Best of 2020 and Singles Mix

Source: cover of ‘Ultra Mono’ by Idles. The image seems to fit this year’s events quite accurately.

What a weirdass year. Yeah? Let’s not do that again. Or if we have to, let’s do it without so much of the drama, okay?

ANYWAY. Here it is, the last day of the year, and I’m squeezing this post in during the last few remaining hours of the day/month/year. I don’t use Spotify that much at all so I don’t have any “this is what you listened to most” (or, to follow the recent meme, the “your playlist sucks because…”). I know I listened to KEXP the most, with the rest of my mp3 collection coming a close second. The station kept me sane, somewhat distracted, and in a calm mood for the most part, for which I thank them, especially morning DJ John Richards and midday DJ Cheryl Waters.

Do I have anything left to say about 2020? Not really. It was a year of difference and change for me and I’ve already talked about it over at Welcome to Bridgetown. Other than that…I just want to keep moving forward.

So! Here’s the top albums, songs, and a few other bits of enjoyment that kept me going this past year. Enjoy! (NOTE: I left off the YouTube links on the mixtape on the second half here, but I may edit them in at a later date.)

TOP ALBUMS:
20. Hum, Inlet
19. PVRIS, Use Me
18. Indigo Girls, Look Long
17. Phish, Sigma Oasis
16. Nation of Language, Introduction, Presence
15. Hayley Williams, Petals for Armor
14. HAIM, Women in Music Pt III
13. Taylor Swift, Folklore/Evermore
12. Sault, Untitled (Rise)
11. Pearl Jam, Gigaton
10. Idles, Ultra Mono
9. Prince, Sign o’ the Times (Super Deluxe Edition)
8. Secret Machines, Awake in the Brain Chamber
7. The Beths, Jump Rope Gazers
6. Bob Moses, Desire EP
5. BRONSON, BRONSON
4. K-DA, All Out EP
3. EoB, Earth
2. Deserta, Black Aura My Sun
1. Doves, The Universal Want

TOP SINGLES
20. Deserta, “Monica”
19. Green Day, “Father of All…”
18. EoB, “Olympik”
17. HAIM, “The Steps”
16. Sault, “I Just Want to Dance”
15. Secret Machines, “3, 4, 5, Let’s Stay Alive”
14. The Psychedelic Furs, “You’ll Be Mine”
13. Sault, “Free”
12. Bombay Bicycle Club, “Everything Else Has Gone Wrong”
11. Bob Mould, “American Crisis”
10. The Weeknd, “Blinding Lights”
9. Hayley Williams, “Simmer”
8. K-DA, “The Baddest”
7. BRONSON, “Dawn”
6. The Beths, “I’m Not Getting Excited”
5. K-DA, “More”
4. Fontaines DC, “Televised Mind”
3. Bob Moses & ZHU, “Desire”
2. Doves, “Carousels”
1. Idles, “Grounds”

….and more Best-Ofs…

Welcome Returns: Bands Reformed/Reactivated and Newly Recorded
Stabbing Westaward, Dead and Gone EP
Stone Temple Pilots, Perdida
The Boomtown Rats, Citizens of Boomtown
X, Alphabetland
Badly Drawn Boy, Banana Skin Shoes
Hum, Inlet
Secret Machines, Awake in the Brain Chamber
Semisonic, You’re Not Alone EP
Michael Penn, “A Revival”
Midnight Oil, The Makarrata Project EP
The Network, Money Money 2020 Pt II: We Told Ya So!

Surviving the Pandemic: What Kept Me Going
Elbow, #elbowrooms videos
Crowded House, Live from Home videos
Seatbelts, Session Starducks videos
KEXP, Live from the Front Yard series

Box Sets, Reissues, and Remasters
Depeche Mode, MODE
Supergrass, The Strange Ones 1994-2008
Porcupine Tree, In Absentia (Deluxe Edition)
The Primitives, Bloom! The Full Syory 1985-1992
Paul McCartney, Flaming Pie (Archive Collection)
Prince, Sign o’ the Times (Super Deluxe Edition)
John Lennon, Gimme Some Truth (Deluxe)

