled life, Jeremiah still seems to find you in the end. Caleb Braaten tasted the whip this year and wisely decided to approve it’s release on his label. Apparently, I had a tab or two myself as Lift It Down infiltrated my subconscious and made its way onto this list. That’s as close to a miracle as I’ve ever seen.

18

Rose City Band

Summerlong

Guitar jams! Ripley Johnson dons a Stanley Mouse styled ten gallon hat and gets down to business. This guy likes beards and summer jams. I guess, I have no idea if that’s really true but I can make an educated guess. Just like I can say this man worships the Grateful Dead. To an unhealthy level even. The odd thing is that I'm not a Dead fan but I can hear the influence on Summerlong and love it even more for that fact. Ripley has the ability to show me what I've been missing with the Dead without having to indulge in the straight dope of the real thing like Jerry. That means I don't have to wear Jerry's estate approved apparel, exclusively eat Jerry Garcia ice cream, listen to or care about multiple decades of bootleg recordings, dread my hair, not bathe, make patchouli oil, sell weed brownies on Shakedown Street, drop out of high school to follow a tour bus through the upper midwest, join a commune, grow crops on a farm upstate, communally raise other people's children, drink the kool aid and then die with new balance sneakers on under a purple sheet. Could this be the best version of Ripley we’ve heard yet? The way RCB grooves, it makes his other bands seem like the pit stops on the way to this final destination. These songs are krauty, trippy and just damn light in every sense of the word. In 2020, anything that takes things down a notch and is just soaked in positive summer warmth is a rare and welcome addition. The overall sound conjurns alternate timelines where The Byrds were from Düsseldorf or Michael Rother was from Nashville. Soft vocals over a slow to medium paced shuffling beat with much guitar heaviness dropped in at just the right time. Lap steel abounds and relaxed nerves follow. It’s just a real cool time. The album ends on a two song crest (Wee Hours and Wildflowers) that leaves you blissed out and craving more. This band leaves you on a high which never seemed more appropriate.

17

E

Complications

Come. Neptune. Karate. If these words are associated with music in your brain, there’s no need to read any farther. You get it and I’m guessing you also got it too. But, if those three words are just a verb, a planet and a martial arts discipline; you have some very rewarding work ahead of you. Decades of independent music and art are condensed into those three small words. Having lived in Boston for half a decade at one point in my life, I can confirm it’s common knowledge these bands have gained a hard fought respect in that local scene and even beyond. E is a band comprised of three Boston based veterans who just landed another solid record in 2020. Thalia Zedak, Jason Sanford and Gavin McCarthy are the musicians in question who have each spent the best years of their lives separately following the same muse. About five years ago, they all realized this fact and pooled their talents and efforts into one vision in the name of efficiency. Complications, their third album as this self contained unit was self released this time after dropping their first two on Thrill Jockey. All three elder states(wo)man take their turn at lead vocals across the album’s nine tracks. An equity that allows for a more varied sound and a pace that whips you like the last car in a Coney Island rollercoaster through the whole affair. Career musicians oozing years of experience and jaded confidence into their instruments. There’s joy in these songs too. As sparse, distorted and/or pointed the music becomes, it just sounds like unmitigated fun. Long histories mean it’s familiar in tone but the collaborative execution redefines the edges and overall shape. Nothing complicated about this one, an inspiring listen.

16

OGRE

IV Gates of Nessus

The first of two Library of the Occult artists to make this list. OGRE aka Robin Ogden is a UK composer with more than a few releases to his name going back almost a decade. I’m no gearhead, so I have no idea what synth or other instruments he’s using on this record. What I do know is this record evokes both pure nostalgia for a bygone era and excitement for the growing synthscape genre this currently resides in. It’s sparse and purely electronic but also cinematic and just straight up mood altering. This is music made by and performed by one person and doesn’t try to sound like anything other than that. It's instrumental music made with a singular vision. These Library of the Occult releases nudge their curated artists to steer their writing toward RPG or even just fantasy book inspired soundscapes. OGRE takes the direction well and creates an entire kingdom of sound and story with IV Gates of Nessus. OGRE was my gateway drug into Library of the Occult’s keyboard cult and this record is still my favorite of their growing catalog. It should be said, all of OGRE and Library of the Occult releases are highly recommended. Their two orbits were not that far apart to begin with and collaboration has resulted in a near perfect creation. Looking for more from this D&D Music Factory in 2021 and beyond.

