→ July 4, 2021
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Music update, June 2021.

Life is busy here, in good ways, and with the draft now just a week away I’ve been extremely preoccupied … but the good new music keeps coming, so here’s a new playlist for you.

CHVRCHES featuring Robert Smith – How Not to Drown. I did not see this collaboration coming. So many pairings of current artists with some of their heroes from prior generations only serve to highlight how the older artists have lost their fastballs – especially singers whose voices have started to go. Smith sounds the same as ever, and this is the second great CHVRCHES single ahead of their upcoming fourth album.

Gang of Youths – the angel of 8th ave.GOY are stars in their native Australia, but they might be a little too indie to see that kind of success here. There’s some Echo & the Bunnymen, The Church, and even early U2 in here.

Wolf Alice – How Can I Make It OK? Blue Weekend is one of the best-reviewed albums of the year … and I think it’s good, but it has some of the same issues I had with Visions of a Life. When Wolf Alice rocks, they rock. When they slow things down, the formula doesn’t work as well. That’s not a universal truth – “Safe from Heartbreak” is a 150-second acoustic track that has a strong hook in the chorus, and “How Can I Make It OK” has a slower tempo but is boosted by a big guitar riff. I just like their music best when they let it rip.

Little Simz – Rollin Stone. I’m all in. Little Simz’ new album, Sometimes I Might Be Introvert, comes out on September 3rd, and the songs she’s released so far make me think it’s going to be her best yet.

Tom Morello, The Bloody Beetroots, Pussy Riot – Radium Girls. Morello and the Italian electronic duo The Bloody Beetroots have an EP coming out in the fall called The Catastrophists, featuring this track co-written by Pussy Riot’s Nadya Tolokonnikova, Savages’ Jehnny Beth, and frequent Morello collaborator Carl Restivo.

YONAKA – Raise Your Glass. YONAKA’s new stuff is veering towards the anthemic, which is fine in and of itself as long as the hooks are good (this one is), although I hear this song and worry it’s going to show up in a Heineken commercial in two years.

James BKS – Kusema. James BKS’s debut album Wolves of Africa is due out in the fall, and the son of the late Cameroonian musician Manu Dibango (who died last year of COVID-19) has released at least three tracks from the album so far, including this one, with a Swahili title that means “to express” and that features BKS rapping for the first time.

Jungle – Talk About It. Jungle’s third album Loving in Stereo comes out on August 13th, and this second track from the record is among the most straight-up dance tracks they’ve done (lighter on the ’70s soul and funk elements) to date.

SAULT – London Gangs. SAULT just released Nine, their fifth album in the last 25 months, although this is the shortest one to date, clocking in at just over a half an hour. The band is also saying they’re removing the album from the internet after 99 days, which means it’ll vanish from streaming sites (and from my Spotify playlist) at some point in October, which strikes me as a stunt. You can (and should) grab the album for free from their official site, although I don’t think it’s as strong as either of their 2020 releases.

Inhaler – It Won’t Always Be Like This. Solid work from this Irish band, although they can’t really get away from the U2 comparisons when the lead singer sounds so much like his father, Bono.

Everything Everything – Natural’s Not In It. The Gang of Four tribute album The Problem of Leisure was delayed five months but came out on June 4th, featuring two covers of this track, which gives the album its title, two of “Damaged Goods,” and three of “Not Great Men,” but none of “At Home He’s a Tourist.” At least EE’s singer Jonathan Higgs pronounces “migraine” in the American style.

Wye Oak – Its Way With Me. That’s the second single from Wye Oak this year, along with “TNT,” to go with singer Jenn Wasner’s solo effort as Flock of Dimes.

Kiwi jr. – Cooler Returns. I wasn’t familiar with this Canadian indie band until my friend Paul Boyé named their new LP one of his favorites of 2021 so far. There’s something a little too hipstery in their lyrics and vocals for me, but this title track from the record is strong.

Floatie – Shiny. “Math rock” is kind of a meaningless term, no? This is experimental music, and I don’t mean that adjective in the way anti-vaxxers use it, although I doubt Floatie’s debut album Voyage Out is FDA approved.

The Lottery Winners – Favourite Flavour. I’m becoming a bigger fan of The Lottery Winners all the time, and I can’t get over how prolific they are, approaching King Gizzard level, but in this case churning out one catchy indie-pop single after another.

Descendents – Nightage. I mean, all good Descendents songs sound pretty much the same, but that’s what we pay for, right?

Quicksand – Missile Command. If bands still released singles with B-sides, Quicksand should have paired this with a cover of Killing Joke’s “Asteroid.”

Accept – Zombie Apocalypse. I had no idea Accept was still around and recording music, and while I suppose purists might object that it’s not Accept without Udo, but I don’t have that same history with the band that I might with other ’80s metal acts, so the new vocalist doesn’t faze me. Their newest album, Too Mean to Die, leads off with a pair of impressively heavy songs for a band that was often lumped in with hair-metal acts in their heyday, with thrash elements in both this song and the title track.

FALSET and James Labrie – Kickstart My Heart. “Kickstart My Heart” is actually my favorite Mötley Crüe song, and this track is quite faithful. FALSET’s drummer is the son of James Labrie, longtime lead singer of Dream Theater, who does a very reasonable imitation of Vince Neil here.

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→ June 4, 2021
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Music update, May 2021.

I’m not sure if this was a weak month for new tracks or if I just missed a lot as I spent more time seeing games and working on some stuff around the house. It ended strongly, however, with a slew of important album releases on the last Friday in May and the first one in June. As always, if you can’t see the widget below you can access the playlist here.

black midi – Chondromalacia Patella. black midi are back, with their second album, Cavalcade, dropping on the last Friday in May. It’s frenetic, cacophonic, and deeply unsettling music, similar in attitude to their debut record, Schlagenheim, but differing enough in tone and style to mark a real progression in their sound. This was one of the lead singles and remains one of the better tracks on the record, which in some ways is more accessible than the first LP but which, on first listen, doesn’t have enough great hooks in the longer tracks like “Ascending Forth” or “Diamond Stuff.”

Pond – America’s Cup. Pond have always been weird, sometimes to good effect but sometimes to the point where it was easy to dismiss some of their experiments. Whatever the hell this is, though, I want more of it. This is early ’80s funk, still bearing the influence of peak disco, around lyrics about the rapid gentrification of Fremantle in Western Australia after that country’s entry won the America’s Cup sailing race in 1983 and the city hosted the Cup in 1987. This is the good shit.

YONAKA – Call Me a Saint. That’s three new singles this year from this Brighton quartet, whose feminist alt-rock made Don’t Wait ‘Til Tomorrrow one of my favorite albums of 2019. Still no word on a release date for a second LP.

Little Simz feat. Cleo Sol – Woman. The second single ahead of Little Simz’s sophomore album, Sometimes I Might Be Introvert, due out in September, “Woman” is also her second collaboration with singer Cleo Sol. Little Simz is easily one of my favorite rappers working today, both for her own vocal style and her choices of backing music.

Bobby Gillespie & Jehnny Beth – Chase It Down. That’s the lead singer of Primal Scream and the lead singer of Savages, respectively, and their album, Utopian Ashes, will be out on July 2nd. There are hints of Primal Scream’s more psychedelic leanings in here – rather than the straight-up Rolling Stones homage they did on “Rocks” – along with a fantastic guitar solo at the end.