***

THE SINGLES 2020

SIDE A
1. Secret Machines, “3, 4, 5, Let’s Stay Alive”
2. The Beths, “I’m Not Getting Excited”
3. Bob Moses & ZHU, “Desire”
4. Fontaines DC, “Televised Mind”
5. Idles, “Grounds”
6. Bob Mould, “American Crisis”
7. Pearl Jam, “Dance of the Clairvoyants”
8. Bombay Bicycle Club, “Everything Else Has Gone Wrong”
9. K-DA, “More”
10. Deserta, “Monica”
11. Cut Copy, “Love Is All We Share”

SIDE B
1. Doves, “Carousels”
2. The Psychedelic Furs, “You’ll Be Mine”
3. Green Day, “Father of All…”
4. Pet Shop Boys, “Will-O-the-Wisp”
5. Sault, “Free”
6. Hayley Williams, “Simmer”
7. HAIM, “The Steps”
8. Run the Jewels, “Ooh LA LA”
9. Nation of Language, “The Wall & I”
10. BRONSON, “Dawn”

SIDE C
1. Annie, “The Countdown to the End of the World”
2. EoB, “Shangri-La”
3. Hinds, “Good Bad Times”
4. The Weeknd, “Blinding Lights”
5. Green Day, “Oh Yeah!”
6. Semisonic, “You’re Not Alone”
7. beabadoobee, “Worth It”
8. Billie Eilish, “My Future”
9. Bruce Springsteen, “Letter to You”
10. Hum, “Step Into You”
11. Cults, “Spit You Out”
12. Paul McCartney, “Find My Way”

SIDE D
1. BRONSON, “Heart Attack”
2. Secret Machines, “Everything Starts”
3. Pearl Jam, “Superblood Wolfmoon”
4. Gorillaz, “Désolé”
5. GoGo Penguin, “Atomised”
6. Hotels, “Queens (West African Peanut Soup)”
7. Idles, “A Hymn”
8. Phoebe Bridgers, “Kyoto”
9. Working Men’s Club, “John Cooper Clarke”
10. The Avalanches, “Interstellar Love”

SIDE E
1. Gorillaz, “Strange Timez”
2. Billie Joe Armstrong, “Kids in America”
3. Throwing Muses, “Dark Blue”
4. Hayley Williams, “Roses/Lotus/Violet/Iris”
5. Glass Animals, “Your Love (Déjà Vu)”
6. Phantogram, “Ceremony”
7. Doves, “Universal Want””
8. Deserta, “Save Me”
9. EoB, “Olympik”

SIDE F
1. Gerogia, “About Work the Dancefloor”
2. K-DA, “The Baddest”
3. I DONT KNOW HOW BUT THEY FOUND ME, “Leave Me Alone”
4. Holy Fuck, “Luxe”
5. The Naked and Famous, “Recover”
6. Future Islands, “For Sure”
7. Michael Penn, “A Revival”
8. Kestrels, “Don’t Dream”
9. Soccer Mommy, “Yellow Is the Color of Her Eyes”
10. Supercrush, “Be Kind to Me”
11. Wire, “Cactused”

SIDE G
1. I DONT KNOW HOW BUT THEY FOUND ME, “Nobody Likes the Opening Band”
2. Secret Machines, “Everything’s Under”
3. Gorillaz, “Aries”
4. PVRIS, “Use Me”
5. Tunde Adebimpe, “People”
6. Semisonic, “Basement Tapes”
7. Destroyer, “Crimson Tide”
8. Pearl Jam, “Alright”
9. Annie, “The Streets Where I Belong”
10. Ty Segall, “Jump Into the Fire”
11. BRONSON, “Keep Moving”

SIDE H
1. Indigo Girls, “Look Long”
2. Khruangbin & Leon Bridges, “Texas Sun”
3. Hinds, “Spanish Bombs”
4. The Avalanches, “Running Red Lights”
5. Sault, “I Just Want to Dance”
6. Idles, “Mr. Motivator”
7. Bob Mould, “Next Generation”
8. Stone Temple Pilots, “Perdida”
9. Phish, “Leaves”
10. Jónsi & Elizabeth Fraser, “Cannibal”
11. Death Cab for Cutie, “Fall On Me”

***

See ya on the flip side, y’all.