15

Bell Witch/Aerial Ruin

Stygian Bough, Volume 1

Contrary to this list so far, collaboration can be a risky business. Mick Jagger and David Bowie dancing in the streets in 1985 comes to mind. But, then again, so does Anthrax and Public Enemy who brought the noize to my young mind as was billed. It just reinforces the line between success and failure is a balance that needs to be met and maintained throughout. Otherwise, it’s like Lincoln said about his lawyers, “a house divided can’t stand”. Or was it his Continental? I think Joey Belladonna said that actually? He definitely didn’t rap it, that’s for sure. Either way, Bell Witch and Aerial Ruin take the gamble and it pays off. Though it should be mentioned they are frequent collaborators and it becomes obvious very quickly they already have a well worn short hand with one another. Every previous Bell Witch lp has had some sort of appearance by Erik Moggridge aka Aerial Ruin in the credits, so this outcome seems more like fate than chance. The resulting album, Stygian Bough, Volume 1, is a testament to their long musical friendship. Everything about this release is correctly done. Both the crushing bass and growling drums of Bell Witch’s bottom end and the strummed guitar majesty and lyrical poetry of Aerial Ruin have their individual moments to shine. And they definitely do; the black doom comes down hard when unleashed and the acoustic balladry and poem length lyrics take center stage for long stretches. While this darkness and light contrast is riveting, the best moments of this record arrive when Bell Witch and Aerial Ruin achieve a fully merged and cohesive sound. When that acoustic strumming becomes an electric hand of doom alongside a restrained and squalling rhythm section, the songs become something new to both bands. If I’m being honest, Bell Witch and Aerial Ruin sound better together than they do apart. The thought of this just being Volume 1 of an unknown (and perhaps unending series) is a life affirming positive development in an otherwise globally oppressive moment. These bands stand like two pines towering above a busy forest floor. They have distinguished themselves with a thoughtful and crushingly massive sound. This is what heavy means, Doc. Lightning struck Bell Witch and Aerial Ruin in 2020 and that fact should be printed up on pamphlets and handed out in the town square to be well documented for the future.

14

Old Tower

The Last Eidolon

The Tower makes it’s biggest professional leap to date by releasing their latest album, The Last Eidolon, through Profound Lore Records. While not a major label by any stretch, the self released and regionally specific labels used in the past pale in comparison to the distribution potential of this mighty metal label. Aesthetically, this band and Profound Lore fit perfectly together. This is not your typical metal release though, far from it in fact. By name and genre, this is dungeon synth. A term much more widely used than even a year or two ago. This is mostly instrumental synth music, overly moody and atmospheric with some layered flourishes. The music and cover images tend to give off a middle aged sword and sorcery vibe. A time and place where a Dungeon would be appropriate at the very least. The production seems pretty sharp for this release and the track list is just three nearly 18 minute long songs. If you read into it a bit, this seems like a shot at going legitimate (old school word would be sell out) but that concept seems flawed if true. The Dungeon Synth genre’s appeal is definitely finite. It would be like a polka band trying to get on MTV in the 80s. That might be a bad example because of Weird Al but I think you get the idea. This hooded Dutchman seems to have a plan though and chart domination is probably not the main objective. My bet is that he’s just taking this project to the most ears possible without losing any of the original, more jaded ears. This approach could work. Old Tower’s Bandcamp page currently has a review that states “fun to listen to while stoned”. Piggy backing on weed sales isn’t the worst business model. If Old Tower ends up at Hot Topic, the world will have become something I no longer understand. Perhaps a better place, but mostly just confusing.

13

Blanck Mass

Calm with Horses (Original Soundtrack)

Benjamin John Power, formerly of... does anyone even care about Fuck Buttons anymore? Blanck Mass has been making records for nearly a decade at this point. I think he’s earned the respect of letting go of the past. In 2020, BJP released his second soundtrack work, Calm with Horses, to rave reviews. The fancier (autocorrected but I’ll keep it) and dancier aspects of BM’s sound are way outside my house of wheels but I still take the journey willingly for this stellar soundtrack. The revelation to me is the quieter lap steeled guitar tones that live up to the album (and film) title. This is cinematic, moody and moving music that shifts and quickly evolves over and within the seventeen tracks on the album. The release was handled by the venerable UK based Invada Records, whom also recently reissued Blanck Mass’ previous soundtrack for A Field in England, which seems to have given BJP’s a home for his hopefully expanding soundtrack work. Truth be told, I haven’t watched this film but I’ve heard the soundtrack quite a bit from the home office in 2020. These tracks transcend their original purpose and live a full separate life on their own merit. Blanck Mass doesn’t get much better than this record.