Emma-Jean Thackray – Say Something. I’ve seen Thackray called a jazz musician, but this isn’t jazz – this is smart, textured dance music, with elements of jazz, and R&B, and house, and more. She has her own record label, Movementt, and appears to be building up towards a debut album after releasing two singles in the last two months.

Jorja Smith feat. Shaybo – Bussdown. Smith’s EP Be Right Back feels like a tease, as the nine-song, 25-minute release just isn’t enough from the talented R&B singer/songwriter, whose debut album Lost & Found came out three years ago this week. I’ll take any Jorja Smith I can get, though.

Freddie Gibbs, Swizz Beats, and Shoota93 – We Want Justice Dammit! This track comes from season 2 of the series Godfather of Harlem, and both Gibbs and Swizz Beats deliver strong verses despite the near lack of a beat beneath them.

Atlas Genius – Elegant Strangers. I was seriously concerned these guys had hung it up for good, with only one new track in the last four years, but it appears we will get a third album from the guys behind “Trojans,” “If So,” and “Molecules.”

Renée Reed – Neboj. Reed is from Louisiana and sings in both English and French, but it’s the intricate finger-picked guitarwork that drew me to this song, from her self-titled debut album.

The Lottery Winners – Times Are Changing. I was very late to this parade, but damn can the Lottery Winners churn out pop bangers as fast as anyone. Their next album, which will be their second in 18 months (third if you count their lockdown covers record), is due out on September 24th.

The Wombats – Method to the Madness. There’s a distressingly slow start to this new track from Matthew Murphy and the lads, but it picks up in the second half and sounds far more like a Wombats song. They haven’t announced when their next album, which will be their fifth, will appear, but are planning their biggest concert ever at London’s O2 Arena next April.

Cœur de Pirate – Plan à Trois. Béatrice Martin released a surprise EP of instrumental piano tracks last month, and now she’s back with the kind of synth-heavy alternative pop for which she’s known. This isn’t quite up there with “Prémonition,” still my favorite song of hers, but it’s promising.

Greentea Peng – Dingaling. Peng’s debut album MAN MADE came out on Friday, June 4th, so it’s still in my queue, but her lead-up singles have all shown off her incredible ability to combine widely divergent genres. I feel like fans of the short-lived jazz-rap movement that started with Native Tongues and peaked briefly with Digable Planets will especially appreciate this track (and, I assume, the album).

Superbloom – Pollen. The title track from this group’s debut album couldn’t sound any more ’90s – I hear Hum more than anything else – if they tried, but as someone who wanted the music of that decade to last forever, I’m here for it.

Squid – Pamphlets. The British music press loves Squid’s debut album Bright Green Field, but it’s just too much of itself for me. I can do modern punk, I don’t mind music with a sneer, and I certainly like the art-rock stylings of Squid’s guitar work, but the lyrics combined with the deliberately obnoxious delivery just leave me feeling a bit too “oh shut up already” before the record is half done. I thought this was the best song on the record, but it’s nearly eight minutes long, and that is absolutely enough of Squid for me.

Mastodon – Forged by Neron. Mastodon has so many sides to its music that saying this is my favorite style of Mastodon track does something of a disservice to their ingenuity and breadth. But I do like when they pick up the pace a little and ensure their tracks have stronger melodies.

Sabaton – Defence of Moscow. These guys are ridiculous but I love it – it’s right out of a 1989 episode of Headbanger’s Ball. Savatage would be proud.

Gojira – Into the Storm. The French avant-garde metallists returned with the long-awaited follow-up to 2016’s Magma, which Decibel named the best metal album of the decade and which earned the band a Grammy nomination for Best Rock Album, a rarity for any extreme metal band. Highlights from the new record, called Fortitude, include this track, “Sphinx,” “Amazonia,” “Born for One Thing,” and “Another World.”

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→ May 3, 2021
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Music update, April 2021.

April didn’t bring quite as much new music as March did, or as May will with its five Fridays, but the first three songs on this list are among my favorites of the year, and I’m guessing they’ll all still be very high when my annual top 100 rolls around. As always, you can access the playlist here if you can’t see the widget below.

Wolf Alice – Smile. I loved Wolf Alice’s first album, My Love is Cool, but was more lukewarm on their sophomore LP, Visions of a Life, which won the 2018 Mercury Prize. This song, though … this is the good stuff. Wolf Alice is at their best when they churn out huge, often heavy guitar riffs, and contrast them with quieter moments that make use of singer/guitarist Ellie Roswell’s impressive range of vocal styles. Now I can’t wait for their third album, Blue Weekend, due out June 11th.

AJ Tracey – Little More Love. The British rapper/singer’s new album Flu Game didn’t live up to this single, but this is a banger.

Manchester Orchestra – Telepath. ManOrch’s latest album, The Million Masks of God, just came out on Friday, and it’s both excellent and a real surprise, showing entirely sides of lead singer/guitarist Andy Hull as a lyricist and a songwriter. This song could have easily come from Lord Huron or Josh Ritter, except for how distinctive Hull’s voice is.

CHVRCHES – He Said She Said. Speaking of lyrics, this feels like a possible return to form for Lauren Mayberry after the disappointing, mailed-in feel of the trio’s last album Love is Dead.

Freddie Gibbs – Big Boss Rabbit. Gibbs is the best male rapper working right now, bar none, and he’s absurdly prolific.

Moses Boyd and SW2 – Bridge the Gap b/w Dirty South. I couldn’t decide which of these two tracks to include – they’re both superb, and yet very different from each other – so I put them both on the list, because I’m the boss here. Boyd’s drum work is revelatory, and he might be even more prolific than Gibbs. I doubt I’ll ever fully grasp jazz the way an aficionado would, but Boyd has made me a bigger fan of the genre than I ever was. (Also, no one seems to know who SW2 are. I wonder if they’re connected to SAULT at all.)

HAERTS – Why Only You. This track comes from the duo’s third album, Dream Nation, which was due out March 12th but doesn’t seem to have actually come out on that date, or any date since. We have four singles so far, and they’re all good, so I’m still eager to hear the full LP.

Paul McCartney feat. Khruangbin – Pretty Boys. I think this the third most-talented Beatle’s first appearance on my playlists, but that’s due to the tremendous work here by Khruangbin.

Royal Blood – Boilermaker. The singles I’ve heard so far from Typhoons, which just came out on Friday, made me think of Queens of the Stone Age’s sonic shift on their last record, Villains, thanks for the production work of Mark Ronson. Turns out that QotSA’s Josh Homme helped produce Typhoons, so I’m not crazy – and just like with Villains, the addition of dance elements and more funk influence in the rhythms really works.

Jorja Smith – Gone. Smith has been all over the place since her Mercury Prize-nominated debut album Lost & Found back in 2018, but she’s finally releasing another EP, Be Right Back, on May 14th, featuring this song and “Addicted,” but neither of the two songs she released in 2020 (“Come Over” and “By Any Means”).

Sarah Chernoff – Remains of the Way. Chernoff just released Transitions, a five-song EP, last April, highlighted by this song, which makes the best use of her voice while bringing a little more uptempo vibe to the backing music.

