Whew! It’s another long one, as September had quite a few great records that dropped, some of which I had to skip due to space. This was definitely not your typical fourth quarter, as we weren’t inundated with thousands of new releases looking for a quick cash-in or a spin on the charts. In any other year, I’m sure the sales departments would be tearing out their hair because of this, but instead, we’re all running with what we’ve got, and in the process we’re getting some solid records out of it.
Throwing Muses, Sun Racket, released 4 September. I always love when Kristin Hersh releases a Muses record, because it’s always guaranteed to be weird and noisy fun!
Doves, The Universal Want, released 11 September. Another 90s fan and critic favorite returns with a surprise record that just blasts so many other 2020 records out of the park. This album contains the same power and drive of their previous albums, and it was well worth the wait. It’s one of my favorites of the year.
Sault, Untitled (Rise), released 18 September. The second of two Sault albums dropping this year, this one is slightly shorter and features more pop and radio-friendly tunes.
Semisonic, You’re Not Alone EP, released 18 September. Yet another great surprise return! This is a super fun EP full of catchy melodies.
Bob Mould, Blue Hearts, released 25 September. After several loud-but-introspective records from Mould, he lets out all his anger and frustration over the current administration and the pathetic situation it’s gotten us into. A powerful record and one of his best.
Prince, Sign o’ the Times (Super Deluxe Edition), released 25 September. If there’s one record I’ve been waiting for all year, it’s this one. If you thought the original 1987 record was amazing, this one provides so much more that went into making it, including tracks from the aborted Camille, Crystal Ball and Dream Factory projects, plus a complete live show.
IDLES, Ultra Mono, released 25 September. A fantastic third album from this Bristol band, one that’s no less aggressive than their previous but also inserts some surprisingly heartfelt melodies and lyrics as well. “Grounds” is in my top ten of the year, not to mention my Top Song To Crank Up Insanely Loud.
Annie, Dark Hearts, released 16 October. A lovely and dreamy record produced by Stefan Storm of The Sound of Arrows, and one that’s been playing during my writing sessions for the new projects. I definitely need to check out her back catalogue!
Bruce Springsteen, Letter to You, released 23 October. Some of Bruce’s best songs are when he’s in an introspective mood, and this year has been a perfect time for that. This record kind of reminds me of Tunnel of Love, in that it’s got some great radio-friendly tunes but also some dark and ponderous songs as well.
Michael Penn, “A Revival” single, released 28 October. We haven’t heard any new music from Penn in years, so this surprise release hits just that much harder. Extra points for being quite possibly the only rock musician to use the word “commonweal”!
K-DA, All Out EP, released 6 November. I’m finding myself drawn more and more to k-pop and this kind of genre, especially when it’s produced to sound absolutely effing amazing in headphones and speakers. This project could easily be so throwaway, yet the songwriters behind it all keep pushing out such fun sounds!
The Avalanches, We Will Always Love You, released 11 December. This quirky group releases yet another stellar record packed with cameos, guests and unexpected samples, and it’s all sorts of fun.
Paul McCartney, McCartney III, released 18 December. Like 1970’s original and 1980’s II, this is a solo record in the truest sense of the word, done on his own during the pandemic (or “recorded in rockdown”, as the teaser says…). It’s Macca doing what he loves best, experimenting with sounds and soundscapes.
Thanks for sticking around! We’ll have one more post on Thursday, this one being my end-of-year lists and mixtape track listing!