 

12

Dream Division

Beyond the Mirror’s Image

Dream Division put out a total of three records this year. Two for Library of the Occult Records and another on Burning Witches Records. Coming from seemingly out of nowhere to Pollard levels of productivity, the UK composer behind DD, Tom McDowell, left a large gothy horror sized impression in 2020. While all three releases had major play this year, this spot is going to his Burning Witches release, Beyond the Mirror’s Image. Throwing his hat into the already overcrowded synthstrumental ring, DD made plenty of room for himself with an outstanding array of keyboards sounding directly teleported in from 1985 and the master chops to play them within an inch of their life. The drums on many tracks gives this a real rock band attitude, feeling very structured and assured as a result. I really buy into the concept of rising beats lift all songs equally. The influences that seem to end in 1989 are right there for the world to hear but Dream Division add enough heat and meat of their own to make this record come alive quicker than Frankenstein’s monster. Honestly, in a year like 2020, something this inspired and absorbing blasting in from parts unknown gives you hope for the future. I’ll gladly take all this band has to offer. A small shout out to Burning Witches Records for including a bonus promotional item of a mirror with the album cover on the back with certain copies. Yes, it's just a small token of gratitude but it clearly shows their belief in and love of this album as well as an understanding of the future this artist has in his near future.

11

Yo La Tengo

Sleepless Night

We Have Amnesia Sometimes

Quarantining for most people just added a couple extra notches on the belt or allowed for a new appreciation of Pauly Shore’s cinematic work. Not YLT, they belted out a whole album of studio jams under the title We Have Amnesia Sometimes as well as officially releasing a first class compilation ep of mostly covers Sleepless Nights. While the rest of us watched the first four seasons of CHips, YLT were putting the finishing touches on two slabs of quality rock. Not that this endeavor wasn’t a nostalgia trip of sorts for the Yo Las as well. I immediately spotted the classic The Byrd’s song from Easy Rider on Sleepless Nights and the excellent Dylan selection (that the band Tangoizes and Georgia just completely makes her own). Didn’t grasp the full concept of this ep the first few listens (I blame quaranfatigue) so I was somewhat surprised to learn that three other tracks were also covers. When Ira was singing about Rosemarie in front of Georgia, that really should have tipped me off. We’re all adults here though, 2020 isn’t a year to make assumptions about anything. I’ll even admit the internet’s helping hand was needed to figure out the remaining mysteries. A pretty varied bunch is the search result; Delmore Brothers, Ronnie Lane and The Flying Machine. Another track titled “Bleeding” is the only song credited to the band on this thing. Don’t make the mistake of overlooking it. "Bleeding" is a hauntingly beautiful, whispered creation with reverb soaked silence and touches of swirling restrained background static in perfect proportions. The only negative about Sleepless Nights is that it’s only an ep, it’s just not long enough! I get this was part of some museum piece but maybe just add four to six more selections? It would make for a full length to rival their best re/work. Yo La Tango love doing covers, just ask WFMU and their listeners. Thankfully, their length issue was resolved by dropping a second release of new material in 2020. We Have Amnesia Sometimes provides the yang to Sleepless Nights yin. WHAS's long freeform studio meditations and jams spotlight the band’s deep personal connections and honed musicianship. Both YLT releases this year showcased their two biggest strengths- an encyclopedic knowledge of music history and the ability to open up and bleed through their instruments with no destination in sight. Two distinct but equally important sides to their being. YLT are a band at their best when these two mighty resources merge but 2020 had them show these powers are... well, powerful on their own too. Plus in a year when you can't tour, two records isn't a bad thing at all. If this quarantine goes deep into 2021, we can only hope for another couple rounds of selections from their jukeboxed and constantly buzzing minds.

10

Wayfarer

A Romance With Violence

Death metal needs something to tie the room together. Just like The Dude needs his now infamous rug for his apartment. You can just be an intense, throat ripping band of badasses who sing about satan, death and/or wizards but it really does help to have a theme. Wayfarer, from the heart of the country, decided to frame their down tunings to the ideals of the American West. Basically, attempting to evoke thoughts and imagery more in line with Back to the Future III than Back to the Future II. Any research into reviews of the band will result in the name Ennio Morricone being part of the articles. I just did it myself right there. For the uninitiated, the gravitas and spirit of Ennio’s historic work gave the soundtracks of spaghetti westerns their unique voice and longevity. That feeling later exploited by his songs’ use in bank and car commercials the world over. I like the thought of mixing The Good, The Bad and The Ugly with Napalm Death, it’s a career making and defining idea. A million dollar idea or maybe a million peso idea fits the theme and reality more accurately. These Denver metal scene standouts shoot for the upper stratosphere and land damn near close enough. Maybe not orbiting satellites level high but somewhere in the zone where private planes fly? Not quite hitting the high water mark where an actual black metal Morricone collaboration would reside but still higher than most any other bands with Cookie Monster vocals reached this year. Profound Lore treated this record right with gold letter detailed packaging and a solid promotional push. In fact, trying to find some of those limited color vinyl variants are like panning for gold in the modern day Rio Grande. (I’m talking about the internet.) The music veers from the western end of the spectrum all the way over to the death metal side. Mostly, the record saddles up in the middle of those two poles though it’s definitely staying east of center throughout. Don’t mistake this for Willie Nelson though, the western themes are more subtleties in the majority of the songs with mostly indecipherable lyrics carrying the conceptual weight. This is hard music for people who want to get inspired fast. This isn’t for the Martini crowd but I could easily imagine this playing at saloon like Nick’s (shout out to Pottersville!)