Jade Bird – Black Star. This lovely acoustic cover of the Radiohead track, from her RCA Studio A Session, remagines the song as a bittersweet ballad.

Little Simz – Introvert. This track starts out almost like a sketch you’d find on old-school hip-hop records, but then transitions into a typically great Little Simz joint, the lead single from the London rapper/actress’ fourth album, Sometimes I Might Be Introvert, due out September 3rd.

Teenage Fanclub – In Our Dreams. If you’d played this song for me and told me it was by Teenage Fanclub, I would have assumed it was from somewhere in the mid-1990s – it’s that sort of slightly muted power-pop, and while one of the group’s vocalists, Gerard Love, departed the band in 2018, this still pretty much sounds like Teenage Fanclub to me.

Sports Team – Happy (God’s Own Country). This is Sports Team’s first new track since their Mercury Prize-nominated album Deep Down Happy, and the likely lads, several of whom went to the University of Cambridge, manage to sound reminiscent of Gang of Four, the Libertines, and Art Brut all at once.

Elvenking – The Moon and Magic. An Italian power/folk-metal band, or so Wikipedia tells me, although I would have guessed Elvenking were Norse in origin given their sound and subject matter. I think a lot of bands in this weird niche appeal to me because the guitar work often sounds a lot like the bands I enjoyed while first learning guitar in the late ’80s, before groove & death metal competed with grunge and pulled this sort of music apart at the seams.

Bala – X. I wasn’t familiar with this Galician duo, both women, but I’m into the guitar work here, as well as the rapid tempo shifts, drawing from thrash and punk while incorporating the kind of guitar/drum sound popularized by Royal Blood, the White Stripes, and Drenge.

At the Gates – Spectre of Extinction. These melodic death metal legends have been as good or better in their return (2014 to now) as they were in their heyday (through 1995’s Slaughter of the Soul). It’s not for everyone, not with those throat-shredding vocals, but the guitar work is fantastic.

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→ March 3, 2021
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Music update, February 2021.

My first draft prospect ranking for 2021 is now up for The Athletic subscribers.

I didn’t post a playlist for January, as that month didn’t give me anywhere near enough new tracks even if I’d accepted that I’d have to make the playlist shorter than usual, but now, with two-plus months since my last music post, we’re back to normal again. Three great albums have helped kick off 2021, with a few stragglers from 2020, and a slew of singles heralding upcoming LPs from artists new and old. As usual, I’ve pushed the heavier material to the back of the list. You can access the playlist here if you can’t see the widget below.

Kid Kapichi – Working Man’s Town. This Time Next Year, the debut record from this Hastings quartet, sounds like something Alex Turner might have cooked up if he wanted to do something grittier and more abrasive. The record is brilliant, witty, and surprisingly full of hooks, featuring this track, “Sardines,” and “Don’t Kiss Me (I’m Infected).”

Arlo Parks – Hope. Parks’ debut album Collapsed in Sunbeams dropped in January, featuring all of the great singles she’d released in the preceding eighteen months, including “Hurt,” “Green Eyes,” “Black Dog,” and “Caroline.” This track has more of her gorgeous vocals, sharp lyrics, and soulful, jazzy (but not jazz) backing music, making it the best of the new songs on the record.

Gum Country – Somewhere. As the year came to a merciful close, I found more and more best-of lists to peruse, including some great genre-specific ones over at Paste. Gum Country’s debut album Somewhere took the last spot (that is, #50) on Paste‘s top 50 albums of 2020 list, and it’s worthy of the praise, combining elements of power pop, indie rock, and psychedelia, like Velocity Girl met My Bloody Valentine by way of early Mercury Rev.

Black Honey – Believer. Black Honey have been among my favorite indie pop/rock bands for at least three years now, and they put out two songs since my last playlists went up, this straight-up pop track and the much harsher “Disinfect,” although even that song has an undeniable hook.

HAERTS – Shivering. HAERTS’ third album Dream Nation will be out on March 12th, and I can’t wait, even though I think you could argue their sound hasn’t really changed in the nine years since they first appeared.

The Lottery Winners feat. Frank Turner – Start Again. I missed the Lottery Winners’ self-titled debut album last March, but it’s fun, hooky indie-pop, and their sound works really well with Turner’s vocals here.

Royal Blood – Typhoons. I’m cautiously optimistic that Royal Blood are going to correct course a little bit and get closer to the heavy hooks of their debut album, although nothing will ever touch “Out of the Black.” This song really grooves with more bottom than a good splitter.

FRITZ – Jan 1. FRITZ’s sophomore album Pastel feels like something out of the mid-90s, kind of Lotion meets early Lush, fuzzy, reverbed-out, guitar-driven indie-pop with a coming-of-age theme to it.

Griff – Black Hole. This is Griff’s eleventh single, according to Wikipedia, although she has yet to release a full album, although I suppose we can forgive her since she just turned 20 in January. This was the first track of the pop singer/songwriter’s to cross my radar, but the hook in this chorus – “there’s a big black hole where my heart used to be” – is a hell of an earworm.

Allie X – GLAM! That intro sounds like I’m about to play a video game … 15-20 years ago, maybe? But then the singer/model Allie X starts with a whoa-oh-oh-oh that would have fit in on pop radio in 1985. I mean, listen to this chorus. How is this song not already an enormous hit?

Noname – Rainforest. I confess Noname’s laconic delivery has never done much for me, but the syncopated beat and her somewhat faster tempo here caught my ear in a way none of her previous tracks had.

Potty Mouth – Let Go. Speaking of Velocity Girl, I feel like this Massachusetts all-girl trio is sort of VG’s spiritual heirs with their sunny power-pop tracks, although I think their lyrics slipped a grade here.

Django Django feat. Charlotte Gainsbourg – Waking Up. The third new album of 2021 that’s likely to show up on my year-end list – although I’d rank it third of those three – is the Djangos’ fourth album Glowing in the Dark, which has this surprising collaboration with erstwhile Lars von Trier muse Gainsbourg.

YONAKA – Seize the Power. This Brighton quartet, led by the charismatic singer Theresa Jarvis, plan to release their sophomore album this year, with this first single a slight departure from the style of Don’t Wait Til Tomorrow.

King Gizzard and the Lizard Wizard – East West Link. This prolific Australian prog/psych rock band just released L.W., their 17th album in just eight and a half years. I assume the title refers to the vaguely “eastern” sounds – I’d say more south Asian, or even the southwestern part of Asia, but I’m no expert in music from either region – which sort of give this whole thing a Physical Graffiti vibe.

Greentea Peng – Nah It Ain’t the Same. Peng’s debut album MAN MADE is due out this summer, and I’m at least curious after this lead single, which has elements of hip-hop, soul, funk, andthe sort of Thai jazz brought to the mainstream by Khruangbin.

Freddie Gibbs – Winter in America. Gibbs is an unusual but inspired choice to cover Gil-Scott Heron and Brian Jackson’s 1975 track, which originally appeared on The First Minute of a New Day. This cover is part of a partnership between ESPN’s The Undefeated and Hollywood Records and appeared on an EP called Black History Always – Music For The Movement Vol. 2.

Iceage – Vendetta. This Danish post-post-punk band’s fifth album Seek Shelter is due out May 7th, with this tense, sludgy track the lead single.