End of Year Review IV

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.

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Thanks for sticking around! We’ll have one more post on Thursday, this one being my end-of-year lists and mixtape track listing!

End of Year Review III

By the middle of the year I was starting to get a little antsy. I’d stopped writing sometime in April on purpose, because I needed to clear my head. Apparently that took a bit longer than usual, as there was a lot in there that needed purging and clearing out. I was lucky enough to be able to a) throw out a lot of preconceptions about my life and my writing that were hindering me, and b) take my time finding out what does work for me. I kept myself busy by figuring out who I was and what I wanted to do from here on in. By the end of the third quarter, I’d rebuilt my whiteboard schedule and started writing again.

The Beths, Jump Rope Gazers, released 10 July. I seem to be drawn to bands from Down Under lately, and this band provided me with a really fun jangly pop record for prime summer listening. They reminded me a lot of the Boston bands I used to listen to in the 90s (and Letters to Cleo in particular).

Taylor Swift, folklore, released 24 July. This was not only a surprise release, it was a surprisingly excellent release that captured the attention of new fans, old fans, and critics alike. It’s some of her best work to date.

The Naked and Famous, Recover, released 24 July. Like many other records released this year, this is more reserved and introspective than their earlier work. The electronics, which are usually a major part of their sound, are pulled far back this time, bringing the inner soul of the songs to the fore.

Fontaines DC, A Hero’s Death, released 31 July. On the other hand, some bands chose to strip away pretense and soft edge and just come out with guns blazing. FDC’s newest is louder, angrier, and a much needed kick in the ass.

Paul McCartney, Flaming Pie (Archive Collection), released 31 July. Sir Macca’s been busy this year! First off is a lovely remaster/expansion of this great album from 1997 that’s equal parts embracing his Beatle past and holding tight to his relationship with Linda.

The Psychedelic Furs, Made of Rain, released 31 July. Their first studio record since 1991 (!!) has a rich, full sound similar to their Book of Days and World Outside records and it’s a welcome return to form.

BRONSON, BRONSON, released 7 August. This one’s on my top ten of the year list! It’s got that laid back electro groove I love (similar to Haelos and Bob Moses) that hits all the right spots. It’s also on my writing session playlist, perfect for my latest projects!

Secret Machines, Awake in the Brain Chamber, released 21 August. I do of course also love the sound of a loud reverb wash just pouring over me, and SM returns with another epic record that just soars everywhere. Another on my writing session playlist!

K/DA, “The Baddest” single, released 27 August. Again: I don’t play League of Legends, nor do I have the time or the brainspace do to so, but damn if their original music doesn’t kick my ass! I loved “Pop/Stars” from a few years back, so I’m thrilled that (G)I-DLE and co. decided to expand on this idea and release a new song, with an EP soon after!

Bob Moses, Desire EP, released 28 August. I do so love the cinematic quality this band projects, which means that they’re always showing up whenever I’m doing some heavy writing work. Give this one a listen with some good earphones and you’ll see why I love them so much.

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Coming up: a return to writing and a final wave of great music!

End of Year Review II

April started with me spending some long overdue time off from any Day Job stress. My last day there had been uneventful and after I logged off, I purged every file and email I’d saved for the last several years, unplugged the laptop, and boxed it up. It was out and dropped off at the post office the next day. If I was going to embrace this freedom, I was going to do it right and with a clean slate.

I did keep my hours, though. I woke up at 6am, showered first and made the morning coffee. I kept busy by house cleaning, doing errands and catching up on long-delayed projects that I wanted to finish (or at least get caught up on). I didn’t start writing again, however. That was another stress purge and process rethink that would take just a little bit longer. But I’d return to it eventually.

And of course I did a lot of listening.

Phish, Sigma Oasis, released 3 April. One of the first rescheduled releases during the early part of the pandemic — the band felt it would benefit their fans to hear new recordings in lieu of a delayed or cancelled tour. It’s one of their most enjoyable and consistently tight records in recent memory.

Local H, Lifers, released 10 April. This band has only gotten better with age. It’s not nearly as angry as 2015’s Hey Killer but it’s just as hard and rocking. Check out the amazing album closer “Innocents”, a rerecording of their 2018 single and produced by king of loud, Steve Albini.