9 

Jeff Tweedy

Love is the King

Everytime I think I’m out, they pull me back in. Jeff Tweedy turned me into Michael Corleone in 2020. Not Mike’s good years either, I’m talking Godfather III, or excuse me, Godfather Coda era (thanks again, 2020). I didn’t want to like this album. At this point in his life, Jeff Tweedy is an elder statesman of.. something. Country rock, indie rock, roots rock, family rock, avant rock, rock rock? All I know is he doesn’t have writer’s block. He’s putting out books about how easy it is to write songs, publicly stating he has a formula no less. That takes some of the magic away or at least the mystery. (And 2020 took the tours away too.) Still, no matter the method, his output is just as toe tapping with brain retaining choruses as ever. Radio friendly with an age appropriate pace for this fifty something year old frame. He’s even playing with both of his sons now, not just Spencer. It’s all so heart warming and sickeningly sweet. Love is right there is the title for fuck’s sake. The man deserves it all though. The road to this rock royalty status wasn’t guaranteed or ever easy but he’s made it to the promised land only somewhat battered and bruised. Talent runs deep and wide with this family, thankfully they decided to record their quality time for all to share. 2020 showed yet another perk of being a family band, a quarantine doesn’t stop the rock. It actually makes it stronger. That and a patented, New York Times best selling song writing formula, of course.

8

Nathan Salsburg

Landwerk 1 & 2

Landwerk 1 was a May 2020 release that I discovered a few months down the road in the fall through No Quarter Records, Nathan’s longtime label for his solo releases. They were promoting the record during one of those Bandcamp Fridays which removed the fee from all sales on their platform to help the artists and labels stay afloat when live performances grinded to a halt in March. I then immediately fell hard for that record and listened regularly from that point on. A couple months later, Landwerk 2 was announced for digital sale with physical copies hitting USPS early next year. So, this is a recommendation for 2 and not just 1. Right? Right. Nathan Salsburg put out a doozy of a solo record called Third in 2018. Now, he has a long career in the music making business dating back to the Y2K era, but Third was his first album that really grabbed my attention. It seems to indicate that either he’s getting better with age or my own ability to recognize great music has improved over the last 20 years. Either way, Third deserves your attention. As does Landwerks (meaning 1 & 2), even more so. The concept behind the songs on these albums was to take something from the past and bring it to the present. That concept is executed by the use of 78rpm record samples of recordings made in the 1920 and 30s being looped underneath Nathan’s present day guitar meditations. The scratchy, sometimes haunting samples give his compositions a purpose and backbone that frees him up to be as adventurous as he sees fit. The idea alone, regardless of the actual output, would be enough to warrant consideration for a year end list. Thankfully, Nathan is a first class musician and writer that brings life and warmth to these fleeting moments from the past. His guitar gliding in and out of the spaces created by the looping samples is almost trance inducing. Landwerks is a true experiment that resulted in a complete and utter success. Breathing new life into anything seems like something to be celebrated from 2020. 