Death from Above 1979 – One + One. Driven by a guitar riff to make Josh Homme blush, this song also has a real groove to it, like a lost track from the Mark Ronson-produced QotSA album.

Gojira – Born for One Thing. I think Gojira is the most interesting metal band going right now, as they’ve gotten more progressive and creative with each album, moving from straight death metal to more technical material to their current hybrid of thrash, prog, and even “groove” metal sounds. I never got into Pantera, but I can hear the influence of Diamond Darrell on the guitarwork here as I did on Magma.

Angelus Apatrida – Bleed the Crown. These Spanish thrash stalwarts released their self-titled seventh album late last year, showing a strong influence from both Bay Area thrash and the giants of Teutonic metal like Kreator and Destruction, although the vocals are mostly death growls and in many cases overtook the pleasure of the guitar riffs.

Memoriam – Failure to Comply. Memoriam are often tagged as straight death metal because of Karl Willetts’ (ex-Bolt Thrower) guttural vocals, but they have more in common with traditional thrash than current extreme metal. This track is directly inspired by the BLM protests that took place across most of last summer in the US, as Willetts has a friend who participated in and recorded one event, ending up in jail and receiving community service (in his telling) for protesting.

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→ December 24, 2020
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Top 100 songs of 2020.

It turned out to be a good year for music despite the pandemic and various responses by incompetent governments; perhaps there was a lot of good music already recorded and ready, but at least some of the songs on this ranking were recorded during lockdowns. I had more songs on my first cut at the top 100 than I have in years, and I’m sure I omitted something I liked, although I have proofed this list a few times now. You can also check out this year’s top albums ranking, and previous years’ top 100 lists are all here: 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012.

If you can’t see the Spotify widget below, you can listen to the playlist here.

100. Creeper – Cyanide. Creeper’s sophomore album, Sex, Death, and the Infinite Void, was my #2 LP of 2019, with multiple, hook-filled tracks that draw on multiple genres. The best tracks recalled early Suede and other glammy Britpop darlings, including this one, the first of two on my top 100.

99. The Weather Station – Robber. I didn’t care for this folk-jazz-rock hybrid track when I first heard it in the spring, probably because it’s so subtle and has a slow build, but it has grown on me, especially in the last few weeks as I was reviewing songs for this ranking.

98. Disclosure ft. Eko Roosevelt – Tondo. Disclosure’s ENERGY was an honorable mention for my best albums list, but “Tondo,” which features the prominent Cameroonian musician Eko Roosevelt, is only on the deluxe edition. The most interesting tracks on the album are those with African musicians contributing, like “Douha (Mali Mali),” with Malian singer/actress Fatoumata Diawara; and “Ce n’est pas,” with Cameroonian singer Blick Bassy. If they’d made the whole record out of this, it would have been in my top 5.

97. Purity Ring – Stardew. I finda little of Megan James’ vocals goes a long way for me, but it only works in certain musical contexts, rather than across an entire album or body of work.

96. Christine and the Queens – People, I’ve been sad. This tenebrous, soulful track made numerous top ten lists for 2020, including Pitchfork (#2), NPR (#2), Paste (#1), and the Guardian (#3), and I agree it’s a great song … but it wasn’t my favorite song from Héloïse Letissier this year.

95. Fontaines D.C. – A Hero’s Death. For some reason, repeating the line”Life ain’t always empty” makes it seem far more convincing that life is, in fact, quite often empty. This Dublin group might be the most authentic punk band in the world right now, and while they don’t always hit with their formula, when they do it’s up there with classics of the genre.

94. Dirty Streets – Can’t Go Back. Unapologetic blues-rock throwback songs will always go over well with me. If you think there’s something clever or interesting about Greta Van Fleet, go listen to Dirty Streets instead.

93. Moon Destroys, Paul Masvidal – Stormbringer. This might have been the heaviest song I’ve ever included on a top 100 – I’ve had an Opeth track, but modern Opeth is more prog-rock than metal anyway – except for an even heavier track in my top 25 this year. Masvidal, who adds vocals on this song, is the only remaining original member of technical heavy metal icons Cynic, two members of which died this year (Sean Reinert at age 48 in January, Sean Malone at age 50 just two weeks ago).

92. MID CITY – Forget It. Australian indie rock that reminds me a bit of the Killers’ first album. MID CITY just released their first EP, Wishing for the Best, three weeks ago, including this banger.

91. LA Priest – Beginning. When I first heard this song, I thought it was Hayden Thorpe, former lead singer and guitarist/keyboard player of Wild Beasts, but Thorpe’s solo stuff since Wild Beasts broke up isn’t actually this upbeat or interesting. My second guess was Neon Indian, but the voice wasn’t right. LA Priest is neither of those artists, but a singer and electronica musician (formerly of a band called Late of the Pier) who released his second LP, Gene, this June, five years after his solo debut.

90. The Go-Go’s – Club Zero. I don’t quite know how this song fell so far under the radar; maybe because the documentary with which it was released was only on Showtime. It’s vintage Go-Go’s, which is amazing since we’re 39 years past Beauty and the Beat.

89. Zeal & Ardor – Vigil. Zeal & Ardor dialed down the death-metal aspects of their gospel/metal blend, and it’s for the better, especially on this track, where the lyrics are quotes uttered by black people murdered by the police (“I can’t breathe/It’s a cellphone, please/don’t shoot”).

88. Sunflower Bean – Moment In The Sun. I know Sunflower Bean haven’t remained critical darlings since their debut, but their sunny indie-pop sound is just right for me even if they never evolve away from it.

87. Texas & the Wu-Tang Clan – Hi. This improbable pairing has a long history, as they collaborated on a live rendition of Texas’s best song, “Say What You Want,” with new vocals from Method Man and RZA, after they were both playing the same event in 1998 and Texas singer Sharleen Spiteri heard that the promoters had segregated the rappers to keep them away from other (white) artists. The groups have stayed in touch over the ensuing two decades, and collaborated again on this brand-new track, which works better this time because the song is specifically built around the rappers’ contributions.

86. The Amazons – Howlin. A compilation album called Introducing … The Amazons appeared in the U.S. this past January, featuring tracks from their first two proper LPs as well as several bonus tracks, including this one, which has the kind of big, muscular guitar riff that has made me a fan since their debut.

85. Public Enemy featuring Nas, Rapsody, Black Thought, Jahi, YG, and ?uestlove – Fight The Power: Remix 2020. This song was the opener on the 2020 BET Awards and later appeared on PE’s comeback album What You Gonna Do When the Grid Goes Down? Artists revisiting and re-recording their classics nearly always goes wrong, sometimes to cringey effect, but this song, with these new lyrics, appearing this summer was spot-on. The video, built around images from this past summer’s Black Lives Matter protests, is also worth watching.

84. HAERTS – It’s Too Late. Here’s hoping 2021 brings us a new album from this indie/soft-pop duo, whose sound also hasn’t changed much since their Hemiplegia EP appeared seven years ago.

83. Working Men’s Club – White Rooms and People. If you just heard this without any context, assuming you’re old enough to make this connection, wouldn’t you think this was some English post-punk track from 1981? The guitar and synth lines could have appeared on any number of albums back then, and the off-kilter vocals will always evoke that particular time in music, even though it’s become more common (at least in European pop/rock) in the interim.