EoB, Earth, released 17 April. Radiohead guitarist Ed O’Brien’s first solo album surprised me as much as it delighted me; I’d expected at least some musical similarity to his main band (there is — it sounds a lot like Hail to the Thief in some spots), but I hadn’t expected him to lean so much on the semi-electronic ambient beats. The result sounds just a little bit like U2’s Zooropa but that’s meant as a compliment, as it’s a pleasure to listen to and get lost in.

Hayley Williams, Petals for Armor, released 8 May. The lead singer of Paramore’s first solo album might be a slightly quieter affair than her band’s hard-edged sound, but the songs are no less powerful. She’s traded volume for tension here and it works brilliantly.

Nation of Language, Introduction, Presence, released 22 May. Taking a page from 80s college rock with its soupy reverb and synth melodies (and thus screaming out this is totally something J would listen to…), it’s a wonderful album worth checking out and getting lost in. Also worth a listen is their recent standalone single, a cover of Pixies’ “Gouge Away”.

Indigo Girls, Look Long, released 22 May. I’ve long been a fan of this duo, and this particular album has to be one of my favorites of theirs. It sounds a bit like their early to mid 90s heyday (circa Swamp Ophelia, mostly) and updated to current sounds and events. It’s just as strong as their classic ’89 self-titled record and definitely one of my favorite releases of the year.

Hinds, The Prettiest Curse, released 5 June. An enjoyable super catchy indie rock record from a foursome from Madrid, Spain, they got some heavy rotation on KEXP during the summer. Also check out their really fun cover of The Clash’s “Spanish Bombs”, which they released later in the year!

GoGo Penguin, GoGo Penguin, released 12 June. One of my favorite finds over the last couple of years, this jazz trio melds alt.rock grooves and techno beats into something altogether different and it sounds glorious.

Wire, 10:20, released 19 June. These guys surprise-dropped an additional album for 2020, this one featuring outtakes from their previous recent releases as well as rerecordings of classic tracks. “Over Theirs” in particular sounds even more menacing than the original.

Phoebe Bridgers, Punisher, released 19 June. She’s been showing up all over the place with other singers lately — with Conor Oberst in Better Oblivion Community Center, as well as with Lucy Dacus and Julien Baker in boygenius — and she’s even recently dropped an additional EP tied in with this release.

Sault, Untitled (Black Is), released 19 June. This curious band is now four albums deep and still nobody really knows who they are, but their records are just fabulous. They’ll swing from experimental to trip-hoppy to soul and pop and back again, never quite staying in one place. One of my favorite finds of the last couple of years!

Hum, Inlet, released 23 June. One of many unexpected and wholly welcome returns to bands after an extremely long hiatus for this year, this 90s favorite vanished sometime around 2000 but resurfaced occasionally for touring purposes until they slowly built up this new release over the course of a few years.

HAIM, Women in Music Pt III, released 26 June. This trio continues with their catchy-as-hell countrified SoCal rock and it’s one of their best. They’ve expanded their sound with a harder edge and even more adventurous production.

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More to come!

End of Year Review, Part I

I’ve said it elsewhere previously, I started 2020 in a terrible mood. I felt lost and frustrated primarily because I’d been corralled back into the office full-time to the Day Job. Between that terrible management decision, the time-wasting commute, and an almost complete loss of personal time for anything outside of work hours, I’d started looking elsewhere for a new job, hopefully in the city, where I could at least retain some of that precious creative time. In the meantime, I brought my mp3 players into work and plugged myself in, and stole time for writing when and where I could.

Funny how a pandemic upended all those issues a few short months later. I mean, ‘careful what you wish for’ and all that… I got my creative time back and then some, but it also derailed so many creative careers and lives as well. Musicians (and venues!) that depended on tours and performances now found themselves having to completely rethink the business side of things. Some went out of business, others got…more creative.

But for those first three months, things were kinda sorta normal, as normal as things could get at that point.

Stabbing Westward, Dead and Gone EP, released 10 January. An unexpected but wholly welcomed return from one of the 90s great melodic alt.metal bands. Still loud af, and still rocking.