7

Mary Lattimore

Silver Ladders

Indie harpist sounds like one of the harder professions in the music business. Is there any chance your back gets away unscathed after years of loading in and loading out what I’m assuming is a cumbersome yet delicate instrument? I briefly met Mary Lattimore once and never thought to ask. Chances are pretty good that might be one of those questions that elicits an eye roll and automated response from lifelong harpies though. Her new record, Silver Ladders, gets no such eye roll even from Zeus’ harpies. In terms of her composing skills, I have no damn idea what to say. Are you looking for me to describe the writing and playing of harp music for you? That’s not going to end well. I can only go by the feeling it produces in the listener or really just this listener. It’s gentile, moving, psychedelic, contemplative, spicy (autocorrect again but I like it), spacey (not Kevin though), multidimensional and passionate. It’s a big sound and a big record from a big instrument and a big talent. What I’m saying is, this was a big one in 2020. With most tracks ending before hitting the six minute mark, the record goes by fast. The two exceptions being the ten and half minute Til a Mermaid Drags You Down and eight minute track Don’t Look. The longer tracks are welcome additions to Silver Ladders, as they showcase Mary’s strengths at creating worlds of sounds. Having the time to stretch her vision on these songs allows her compositions to stay uninterrupted and unbroken in your mind. It creates an emotional and ethereal connection that stays in your subconscious that much longer, be it hours or even days and weeks. My favorite track has to be Chop on the Climbout which adds some heavy synth bottom end during the climax of the song and eerie effects throughout. I should mention that Neil Halstead of Slowdive and Mojave 3 fame has his hands all over this record producing, guitaring and guiding, giving Silver Ladders the assistance it needs to shine. But don’t get it twisted, this is a Mary Lattimore record and is special because of her abilities alone. Their team up is wonderful but, ultimately, Halstead is just the Sherpa and Lattimore is the mountain.

Lucky Number Slevin

Protomartyr

Ultimate Success Today

The band you know and love, now with a horn section! I had no idea where to place this on the list. On a good day, I think Ultimate Success Today has a chance at the top spot. On most days though, it just barely doesn’t make the cut. Detroit’s 21 Century sons deserve a nod of recognition for being absurdly reliable in an uncertain world. I loved their last ep with the less famous Deal sister guesting. I listened to that ep a lot when it was new. The same with this one too. Spotify had a lot of UST plays from me, I probably netted them a whole nickel by the end of the year. Of course, the vinyl community had a big stir with how the mock up of the red/blue merge vinyl variant was advertised and how it actually looked. Or maybe it was only the first batch made for Euro distribution was a true merge and the rest were red with an inner blue blob? It’s all a blur now. Apparently, somebody gives a huge shit about it somewhere in the world. This was post pandemic too. It’s good to see some things never change even when everything else in the world has. Bullshit aside, this album was like a check in with an old friend. They still have the same spouse, same job and same apartment but they lost some weight, look a little older and seemingly added some tasteful  jewelry to the mix. Like nice rings. You’re happy to see they’re doing well. But after a few hours and a couple drinks, it’s obvious they’re the same drunken, self centered pessimist at heart. And that’s fine, it’s what you expected. Nothing shocking here, to borrow a phrase. Even after all these years, Joe Casey is still one of the best stories in recent indie rock history. His older man poetry about the state of the world is still inspired, sofa cushion level deep and the heart and soul of this band. The music is distinct too, you know it’s Protomartyr every time. That’s called having a sound. Their appeal and success is the combination of the two but I still feel Joe is the more obscure half of the whole. The road traveled to get to how he exists in his current form seems more random than any of the musicians in the band. About this album though, while not an exact parallel, it's kind of like that 2020 Strokes album. Loved the first single with the new instruments being added into their writing (synth for one, horns for the other) but it was then a slow reveal of mostly false advertising after a few spins of the whole record. If this was a contest, Protomartyr’s record wins every time but the trajectory of revisits after the initial release of both was very similar for me. UST is a really good record by a solid band which showed the desire to try to want to think about maybe exploring how they should open up the theory of giving a sign of growth in their overall sound. For whatever (or that specific) reason, it just didn’t have the staying power as more time passed from its release date. Still, there’s no denying it’s dominance for a long stretch of this calendar year. During a quarantine, that means more than most years.