82. Pale Waves – Change. This Mancunian band got quite a bit of airplay back in 2017 for “There’s a Honey” and “Television Romance,” but I’d rate this as their best single to date, a timeless pop track with a clear nod to the heyday of late 1990s alternative music.

81. Radkey – Seize. Why haven’t Radkey broken through yet?They write hooky songs that blend punk and power-pop, they’re a good story, and as an all-Black rock band, they’re still a bit of a rarity in the music world (although I hope that’s becoming less notable over time). Their fourth album, Green Room, just dropped a month ago and I still need to dive into it, but this lead single rocks.

80. Tame Impala – Lost In Yesterday. Tame Impala’s The Slow Rush was one of my favorite albums of the year, taking Kevin Parker’s project from psychedelic rock into everything from acid house to ’70s soft rock, with at least four songs I considered for the top 100.

79. SAULT ft. Michael Kiwanuka – Bow. Get usedto seeing SAULT on this list, since they released two full-length albums in 2020, one of which, Untitled (Rise), was my #1 LP of 2020. This sparsely arranged track, driven by a potent bass line and wah-wah guitar riff, features the artist who scored my #1 LP of 2019, the amazing, Mercury Prize-winning singer/guitarist Michael Kiwanuka.

78. Yard Act – Fixer Upper. The most British song on this list, bar none, with spoken-word lyrics like a short story where the presence of music is almost a happy coincidence.

77. The Mysterines – Love’s Not Enough. Add The Mysterines to the list of bands I think should be a lot bigger than they are, although the fact that they haven’t released a proper LP yet might be holding them back. Singer/guitarist Lia Metcalfe is a force on vocals and with the axe, and the group just keeps churning out songs with powerful riffs and incisive lyrics.

76. Ten Fé – Nothing Breaks Like A Heart. This track was the only release this year from the soft-rock quintet Ten Fé, and it’s a cover of the Mark Ronson/Miley Cyrus song, performed in a bare-bones vocals/acoustic guitar rendition by bandmember Leo Duncan.

75. Space Above, So Below – Golden. Space Above is the new project from former Naked & Famous keyboardist and producer Aaron Short, releasing their second album this August at the same time that TNAF’s Recover dropped. It’s more atmospheric and slightly more experimental, but on this, the album’s best track, you can hear the same pop influences you do in his former band.

74. Arlo Parks – Black Dog. I root for the success of many artists, and sometimes express surprise when certain artists aren’t more successful, but I am cautious not to predict success very often because so many variables go into it beyond just talent or musical quality. But my God, if Arlo Parks isn’t the next big thing in 2021, there’s no justice whatsoever in the world of music.

73. Black Honey – Run For Cover. One of twonew singles from this Brighton indie-rock group who have a real knack for great pop hooks.

72. Middle Kids – R U 4 Me? An exuberant pop/rock track from the band behind 2016’s alternative radio hit “Edge of Town.”

71. Wild Nothing – The World is a Hungry Place. I go back and forth on Wild Nothing; I prefer him to be a little less experimental, generally like his sense of melody, but have also found him being extremely derivative (never more so than on “To Know You,” which borrows very liberally from Talk Talk’s “It’s My Life”). There is something about his sound that keeps bringing me back, and it’s here on the one standout from his EP of songs cut from his previous record, Indigo.

70. Pure Reason Revolution – Silent Genesis (Edit). Go with the six-minute edit, not the 10:20 version on their album Eupnea. PRR’s music is a peculiar mix of electronic music and ambient metal, and while it doesn’t always work, the ceiling, which they approach here, is pretty high.

69. Jake Bugg – Saviours of the City. Bugg hasn’t built on his first two albums, released in 2012 and 2013, after turning in a slower, more folk/country direction, which led to his original label dropping him after his deal expired. He released three singles in 2020, with this folk-tune more in line with his first album, the more rock-oriented “Rabbit Hole,” and the overly poppy “All I Need.”

68. Ministry – Alert Level (Quarantined Mix). A bunch of 1990s artists had bigand unexpected comebacks this year, including Hum (whose Inlet was their first album in 22 years), the GoGo’s, Rob Zombie (further up the list), Arab Strap (ditto), and industrial metal pioneers Ministry, whose grim outlook on modern, post-capitalist life could not feel more apposite to 2020.

67. Talk Show – Stress. British press call them a punk band, but they’re definitely more post-punk, less abrasive than straight punk and more melodic, although the same indignant attitude is present here on the lead track from their four-song EP These People.

66. Waxahatchee – Can’t Do Much. If this was Katie Crutchfield’s best song of 2020, that would be a strong cap to a year that saw her produce one of its best albums in Saint Cloud. It’s the second-best song on the record, though, which is more evidence of why she’s so great.

65. SAULT – I Just Want to Dance. How can you resist a title and line like that? SAULT sucks you in with the groove, and then the anonymous singer explains that she can’t just dance because Black people are being murdered by cops and nobody cares.

64. Artificial Pleasure – The Movement of Sound. Artificial Pleasure might be the direct descendants of Heaven 17 and the Human League, with just a brief nod to modernity in some of the drum and bass elements, like the pounding backdrop to this very danceable track.

63. Hot Chip, Jarvis Cocker – Straight To The Morning. Hot Chip are good for one banger an album, and this is at least the equal of “Huarache Lights,” but I couldn’t even tell Cocker was on this track.

62. L.A. WITCH – True Believers. The best track on this all-female hard-rock trio’s new album Play with Fire.

61. PAINT – Strange World. This is the best Badly Drawn Boy track in 20 years (that is not actually by BDB).

60. Sprints – The Cheek. The first single from this new Irish band, whose music is a half-step less outraged than Fontaines D.C.’s but still shows a close kinship with vintage pink.

59. Ghost of Vroom – Rona Pollona. The new project from former Soul Coughing lead singer Mike Doughty and bassist Andrew Livingston is more like Soul Coughing than any of Doughty’s solo work, between his free-flowing, half-spoken lyrics and emphasis on the drum-and-bass elements over other instruments.

58. Lauren Ruth Ward – Water Sign. The best track of Ward’s album Volume II pairs her evocative, smoky voice with a heavy bottom of bass and pounding drums.

57. Deep Sea Diver – Hurricane. The intro to this song might mislead you into expecting some sort of big, over-the-top horn section, but it’s subtler and more folk-tinged than that, with a strong hook to support it.

56. Jade Bird – Headstart. The 23-year-old Bird is about to release her second album, led off by this bouncy single that still lets her release her inner Janis Joplin on the chorus.

55. Jackie Venson – Make Me Feel. I missed Venson’s album release in late October, but loved this lead single from the spring, which showcases her guitarwork – even though she’s only played since 2011, according to Wikipedia – and distinctive vocal style.

54. Black Orchid Empire – Natural Selection. If I hadn’t included “Stormbringer,” this would be the heaviest track on the top 100, although I think BOE’s music is a lot more accessible, just produced in a way that emphasizes the heavy drum work in the chorus – which is the best part of the song.

53. James BKS feat. The New Breed Gang – No Unga Bunga. I didn’t know James BKS was the son of Manu Dibango, a famous and popular Cameroonian musician, until the latter’s death this spring from COVID-19. This song, released just last month, is meant as a tribute to Dibango, and brings in more of the Afropop elements that BKS showed on his debut track “Kwele.”

