We continue our series in records from 2020 that made an unbearable year slightly less so, featuring a group from North Carolina, a rising voice in pop music, and music that frames internet toxicity.
30. Wednesday - I Tried Describing You to Someone (Ordinal Records)
Like baggy jeans, bucket hats and the Macarena, some things were just better left in the 1990's. For the most part, the attempt at a shoegaze revival has placed the genre in the same category for me, but “I Tried to Describe You to Someone” by Wednesday changed my mind. The Asheville, North Carolina group inject their shoegaze with grunge, indie pop, and even hints of country, while simultaneously blowing you away with the strength and feedback of three guitarists (two electric and one lap steel). Past the power of the instrumentals, Karly Hartzman’s sweet vocals and intimate and thoughtful lyrics shine through. “Maura," a high point on the project, features everything that makes this album work, as well as a personal favorite line: “What’s normal for the spider is chaos for the fly." Although certainly well within the confines of the aforementioned genres, what comes across most thrillingly about this album is simply how well it is pulled off without slipping into common cliches. The exhilarating, soaring guitars and Hartzman’s personal words and unique delivery make this one of the most notable shoegaze releases of the year and a thoroughly enjoyable experience from start to finish. - Anthony Wells
29. Rina Sawayama - SAWAYAMA (Dirty Hit)
On her eponymous debut record, Rina Sawayama makes herself known as one of modern pop's defining voices. Sonically this record most consistently hits the listener with some early 2000’s throwback nostalgia. However, the tracks here are so much more than that perceived simplicity. This is immediately felt in lead singles XS and STFU, the latter of which is a scathing critique of capitalism under the guise of a saccharine consumerist pop tune and the former which mixes nu-metal verses and attitude with a bubblegum pop chorus (unrelated, but that track also incorporates this Disney villain style maniacal laugh that starts amelodic and quickly transforms into singing; it’s one of my favorite vocal moments in music this year). While this albums utter pop-bliss may be what first attracts people to it, Rina’s lyrical commentary on topics like cultural identity and the trappings of femininity throughout are crucial to its identity; said themes being so intertwined with the sound is what raises this album from good to great and makes Sawayama and artist worth looking out for. - Griffin McMorrow
28. Still House Plants - Fast Edit (Black Forms Editions)
All too often, the loose genre of “rock” seems to have stalled out in the near 70 years that it has existed. So, when a truly unique piece of “rock” is released, it usually causes me to sit up and take notice. Such is the case with Glasgow band Still House Plants’s second full length album, “Fast Edit." Despite using only guitar, drums, and vocals, the trio manages to disorient and enrapture through their fractured and sometimes pieced together songs. The band plays with the sense of time, both in rhythm and physical location. They break down the typical barriers between live performance, rehearsals, and studio recording, reminiscent of This Heat’s lack of recording hierarchy. However, despite this dissonance, “Fast Edit” is an intensely intimate project. The way that Jessica Hickie-Kallenbach’s vocals and lyrics pull you into the space while Finlay Clark and David Kennedy work to distort it is mesmerizing to say the least. The music is deeply fragile, nearly at the edge of falling apart at any given moment of time. This leads to an excitement that puts you on the edge of your seat for the entire album. A truly unique “rock” record is tough to come by, but on “Fast Edit,” Still House Plants undoubtedly deliver. - Anthony Wells
27. IDLES - Ultra Mono (Partisan Records)
Incredibly infectious and unstoppably energetic from start to finish, IDLES’ “Ultra Mono” provides a socio-politically charged outlet to the seemingly unexpected, tragic, and unorthodox year that was bestowed upon all of us. Each track is relentless in its bombastic orderliness that hits with such ferocity it effortlessly carries its momentum throughout its forty two minute duration. Frontman Joe Talbot’s vocal performances perfectly match the booming drums, abrasive guitars, and the subdued yet omnipresent bass. In trademark IDLES fashion, the socio-political commentary takes center stage and feels as blunt and personal as ever in their catalogue. Not much more can describe this raged-out rollercoaster of a record that deserves every ounce of praise it gets. - Tristen Rodriguez
26. Dorian Electra - My Agenda (Self-Released)
Following their breakthrough album “Flamboyant” released in 2019, Dorian Electra continues to deconstruct the absurdities of masculinity and performative gender expression in this anarchic yet candy-coated micro album. Still this record is, by way of aesthetic, a world away from that more single-minded debut, with Electra moving away from the bright and saccharine hyperpop of that record and instead opting for a more intentionally chaotic and unpolished sound. This is all underpinned by these extremely distorted and glitchy instrumentals, near constant genre flips and a focus on collaboration throughout the album's scant 25 minutes. The sound matches the extremely-online lyrics to a tee, as Electra narrows their focus toward satirizing the strange world of online masculinity, quoting incel lingo, 4chan memes, and Alex Jones on this send up of internet toxicity. While not nearly as sprawling thematically as their previous effort, Dorian’s theatricality, clever songwriting, and unique ear for pop music ought to ensure any skeptical listeners that they are far more than just a one-off. - Griffin McMorrow