6

King Buzzo

Gift of Sacrifice

King Buzzo of the mighty Melvins released his second acoustic based solo lp, Gift of Sacrifice, in 2020. Nearly 40 years into his career, he continues to do whatever the hell he feels like. Having never attained the pop heights of his Seattle peers, Buzz didn’t have to make that decision about selling out/being MTV staples. Instead, the Melvins found their groove and stayed historically consistent with their output, touring and fan base. The arts (but mostly music) have become a means of an upper middle class life for Buzz and his artist wife, Mackie Osborne, and band partner Dale Crover. This sustained interest in their band isn’t something that just happens by chance. If that was the case, Cherubs would also have over 30 albums to their name. The labels Buzz and Dale work with, the limited releases and art prints they coordinate with Mackie and Tom Hazelmyer, writing the neverending songs that keep the band/their fans engaged, the annual tour dates- that is all hard work, that’s hustle, self promotion and confidence. 2020 was a year of solo outings for the Melvins. Dale Crover had a few one offs with Joyful Noise Recordings and has his own new solo album being released in January 2021. But Buzz had big plans for 2020 having scheduled a solo tour with tickets already sold and plans to build off a promotional push for Gift of Sacrifice by Ipecac Recordings. Then the world changed in an instant, at first temporarily and perhaps now permanently. The tour was canceled and tickets were refunded (I can confirm this firsthand) but the record did eventually emerge later than scheduled in the summer. By the fall, we all understood what the Gift of Sacrifice was all about. It’s a beauty of a record. Just Buzz and frequent upright bass collaborator Trevor Dunn (from... just look it up) doing the main work with production and some bonus noise elements by another longtime band associate, Toshi Kasai. These songs at their core are pure Buzz creations- the guitar and that voice dominate. Yet, it’s the upright bass bringing the bottom end heft that just pops in these songs. It’s both a duet and a duel throughout. The whole battle is wrapped by Toshi’s production value and noise touches. This record is light years ahead of the first acoustic solo record, This Machine Kills Artists. At the very least, it’s a different animal all together. I have to mention the Mock She KISS tribute/cover that is just the latest entry into Melvins’ (and Buzz in particular) worship of the geriatric and very moneyed arena rock gods. Yes, I know. Shock Me is an Ace song but I believe a judge would rule it was legally a KISS song if the need arises (or perhaps already arose). Interestingly, the heavy bass breakdown in the middle of the track by Dunn is part of another actual KISS song, Let Me Know. So, I’m sure Buzz (or Ipecac really) had the pleasure of talking to an official KISS lawyer at some point in 2020. Very rocknroll! Moving on. While also staying true to the Melvins decades in the making aesthetic, this album shows experimentation, a collaborative spirit, dedication and really solid production work. It’s not the Buzzy Guthrie of the last solo record, it’s just different and so very odd. A much needed and appreciated gift in a taker of a year. 

5

Bill Callahan

Gold Record

Every new second of your life is both the oldest you’ve ever been and the youngest you’ll ever be again. That’s true whether you’re a newborn baby or Keith Richards. It’s a constant through your entire life and in the universe as a whole. Just like Bill Callahan. This man is a force of nature. Pumping out the goods with an ease and quality not quite understood or appreciated enough in our own time. I’m pretty confident his catalog is going to be studied and celebrated once we are all onto our next lives. Gold Record hits the my target real hard. This relaxed, world worn cocoon of an album is exactly what you want from Bill. A perfect antidote to a year filled with uncertainty. Dude is on a tear lately, every new record is better than the last. He’s getting better with age which is not how it’s suppose to work. His calm is just so damn aspirational. It’s intoxicating to hear. Stepping into his world even just for the 40 minutes he gifted to us is a rare privilege. Also, his lyrics use the term son so much, it makes you rethink your own relationship with your dad, child or both. Or maybe he doesn’t, and it’s my own ears highlighting what is actually a normal amount? I don't know anymore. This is a record that invades you if it’s given the green light, the songs all have lyrics like short stories regardless of the actual word count. You’re in gentile hands though, only positive vibes emerge. A special nod to the song Let’s Move to the Country with the repeated lyrics of “My travels are over, my travels are through. Let’s move to the country, just me and you”. When heard through the prism of 2020, this just sounds absolutely prophetic. I’m not a real estate agent but this song might very well be 2020’s official anthem. The answer to 1987’s GnR classic Move to the City, at the very least. As a bonus, after listening to this record enough, you also eventually feel the need to look up the word plenipotentiary. So, there’s that. My recommendation is to just sit with Bill for a spell, you’ll find there’s power in this record worth it’s weight in gold. 