52. Tori Handsley, Ruth Goller, Moses Boyd – What’s in a Tune. The only instrumental track on this ranking probably would never have crossed my radar if it weren’t for the presence of jazz drummer Moses Boyd, whose name you’ll see again on this list. Handsley is a jazz/rock harpist who gets sounds from the instrument like I’ve never heard before. The riff here – and, guitar or no, that’s a damn riff – is good enough to support the whole track without vocals.

51. Django Django – Spirals. As lead singles go, this is promising – better than anything off their last album, I think, and on par with “Shake and Tremble” from the previous LP. They still haven’t matched “Default” or “Hail Bop,” but I suppose that’s a lot to ask of any group.

50. BLOXX – Coming Up Short. This West London quartet’s sound reminds me more of California indie pop/rock, for reasons I can’t quite pin down, but their debut album Lie Out Loud was solid, highlighted by this song and the title track.

49. Are We Static – Wildfire. This is how you build a crescendo in a rock song – the song sets your mind running and pays it off with a hook in the chorus that brings the vocals and the lead guitar together.

48. TRAAMS – Intercontinental Radio Waves. It’sarather lo-fi affair – is that guy playing drums, or just some overturned buckets? – and the vocals sound just as unpolished, but the layering that takes us into the chorus of this alt-rock track is brilliant.

47. The Wants – The Motor. I talk a lot about punk, post-punk, and new wave, since my formative years as a music fan came during the heyday of the latter two and were influenced heavily by the main bands of the first one, so artists that remind me of those periods score well with me. I’m not sure I’ve heard anything as reminiscent of the first generation of post-punk bands, like Gang of Four or Magazine, as this song, from the Brooklyn trio’s debut album Container.

46. Glass Animals – Your Love (Déjà Vu). If it’s not quite up to their peak of “Life Itself,” “Your Love” is still a great Glass Animals track – memorable, danceable, driven by unusual percussion sounds, without too much tweeness in the vocals.

45. Grimes – 4ÆM. Grimes’ album Miss Anthropocene was my #5 LP of the year, placing two songs on this year’s list and one on last year’s (“Violence,” #53). “4ÆM” shows Grimes’ strength on the electronic side, while the track I ranked even higher shows off her straight musicianship.

44. Khruangbin – Pelota. Khruangbin added vocals for their third album, Mordechai, and got worse reviews for it – but for my money, it’s their best album to date, as the added vocal melodies make their incredible technical skills far more accessible.

43. Disclosure – ENERGY. Disclosurewent back to the well that produced their first big hit, “When a Fire Starts to Burn,” once again sampling minister and motivational speaker Eric Thomas over a strong beat for one of their best tracks to date.

42. Fake Names – Brick. If you like the Descendents’ style of tight punk with just a slight nod to the demands of melody, you’ll probably enjoy this new punk supergroup, with former members of Minor Threat, the Refused, and Girls Against Boys.

41. Sad13 – Sooo Bad. The reviews for the second solo album from Sadie Dupuis (Speedy Ortiz), Haunted Painting, were stronger than I expected; I think I come down more on the side of her noise-pop sounds with Speedy Ortiz, but this was my top song off the solo album.

40. Mourn – Stay There. The bestsongoff my #15 album of the year is one of the more interesting tracks musically thanks to an off-beat drum line that gives the whole song a sense that it’s about to fall apart.

39. Goodie Mob, Organized Noize – Frontline. This is just right in my wheelhouse, at least in terms of the style of rap, but that’s probably because these guys are all right about my age.

38. Everything Everything – Arch Enemy. I give E2 a lot of rope when it comes to experimentation, but I definitely favor their songs with a strong beat, even if you wouldn’t call them dance songs. This one, my favorite track off RE-ANIMATOR, is definitely good for hitting the floor.

37. Allie X – Sarah Come Home. I wasn’t wild about Cape God, which was as inconsistent with hooks and melodies as her previous releases, but this song is a real standout and deserved a lot more airplay than it got.

36. Cut Copy – Like Breaking Glass. Cut Copy might not reach the heights of their 2011 album Zonoscope again, but with “Black Rainbows” off their last album and this track off Freeze, Melt, they’re at least good for one great pop single per LP.

35. The Beths – Dying to Believe. I liked Jump Rope Gazers, but I had kind of expected to love it; this New Zealand quartet have a great knack for pairing sweet vocal harmonies with crunchy guitar riffs, best showcased here in the bridge and chorus.

34. Lupin – May. Lupinis Jake Luppen, lead singer of Hippo Campus, who released his first solo material this year, including this surprisingly funky synth-heavy track.

33. Arab Strap – The Turning of Our Bones. Arab Strap’s first new music in 14 years also gave us a new sound, gothic, haunting, with unabashedly erotic lyrics.

32. San Cisco – Reasons. This Australian pop trio leaned hard into the vocal and visual presence of drummer Scarlett Stevens, although the music suffers when she takes the lead at the mic, as she doesn’t have the vocal range of singer Jordi Davieson. They’re at their best on tracks like this one, where there’s some back-and-forth between the two, not to mention another great hook. Some other highlights from their newest album Between You and Me: “On the Line,” “When I Dream,” and “Flaws.”

31. The Districts – Cheap Regrets. Definitely the best thing I’ve heard from the Districts. The opening builds so much drama, and it pays off as soon as the vocals and drums enter around the one-minute mark.

30. Little Simz – might bang, might not. The only flaw in this furious burst of hip-hop energy is that it’s barely two minutes long.

29. Jason Isbell and the 400 Unit – Be Afraid. Peak Isbell for me. Or, the peak of a certain type of rock/country hybrid that has to be near its ceiling to get my attention.

28. Lucius – Man in My Radio. Thistrack actually dates back to 2013, from the sessions for their debut album Wildewoman, which makes no sense because it’s better than anything on that album.

27. clipping. – Say the Name. Daveed Diggs as MC with a pair of his friends as producers. The album Visions of Bodies Being Burned had a lot of experimental noise that made it a tougher listen than it should have been given Diggs’ technical skill as a rapper and facility with wordplay.

26. Jorja Smith, Popcaan – Come Over (feat. Popcaan). Still waiting on Smith’s sophomore album, although she keeps teasing listeners with one-off singles like this one and her appearance on a song from the Eddy, “Kiss Me in the Morning.”

25. The Killers – Dying Breed. My favorite track from my #9 album of the year, although I also really liked “Caution.”

24. Pallbearer – The Quicksand of Existing. The title track from the doom-metal stalwarts’ fourth album is almost certainly the heaviest song I’ve ever included on a top 100, but the way the band managed to increase the tempo and reincorporate the feel of rock into a subgenre that is often so distant from it made it the best track they’ve ever recorded.

23. SAULT – Wildfires. The best track off Untitled (Black Is) follows the same template as most of that album, marrying lyrics of stark protest against police violence against Black Americans with a sparse but uptempo funk backdrop. The vocals here, possibly by American rapper/singer Kid Sister, are just gorgeous.

22. Fontaines D.C. – I Was Not Born. “I was not born/into this world/to do another man’s bidding” puts the band’s ethos front and center, and it sits atop a driving guitar and drum pattern that refuses to give you a chance to catch your breath.

