DECEMBER 12 ― I think it’s safe to say that for quite a number of us, especially those involved in the music scene, 2020 will be remembered as the year most of us were forced to hit the pause button as we witnessed our plans go down the drain, courtesy of the Covid-19 pandemic.
Plans to release new albums and to tour were more or less destroyed by the fact that even holding a small gig with a paying audience is practically impossible, no matter where you are in the world right now.
Some of us have used this forced downtime to work on new material, while some used this as an opportunity to adapt their promotional and release strategies to take into account this “new normal” that’s been the buzzword for 2020.
Being cooped up at home a lot this year, naturally I’ve gone for the familiar comforts of old favourites to accompany my working days at home, so while there’s definitely no shortage of new albums being released this year, I probably haven’t checked out enough of them to make this list of my favourite albums of 2020 a more varied and interesting one.
Still, of the new stuff that I did manage to check out, here are the ones I’ve loved the most this year.
Dogleg ― Melee
Melee was released in March just as the pandemic was starting to seriously hit everyone worldwide.
In any other year, this debut album by Detroit band Dogleg would’ve made them a firm crowd favourite and touring juggernaut, with bigger and bigger shows falling into their laps the further into the year they went as they toured to support the album.
But this is 2020 and the year of Covid-19 so it’s such a shame that the opportunity to build that buzz didn’t materialise for them this year, so I can only hope that this great album ― a frantic, melodic and just plain beautiful example of 90s style emo ― will have captured enough hearts on streaming platforms to make their eventual return to “live” houses the kind of soaring triumph that this bunch of great tunes, especially Fox and Kawasaki Backflip, promises to be.
Origami Angel ― Somewhere City
Technically released last year as Somewhere City was released digitally to streaming platforms back then, I’d still call it a 2020 release because it only came out on CD around February this year.
Part of the new breed of emo/pop-punk/sparklepunk acts that are darlings of the underground like Prince Daddy & The Hyena, Mom Jeans, Remo Drive and Oso Oso, this two-piece band stands out from the pack courtesy of frontman Ryland Heagy’s incredible songwriting (which manages to be both really pretty and playfully technical, and somewhat reminiscent of the formerly much beloved but now very controversial Jank) and the irresistible energetic drumming of Pat Doherty.
Just have a listen to songs like The Title Track, Skeleton Key, Find Your Throne or Doctor Whomst and witness yourself helplessly falling in love with this brilliant, brilliant album.
Boy Pablo ― Wachito Rico
I arrived very late to the Boy Pablo party, only really falling in love with them when I watched their set at last year’s Urbanscapes Festival.
But the two EPs they released up to that point have more or less become staples in my car CD player since then, as their brand of joyous guitar pop (which will remind alert listeners of the superb melodies of 90s Swedish pop) was just too hard to resist.
Their debut full length album Wachito Rico was not as immediate as the two EPs, with only first single Hey Girl, Rest Up and the very city pop-ish title track Wachito Rico immediately catching my attention, but hey, it’s Boy Pablo so I wouldn’t mind spinning the album a few more times to absorb its potential wonders.
That turned out to be a great decision because it’s now another Boy Pablo CD that’s stuck in my car CD player for long, long periods!
Disheveled Cuss ― Disheveled Cuss
Who knew that a project band by math rock whiz Nick Reinhart (of Tera Melos fame) would turn out to be so 90s and so Weezer-esque?
Fully embracing the aesthetics of 90s alt-rock and 90s Weezer, albeit with cleverly slipped in math rock elements like odd time signatures, Disheveled Cuss is probably one of the freshest sounding releases you’ll hear in 2020.
Yes, it sounds familiar, courtesy of the 90s influence, but where Reinhart takes things with the various unexpected twists and turns is what makes this album so damn special.
Even the lead single She Don’t Want, one of the great joys of 2020 for me, is sprinkled with a few subtle odd-time moments, elevating it into more than just a pop song. Wow.
Drain ― California Cursed
I definitely did not listen to as many metal and hardcore albums as I used to in 2020, but accidentally coming across Drain and their supremely addictive debut album California Cursed is definitely one of the highlights of my 2020.
Playing a brand of metallic hardcore that veers dangerously close to new school thrash and crossover territory a la bands like Municipal Waste, Iron Reagan and Power Trip, even if some people will invoke comparisons to Turnstile, this album is quite simply 10 songs of pure headbanging joy.
How I wish this isn’t 2020 so these guys can come here to do a small gig, and just absolutely destroy everyone in the process. Awesome stuff.
The Lemon Twigs ― Songs For The General Public
Alongside White Reaper, The Lemon Twigs are probably the only relatively high-profile torch bearers for power pop in the last few years, in the mainstream at least.
Their latest album Songs For The General Public sees them embracing a more 70s power pop sound, reminiscent of legends like Todd Rundgren, The Raspberries, The Quick and The Scruffs, but blending those with sounds from the likes Elton John, Bruce Springsteen and even Meatloaf, resulting in an album that’s quite all over the place in terms of thematic and aural unity.
But when that reckless ambition can result in incredible songs like The One (hands down my pick for song of the year) and No One Holds You Closer (Than The One You Haven’t Met), who are we to question their methods?
The Strokes ― The New Abnormal
It’s been a long while since an album by The Strokes has been this gorgeous melodically, not only in terms of the vocal melodies but also the guitar lines.
With this sixth album, not only has The Strokes returned to their melodic best, but they’ve also managed to craft a superbly consistent album that you’ll be able to play from start to finish without feeling any urge to skip to the next track at all.
The last time I felt this way about them was way back in 2003 with their second album Room On Fire (which I still think is their best to date).
So it’s a really pleasant surprise to find myself thoroughly enjoying this new one, with me even unable to pick one favourite song, such are the melodic riches provided by songs like The Adults Are Talking, Ode To The Mets, Why Are Sundays So Depressing and Selfless.
* This is the personal opinion of the columnist.