4

Bob Dylan

Rough and Rowdy Ways

What do you say about an artist who’s been making records for nearly 60 years? Nothing new, that’s for damn sure. At this point, you need to do heavy research to even get a grip on his accomplishments and multiple eras. He is a historical figure walking amongst mere mortals. And that’s what his songs are, his immortality. He’ll be talked about for years and centuries from now. Not like they talk about Elvis or even Sinatra. He’s a man out of time, in line with Gershwin, Mozart or even DaVinci. We have such reverence for classical music and it’s composers in western civilization. But they were just people too in their century with all the good and bad that entails, not the stoic and seemingly stiff personalities that match the library and bank like settings their music now soundtracks. They were revolutionary. As was Dylan and as is Dylan. Every new generation breaks from the old; kids these days think of Dylan as their parents or grandparents or possibly even their great grandparents music. To them, it’s stuffy and doesn’t sound anything like the current bangers from 100 gecs. I get that, Dylan embraces the past, celebrates it even and puts it on display. Just don’t ask him to do that with his own personal past. Dylan will be the first to tell you nothing about himself but if he did, he would say he stole or, less severely, was inspired by a whole back catalog of melodies and poems from the Mississippi delta to the Renaissance to Woody Guthrie. This isn’t an indictment, it was fair game then and even now, there are just more lawyers involved. The fact that Dylan still has something to say in his late seventies and remains unphased by his changing vocal delivery and playing abilities is absolutely wild. The one time guitar man has hung up the shoulder strap and sits at the piano now, his vocals weathered and raspy like he’s been singing for over fifty years. The younger man’s need to change direction midstream, to surprise his audience, to seek out and try the new and unknown have subsided in the 21st century. Dylan has found a jazzy, avant, atmospheric and traditional sound to rest his new thoughts upon. It’s been that way for a while now. He even wanted to become a standards singer for a good stretch reaching into Sinatra’s bag of tricks for some truly inspired crooning. But this 2020 release finds him writing his own songs again and the typical boundaries of pop radio still do not apply to his trade. The unquestionable song of the year, A Murder Most Foul, clocks in at over 16 minutes. It’s a history lesson, a pop culture tour of the 20th century and a question to the ages regarding events that still don’t square even a lifetime later. It’s a chilling and really entertaining ride that has time to set the mood and paint the whole picture. Dark and light as well as heavy and light; the song should grab anyone who is actually listening. The pop culture references stick throughout the album too. It’s fun to hear the Rolling Stones be mentioned in the song “I Contain Multitudes” and Pacino and Brando in “My Own Version of You”. The inclusion of these modern era masters into Dylan’s lyrical lexicon makes these people timeless. Age has not slowed down Dylan’s well read brain. Every single song on the album has certain verses that jump from the page. His wit and bite are still alive and kicking in his mind and spirit, if not in body. If you allow this album the time, it will reap you rewards more than worthy of your time spent. His guitar is no more and his voice is deep and damaged but the man remains the same. An album that showed a return of the poet that would be a worthy swan song to a storied career. I wouldn’t bet on the last part though, Dylan only knows how to move forward into the unknown with his back to the sunset.

3

Atramentus

Stygian

Double Stygian references on the list! A quick search tells me there are two definitions for Stygian: of or related to the River Styx is one. While that’s solid imagery, the second definition seems to be the most applicable; extremely dark, gloomy or forbidding. That right there is confirmation Stygian is the right name for this record. Oh, Canada! This record is an absolute journey. Hailing from “the Frozen North” (which I’ve heard is Montreal), Atramentus seemingly appeared fully formed and ready to conquer the Unfrozen South in 2020. Minimal online research shows they actually formed in 2012 though, which I can believe. This record could have easily taken eight years to put together. Stygian consists of three tracks that combine to a total of fourth five minutes. But keep in mind, one of the three tracks is five minutes long, leaving forty minutes for the other two. This thing is just massively epic. The slow hand of doom pervades with sludgy and dark guitar alongside crushingly reserved drumming. Vocals are all over the mix. A men’s chorus of monk like chants and hymns float in and out of the sound palate while some of the best black metal vocals heard this year wail and growl when called upon. The songs have a cinematic feel with layered noise and effects, whispering shadows and near Tibetan throat singing style touches. Synths are added when needed but have a bottom heavy feel. Some light synth touches are added sparingly to the ever expanding and contracted layered textures. These recordings are a work of genius or literally eight fucking years. Hell, maybe both. More than almost any record this year, Stygian feels inventive. It’s just the whole package, it’s more than the parts of its many doom genres. This has movements and arcs and tells a story on micro and macro levels. I have no damn idea what that story is but it’s dark, moody and complex. This is music that takes you to another dimension, out of your quarantine apartment/home office straight into the mysteries of the human condition. There isn’t much I would change here. The first track, From Tumultuous Heavens..., is the highlight of the album. A dark, doomy masterpiece that carries the album through some of the slower passages to come. By far the best any genre or sub genre of metal had to offer this year. A tour de force of power, restraint and dedication.