21. Catholic Action – Another Name for Loneliness. The intro to this track will never not remind me of New Order’s “Love Vigilantes,” but in the right way, and the hook in the chorus is perfectly melancholy. This album appeared on a number of best-of-2020 lists too.

20. Rob Zombie – The Triumph of King Freak (A Crypt of Preservation and Superstition). This track was Zombie’s first new music in over four years, and it’s a glorious throwback to his halcyon days with White Zombie and his earliest solo work, if maybe a half-step heavier and more abrasive than “Dragula” or “More Human than Human.”

19. Anderson .Paak – Lockdown. The best song written about the lockdowns of 2020 wasn’t actually about lockdowns, but about the Black Lives Matter protest movement that swept the country in the wake of the murders of George Floyd and Breonna Taylor.

18. Doves – Carousels. Doves’ first new music since 2009 was extremely promising, something that sounded right out of the sessions for The Last Broadcast, but the album failed to live up to this lead single’s potential.

17. All Them Witches – Lights Out. A number of critics loved this album, but some of it is just too noodly and navel-gazing for me; three minutes of ATW’s dark, gothic-blues riffing is perfect, but nine minutes is a bridge too far, I suppose.

16. The Mysterines – I Win Every Time. Another killer single from the Mysterines, powered by Metcalfe’s charismatic and vaguely threatening vocals.

15. Porridge Radio – 7 Seconds. Every Bad wasone of the most acclaimed albums of 2020, but I wanted more memorable hooks or melodies than the album could provide. This track had the best earworm of anything on the record, an alternative rock track that seems like it could come from any decade.

14. Bananagun – The Master. This Australian band’s debut album The True Story of Bananagun borrows heavily from late 1960s psychedelic rock, but with some elements from funk and terrific musicianship. The way the vocals are mixed on this, the album’s best track, definitely evokes something from just before I was born, but the music is more daring and experimental.

13. Bartees Strange – Mustang. Strange’s debutalbum met with rave reviews, although his love of the National, and critics’ love of the same, show through in both the music and critical responses. This rocks a good bit more than the National’s music does, more like a good Hold Steady track, and the droning guitars work well with Strange’s voice.

12. Shamir – On My Own. If you rememberShamir at all, it might be from his debut single “On the Regular,” where he rapped rather than sang, but he has a beautiful singing voice that shines here over a swirling, jangly guitar lick.

11. Grimes – Delete Forever. The softer side of Grimes is every bit as interesting as her jagged, rougher side, so while it’s not as daring or experimental as some of the tracks on Miss Anthropocene, but it’s the one I come back to most often.

10. Christine and the Queens – I disappear in your arms. This is the Christine and the Queens song that has been stuck in my head all year; it’s incredible that this and the widely acclaimed “People, I’ve been sad” both came off a six-song, 22-minute EP (La vita nuova) that seemed like a brief filler between albums. With this song, “Tilted,” and “5 dollars,” she should be globally acclaimed by now for her pop songcraft.

9. Creeper – Annabelle. The most Suede-like song on Sex, Death, and the Infinite Void is my favorite, of course.

8. The Naked And Famous – Monument. Alisa Xayalith’s vocals elevate this song above the rest of the tracks on TNAF’s outstanding fourth album, Recover, with some help from a cracking call-and-response moment in the chorus.

7. Tame Impala – Borderline. Kevin Parker’s ability to take a synth riff that sounds like he recorded it in a bathroom on an old Casio home keyboard and build a billowing cloud of melody and intrigue around it is unparalleled.

6. Arlo Parks – Green Eyes. Parks’ debut record, Collapsed in Sunbeams, is due out January 29th, and I don’t think I’m looking forward to any album more. “Green Eyes” showcases her voice, her lyric writing, and her sense of melody as well as anything she’s released so far.

5. Khruangbin – Time (You and I). The best song off Mordechai is its funkiest track, right down to the vocals, all of which owes a huge debt to ’70s funk and disco. The interplay between the guitar and the walking bass lines is utter genius – taken on their own, they sound like they’d work at cross purposes, but they marry perfectly once combined.

4. King Gizzard & The Lizard Wizard – Automation. A heavy dose of psychedelia beneath my favorite guitar riff of the year produced a song that’s been in my rotation for months. King Gizzard flows so easily between styles of rock, blues, and metal, but this right here is his sweet spot.

3. Waxahatchee – Lilacs. My earliest contender for song of the year has just the right balance of country elements in Crutchfield’s formula of indie or roots rock, and her voice shines here on the chorus and every time she sings “And the lilacs drink the water.”

2. SAULT – Free. I dare you to sit stillwhen this song – and its infectious bass line – come on the speakers. The song shifts gears into the chorus, but doesn’t lose any of the momentum from that bass or the drum beat as it moves.

1. Moses Boyd ft. Poppy Ajudha – Shades of You. Boyd, a jazz drummer who’d recorded previously as half of Binker and Moses, was everywhere this year, including his incredible solo debut Dark Matter, his collaborations with jazz/rock harpist Tori Handsley, and work with Village of the Sun (which also includes Binker Golding). This song has elements from jazz, trip-hop, trap, and more, while jazz singer Ajudha sears her way across the intricate instrumentation with one of the year’s best vocal hooks in the chorus. This song floored me when it came out in March and it still floors me now. It’s a great single, but even more, it’s a brilliant piece of genre-bending songwriting.

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Top 15 albums of 2020.

I tried to do a longer list, but in the end couldn’t really get behind any more albums than these – which isn’t to say there were no other good albums, but there were the fifteen about which I felt the strongest. Disclosure, Working Men’s Club, King Gizzard, Bartees Strange, Freddie Gibbs, and San Cisco all put out interesting albums that just didn’t quite make the cut.

Previous years’ album rankings: 2019, 2018, 2017, 2016, 2015, 2014, 2013.

15. Mourn – Self Worth. Mourn appeared on the scene around the same time as another all-woman rock band, the critical darlings Hinds, who barely knew how to play their guitars but succeeded with sheer enthusiasm and a few infectious hooks. Mourn, on the other hand, was more polished out of the gate, and on this album they’ve refined their sound and produced their best, most complete record yet. Running just 34 minutes, this collection of a dozen songs finds the trio contemplating the worthlessness of men and the heartbreaks of loving them anyway, along with more nuanced guitar riffs that seem harder-edged, even to the borderline of old-school metal. Highlights include “Stay There,” “Men,” “Call You Back,” and “I’m in Trouble.”

14. LA Witch – Play With Fire. Barely long enough to call it an album, Play With Fire runs a scant 29 minutes, but packs a punch in these nine songs, recalling some of the earliest female-fronted punk bands, where that scene was more open to women who wanted to be serious rock musicians than the typical avenues of pop radio and commercial labels. L.A. Witch’s sound is probably more gothic rock than punk, though, and has more in common with Killing Joke or Siouxsie and the Banshees than, say, Blondie or even the Slits. Standout tracks include “Fire Starter,” “True Believers,” and “I Wanna Lose.”