Deserta, Black Aura My Sun, released 17 January. I’d been looking forward to this record since hearing the blistering “Hide” on KEXP late last year and I was not let down. It’s the best kind of shoegaze: loud, dense, and dreamlike. This one got a lot of play on my mp3 player at work.

Holy Fuck, Deleter, released 17 January. It amused me every time they played “Luxe” on KEXP, because they could only refer to the band as “Holy Eff”. This electronic band has been around for quite some time, but I’ve only gotten into them recently, and this is a great place to start.

Pet Shop Boys, Hotspot, released 24 January. Man, I remember my high school days when I thought “West End Girls” was such an amazing song. Who’d have thought this duo would stick together for so long and continue to release amazing music? We even got to see them sort-of-live during our last UK trip, when we stayed overnight at a hotel up the road from Hyde Park…where they were putting on a free show that we caught on TV!

Wire, Mind Hive, released 24 January. Another band that’s been around for multiple decades, maintaining their unique sound and remaining strong. I’m still looking forward to seeing their self-made documentary once they finally release it.

Green Day, Father of All…, released 7 February. Right about this time I was driving through the East Bay listening to the car radio and wondering why, when these local boys done good released a new, powerful and supremely fun record, the local alt-rock stations couldn’t be arsed to play anything other than songs off 1994’s Dookie. The title track is such an earworm that it still pops into my head to this day.

Stone Temple Pilots, Perdida, released 7 February. A somber release in response to the loss of two great lead singers, this goes to show that the band had a lot more creativity in them than people expected. The DeLeo brothers write (and sing) some beautiful tearjerkers here.

The Weeknd, After Hours, released 20 March. Fully embracing 80s synthpop and catchy-as-hell tunes, This was a surprise hit and one that crossed so many genres and station programming lines that you can hear “Blinding Lights” pretty much everywhere, including at Trader Joe’s. It’s a strange but really fun record to bop along to.

Pearl Jam, Gigaton, released 27 March. PJ’s later albums can sometimes be great but not quite imprint on your psyche, but this one is a fine return to form for them. It kind of reminds me of 1998’s Yield; both contain a bevy of deep cuts that have shown up on regular rotation on AOR stations.

**

By the end of March, things had changed considerably. Mayor London Breed had called a shelter-in-place for San Francisco, numerous companies, shops and restaurants were starting to make long-term plans or shutter temporarily (or for good). A few bands quickly gathered together to stream free or sliding-scale-pay shows on the internet, and some bands even chose to start releasing albums well before their planned drop date. I, of course, had had enough with the Day Job, left on less than cordial terms, and spent the next several months doing a lot of self-discovery and giving my creative career a massive rethink.

New music would still drop, of course, but life wouldn’t be quite the same after the end of March.

End of Year Thoughts II

During my long hiatus from blogging this year, I thought about closing down one or both of my WordPress blogs. I don’t think I’d run out of things to say on them, just that I’d gotten repetitive, focusing on the same finite number of subjects to write about. I still enjoyed talking about music here on Walk in Silence, and about writing at Welcome to Bridgetown, but it had become a chore and a deadline assignment, and one that felt a little overwhelming at the time. Come April, I’d decided that I wouldn’t just leave the Former Day Job but distance myself from the blogs and the daily words.

I of course immediately recognized that I was emotionally, physically and mentally exhausted, probably had been for a long while, and this was a perfect time for me to take a long overdue vacation. And think about what it was I wanted to do next.

I’ll be the big Five-Oh next month. It’s not the age that bothers me, to be honest. Aside from the creakier joints and a bit of extra weight, I’m actually in good spirits about it. I still have a lot of years ahead of me and I’d like to think I’m ready and equipped to take them on. I’ve trained myself to think more about future endeavors and less nostalgic (and obsessively so) about what I’ve already done. A funny and unexpected side-effect of this is that I finally see my long-simmering Walk in Silence 80s college radio book project with somewhat more detachment. Which is a good thing, a very good thing, because I’ll be able to write it without once again falling into the trap of Proustian rambling. Maybe I’ll finally get that damn thing done and released in the next year or so.