2

Nick Jonah Davis

When the Sun Came

I’m just a sucker for records like this. Nick Jonah Davis now officially holds the championship belt in 2020 for long acoustic guitar compositions better known as American Primitive. A genre created and popularized by the eminent John Aloysius Fahey and carried forward into the 21st century by his devotees directly and indirectly. Glenn Jones, Jack Rose, Chuck Johnson, Steve Gunn, James Blackshaw, Danny Paul Grody, Anthony Pasquarosa and Daniel Bachman are just a few of the names that come to mind. NJD’s rise to the top of the steel and nylon stringed heap was no overnight success. He made some serious noise with his third full length record, House of Dragons, in 2015. I came across that one a couple years after the fact and made sure to keep an eye out for anything new. A split of electric guitar recordings with C Joynes followed that release and peaked my interest even further. Now, with the arrival of When the Sun Came, NJD has fully arrived into the world and straight into my heart. This record is alive. It isn’t music to pick apart and try to breakdown the hows and whos. This is pure meditative, relaxing bliss. Now, I’m no guitarist. Being able to dissect a song is probably part of the fun of recorded music to most with that skill set. I have a friend (and shockingly still do) who has played guitar his whole life and he feels Fahey is a lesser musician esp compared to something like the more standardized and proper stylings of Bert Jansch. No disrespect to Jansch or all you Janscheads out there, but I find that a laughable summation. This type of music conveys such emotion and innate communication, it’s basically nonverbal speech through a musical instrument. A damn piece of carved out wood! I don’t really care about the finger gymnastics and number of capos used. That’s a nosedive toward no passion all technique; to borrow a phrase. Like Jansch, NJD hails from the UK but his style of playing screams something more wide open and overtly more American Primitive. Please don’t misconstrue this review, NJD isn’t in a cover band. He makes this genre his own with his own touches and layers esp on songs like Delta Suey and Whistle on Woolf. Pebbles on the Brook is a personal favorite with finger picking and slide guitar with a haunting accompaniment of a down tuned flute (is that a real thing?) or pipe organ. Hopefully, that’s enough of a description to convey the beauty of the arrangement. Really, the whole back half of the album is a stunner. So much experimentation resulting in mesmerizing and hypnotic playing. Not to say the first half isn’t just as glorious. By comparison, the first side feels more traditional to the known sounds and tunings of the genre. The compositions are new but sound so familiar in the best possible way. They produce a meditative warmth to bask your senses in while your mind is lulled into a relaxed state. The one electric guitar track, The Muckle Master, breaks the album in two with the gentle skill of a craftsman. Perhaps even like a magician sawing a woman in half? It feels drastic in the moment but, in the end, you know it’s just slight of hand and everyone will be ok. This album was much loved in 2020, a true break from the reality surrounding your everyday life. An album that showed the beauty of looking back at the familiar, falling in love with those lessons and moving them into a new and even brighter future. A very needed, welcomed and grounding album in an increasingly surreal existence. 

1

Zombi

2020

In title and tone, Zombi brought the post apocalyptic jams that were a perfect fit into the year we all just experienced. To call your album 2020 is like George Ruth pointing his finger out to the bleachers from home plate before the first pitch. It’s a boastful call to arms and a foreshadowing of the urgency that can be felt on this record. 2020 was already a great name for a record, just for the symmetry alone. But then when you add the extra fan base coming from optometry enthusiasts, it’s a no brainer. Just ask The Beach Boys, they figured that out decades ago. This album is a rush (as was 2112), the guitar is just sweating licks in the spotlight in unheard of ways for a Zombi record. Backing up the riff clinic, Paterrea sounds more confident and metronomical than ever behind his kit. Steve Moore, the modern legend of synth and bass, displays his continued expertise on both and his expanding genius on every guitar line not played by ringer Phil Manley of Trans Am fame. I’ve read some negative reviews of 2020 online which was the only time that sentiment shocked me about 2020. Looking back, that may have been the moment I knew for sure this country was in serious trouble. Presidential elections are one thing but how can a large portion of the population be so confidently wrong about this album? Who complains about too much guitar? The six strings just sing on the first track, “Breakthrough & Conquer”, coming off like the music in a Rocky sequel set in a distant future that was envisioned in 1985. That first track is the mission statement of this record. It grabs you and snarls an inch from your face that 2020 is going to be different than you expected. And Yes! Yes, it really fucking was. This music is descriptive and it’s purposeful, another prime example of nonverbal communication through art on this list. I’m really blown away by this record. Zombi has always been a musical powerhouse showcasing proggy length and strength. That skill is definitely evident on 2020 too but this thing just takes off in a special way. These musicians are almost overqualified for how much this rocks. It feels ridiculous and almost embarrassing to say but this record rocks really hard. This sounds like a band letting go of preconceived notions, honing their abilities and just having fun laying it down in the studio. This is Zombi concentrate, it could have been doled out over a couple records. Instead, we get a barn burner of a record crackling with electronic life pounded into existence by an unleashed dynamo of energy. The grooves this album falls into on songs like Family Man, Earthscraper, Fifth Point... (the whole damn album honestly) are just straight drops into the void. Cliffs of riffs with no end in sight. Taking influences from all over the horror, rock and synth map, Zombi studied the best and made the necessary improvements. In the future, when the details of this year fade into memory and eventual obscurity, this record is the 2020 I want to remember. Even without the proper hindsight allowed by the passage of time, I know 2020 was the best thing 2020 had to offer. Long live 2020!