This is the same with my music listening habits as well. I feel less manically obsessive about it. Sure, I’m still an avid collector and a nerdy librarian when it comes to my mp3s. But I’m no longer trying in vain to recapture the moods, memories and thoughts that come with listening to music. I experience the music again, in the present. I enjoy it. I create new moods, memories and thoughts about it. I can listen to those favorite records and mixtapes of thirty, forty (!!) years ago without my brain slipping into “it was a very good year…” mode. I didn’t forget any of the memories, I just allowed my present self to loosen my grip on them. Those memories are hard-coded into those songs and albums and mixtapes so I can call them back up easily.

Where did this come from? Good question. Most of it was due to a distinct lack of creativity on the Daily Words front, which itself was due to the Former Day Job situation. Instead of trying to write any kind of microfiction for the Daily Words, these entries ended up being an extension of my personal journal and yet another retelling of my Walk in Silence idea. It was so ridiculous and frustrating! So when freedom of the FDJ presented itself, I also chose to free myself from everything else that was holding me back: including my listening habits.

Essentially, I had to relearn how to listen.

What I’ve been listening to, part four

September was one hell of a great month for new releases! So much so that it gets its own post! Here we go…

Tricky, Fall to Pieces, released 4 September. His first record after the death of his daughter is a dark and somber affair, but it’s also about healing from that pain.

Throwing Muses, Sun Racket, released 4 September. It’s indeed a racket, with Kristin Hersh turning up the volume and kicking out some great noisy tunes reminiscent of their early 4AD records.

Doves, The Universal Want, released 11 September. They haven’t released a record in ages, having been on a hyperextended hiatus, but the new album is so worth the wait! They haven’t lost their touch at all.

Cults, Host, released 18 September. This band has a way of merging alternapop sensibilities with experimental sounds, and it works like a charm here.

Sault, Untitled (Rise), released 18 September. As mentioned previously, no one really knows much of anything about this band at all, other than that their output is prolific (this is their fourth album in the span of two years!) and it’s all amazing. Highly recommended.

Semisonic, You’re Not Alone EP, released 18 September. Wait — Semisonic released a new EP?? Dan Wilson is still an amazing songwriter and this is certainly a welcome return!

Bob Mould, Blue Hearts, released 25 September. Oh man, this was the punk album we definitely needed at this point in time. Mould is pissed off and this is the angriest album he’s dropped probably since Black Sheets of Rain.

Prince, Sign ‘o’ the Times Super Deluxe Reissue, released 25 September. I posted about this one previously, and it was well worth the wait. The deep dive into alternative versions, demos, live tracks and unreleased songs will take you a few days, but it’s a fascinating ride.

Idles, Ultra Mono, released 25 September. These guys deliver powerful lyrics and brick-wall noise, but they have a super-strong conscience that they’ve never lost in any of their songs. Also, check out the video for ‘A Hymn’, which shows their softer side by riding along with their parents on a mundane grocery run during the pandemic.

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Whew! Yeah, that was a great month. More tunage to come later in the season!

What I’ve been listening to, part three

Coming back with a few more releases that have been getting some considerable repeat play here in Spare Oom!

BRONSON, BRONSON, released 7 August. A new side project of Odesza and Golden Features, the cool smoothness of this record is perfect both for relaxation and for my writing sessions!

Glass Animals, Dreamland, released 7 August. They’re a quirky band with weird sounds and vocal deliveries, and yet they’re consistently catchy and fun.

Secret Machines, Awake in the Brain Chamber, released 21 August. I had no idea they’d been working on a new record, and it’s just as bold and soaring as their previous releases. And like them, it sounds great when it’s loud!

Cut Copy, Freeze, Melt, released 21 August. This record is a much more chill and laid back affair, but it’s got some of their most gorgeous melodies on it! Another great writing session album!

Bob Moses, Desire EP, released 28 August. This is one of my “I will buy anything they release” bands, and this continuous-mix collection is so worth it. They’ve become one of my go-to bands for many of my recent writing projects!

PVRIS, Use Me, releases 28 August. Another great moody semi-electronic alt-rock band (from Lowell MA!) with a lot of groovy and atmospheric tunes.

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I was going to add more here, but I realized that September is gonna need its own entry (or two) because there was just SO MUCH that came out that I fell in love with! More to come soon!

What I’ve been listening to, part one

Goodness, it’s been far too long since I last updated with a rundown of albums and songs that have been on my mp3 rotation. I should rectify that, shouldn’t I? Considering that my station of choice (KEXP, natch) hasn’t changed one bit, pretty much all of these albums and singles came from that one station. Big thanks to John Richards and Cheryl Waters for providing some damn fine music during this time!

The Weeknd, After Hours, released 20 March. “Blinding Lights” is such a wonderful earworm, and the rest of the album is an enjoyable pop gem.

Pearl Jam, Gigaton, released 27 March. Good to see this band is still going strong after all these years. The new record is full of fine and memorable singles.

Phish, Sigma Oasis, released 3 April. Sensing that the COVID pandemic was going to be a lot bigger than anyone expected, the band felt it necessary to drop their new album early in lieu of not being able to tour for the foreseeable future. It’s mellow and introspective as well, but the style suits them just fine.

EoB, Earth, released 17 April. Ed O’Brien, guitarist for Radiohead, drops an interesting record that sounds equally like his main band and…Zooropa-era U2? Sure, why not? It’s an unexpected style but it works fine, showcasing his flair for catchy riffs as well as meandering jams.

Hayley Williams, Petals for Armor, released 8 May. Her solo debut is just far enough away from her Paramore sound that it still rocks without having to lean on the epic hard rock trappings all the time.

Nation of Language, Introduction, Presence, released 22 May. An interesting band with one album to their name (so far) but with a big dreamy sound that pulls you right in.

Indigo Girls, Look Long, released 22 May. This is a fantastic record with a sound reminiscent of their first couple of albums. There’s a lot of introspection and remembrance here, but it’s just as strong and determined as the future-looking ‘Closer to Fine’.

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More to come on Thursday!

2020 New Releases So Far, Part 2

Oh hey! It’s time for another month’s worth of new releases! The first quarter’s music so far has been surprisingly fruitful with a lot of great albums, and I’m quite happy about that! Here are a few new records I’ve been playing on my mp3 player as of late…

Destroyer, Have We Met, released 31 January. This is a rather quirky band that’s been around for quite some time, but their music has always been consistently melodic and intriguing.

Joseph, Trio Sessions: Vol 1, released 31 January. This is a fine alt-folk trio that channels the sounds of 70s Laurel Canyon and their three-way harmony is just lovely. I highly suggest checking out the rest of their work as well.

Poliça, When We Stay Alive, released 31 January. This Minneapolis band has always been a bit on the strange side with their music, but this new one is far more soulful and moving than their previous work. It’s an unexpected but wholly welcome direction and I love it.

Revolution, I Love You, Black Feathers, released 7 February. I don’t even remember where I’d discovered this band (NoiseTrade, perhaps?) but I fell in love with their strange but amazing mix of shoegaze, goth, synthpop and maybe even a bit of punk. The new record goes in all sorts of unexpected and wonderful directions.

Green Day, Father of All…, released 7 February. The new album kind of reminds me of their late 90s/early 00s era records, especially Nimrod and Warning, as the songs slide between all-out punk assaults and radio-friendly groovy rock. Not that that’s a bad thing, because they still manage to pull it all off.

Stone Temple Pilots, Perdida, released 7 February. They’ve lost two singers and that’s enough to break any band, but the DeLeo brothers soldiered on to write and record a stunningly gorgeous and heartbreaking album.

Hayley Williams, Petals for Armor 1 EP, released 7 February. The Paramore lead singer finally releases her first solo outing and it’s well worth the wait. It’s darker and quieter than her band work, but it’s just as powerful.

Best Coast, Always Tomorrow, released 21 February. I’ve always liked this band, and I love how they’ve completely embraced their own brand of that California sound — sunny, punchy, and just that little bit off-kilter. This one’s a fun and infectious record and I really should be playing it a lot more!

Grimes, Miss Anthropocene, released 21 February. I did not expect to enjoy the new Grimes as much as I do! She’s quite firmly in the ‘off in their own universe’ column when it comes to musicians and personalities, but the new record is just brimming with really neat sounds and ideas that pulled me completely in from the beginning. One of my favorites so far!

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More to come soon!