13. Pallbearer – Forgotten Days. The best metal album of the year, without any close competition, was the fourth LP from these American doom stalwarts, quite likely the best doom metal band still active today. (While it’s not a metal album per se, Inlet, the comeback album from 1990s alt-rock band Hum, has a lot of doom elements to it.) Forgotten Days has a little something for everyone, from the practically exuberant title track to the crunching “Rite of Passage” to the twelve-minute opus “Silver Wings.” The album distills everything Pallbearer did well on their first three albums into a single 50-minute record, and pushes them from much-admired heirs to the Black Sabbath/Cathedral throne to undisputed kings of modern doom.

12. Everything Everything – RE-ANIMATOR. More consistent start to finish than their previous albums, RE-ANIMATOR works better as a cohesive whole than anything they’ve released to date, which makes up for the lack of a huge single like “Cough Cough” or “I Believe It Now.” The frenetic arrangements, falsetto vocals, rapid tempo shifts, and idiosyncratic vocals are all still here, but now they’re just a bit more under control. Standout tracks include “Planets,” “Violent Sun,” “In Birdsong,” and “Arch Enemy.”

11. The Naked & Famous – Recover. This New Zealand duo’s fourth album, and first since 2016, is their best yet – although, as with RE-ANIMATOR, it doesn’t have a single to match their all-time best (I’d argue “Young Blood,” my partner would say “Punching in a Dream,” and is either of us really wrong?). There’s a new lyrical sophistication here, and they maintain their melodic strength over the entire album, where on the last two records in particular it seemed to lag as the albums went on. Highlights include the title track, “Sunseeker,” “Death,” “Everybody Knows,” and “Monument.”

10. Bananagun – The True Story of Bananagun. I only heard about this Melbourne psychedelic rock/funk group a few weeks ago, but I’m all about this album and their strange mélange of late ’60s flower-child rock and funk guitar work from the decade afterwards. Standout tracks include “The Master,” “Freak Machine,” and “Bang Go the Bongos.”

9. The Killers – Imploding the Mirage. I was never a huge Killers fan beyond a couple of their singles, especially when they turned towards a more over-the-top, affected sound on their second album, Sam’s Town. On their sixth album, they seem to have rediscovered a lot of what made their first album successful without regressing to an earlier, less musically sophisticated style. There’s still a lot going on across Imploding the Mirage, from vibraphones to E-bows to a makeshift string section, but this time that all feels like it’s in service of the music, not the other way around. Standout tracks include “Dying Breed,” “Caution,” and “Blowback.”

8. Tame Impala – The Slow Rush. I’ve always been a few degrees short of the critical acclaim for Kevin Parker’s music; I’ve liked many of his tracks but he often needs an editor to rein him in, and his albums haven’t come together as well as they should. The Slow Rush still has too many tracks that go on too long – half of the twelve songs here run five minutes or more, up to 7:13 for the closer – but it’s the most coherent record he’s released to date. Standout singles include “Borderline,” “Lost in Yesterday,” and “Breathe Deeper.”

7. SAULT – Untitled (Black Is). SAULT released one of the best albums of 2019 but did so after my 2019 rankings came out – in fact, they released two albums (7 and 5) last year, and both were great, but I didn’t hear either until May of this year. Despite working to cloak their identities for over a year, they’ve gained some critical attention nonetheless for their soul/funk/spoken word sound, and with Untitled (Black Is) they’ve become overtly political with a series of anthems supporting Black Lives Matter and other causes of equality and justice. Standout tracks include “Bow,” featuring Michael Kiwanuka; “Wildfires;” “Monsters;” “Why We Cry Why We Die;” and “Black.”

6. Waxahatchee – Saint Cloud. Folk-rocker Katie Crutchfield bares her soul, recounting her struggles with alcoholism and decision to get sober after her previous album, the uneven Out in the Storm (which still gave us “Never Been Wrong”), and the result is her best and most complete album to date. Standout tracks include “Lilacs,” “Can’t Do Much,” and “Hell.”

5. Grimes – Miss Anthropocene. A good example of when to separate the art from the artist. Grimes’ last album, Art Angels, was my #1 album of 2015; this record is more experimental and expansive, but still has several tracks that stand well on their own thanks to strong melodies, including “Violence,” “4ÆM,” and “Delete Forever.”

4. Khruangbin – Mordechai. I was late to the Khruangbin party, only hearing their last album, Con Todo El Mundo, a year after it came out, helped by The RFK Tapes’ podcast’s use of “Maria También” as its theme song. I think I got here just in time, though, as Mordechai is going to be their big breakout, as it has the same kind of Thai jazz/funk/rock hybrid sound as their last album, but now with extensive vocals from all three members. Standout tracks include “Pelota,” “Time (You and I),” the funky “So We Won’t Forget,” and “Connaissais de Face.”

3. Moses Boyd – Dark Matter. I don’t have any comparison for this album by percussionist Moses Boyd, one half of Binker and Moses. It’s a dark, swirling journey of modern jazz and house that has the energy of improvisational music but the tighter focus and melodic sensibility of more mainstream genres. Standout tracks include the stellar “Shades of You” (feat. Poppy Ajudha), shimmering opener “Stranger than Fiction,” and the guitar-laden “Y.O.Y.O.”

2. Creeper – Sex, Death, and the Infinite Void. Soapparently Creeper was a punk band just a few years ago on their debut album, but completely changed their sound for this sophomore release, a bombastic, showy, riveting album that recalls the earliest days of post-punk/New Wave with a very heavy dose of early Suede, especially in Will Gould’s swaggering vocals. It’s a concept album about an angel who has fallen from the heavens into a small town in California, and experiences love and heartbreak for the first time. Highlights include “Cyanide,” “Annabelle,” “Born Cold,” the country-tinged “Poisoned Heart,” and the Roxy Music-esque “Paradise.”

1. SAULT – Untitled (Rise). SAULT’s second album of 2020 and their fourth in about 14 months was their best yet, tighter than Untitled (Black Is) and more focused without losing any of their previous three albums’ strength, sense of rhythm, or lyrical indignation. “Free” is one of the best songs of the year, a timeless funk/dance song powered by an epic earworm of a bass line, while “I Just Want to Dance” deceives you with its title and rhythm when it’s actually another protest song about police killings of black men. Untitled (Black Is) earned more praise this year, topping NPR’s best albums of 2020 list and coming in at #5 on the Guardian‘s, but my argument here is that Untitled (Rise) is better start to finish, whereas its predecessor loses some steam towards the finish. They’re both tremendous albums, and any publication – looking at you, Pitchfork and Rolling Stone – that omits them from their year-end lists should at least explain their absence. Other highlight tracks include “Strong,” “Fearless,” “Little Boy,” and the spoken-word track “You Know It Ain’t.”

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→ December 6, 2020
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Music update, November 2020.

A quick playlist of new tracks from November, as we head into mid-December and time for my year-end lists of 2020’s best albums and singles, which I’m tentatively planning to run on December 21st and 22nd. As always, you can access the playlist here if you can’t see the widget below.

James BKS feat. The New Breed Gang – No Unga Bunga. French producer and hip-hop artist JamesBKSwas the first signing to Idris Elba’s new record label, and this is now his fourth single for the imprint, following last year’s “New Breed,” with guest spots from Q-Tip, Little Simz, and Elba himself.  

Arlo Parks – Caroline. At this point, I might be looking forward to Parks’ debut album, Collapsed in Sunbeams, due out January 29th, more than any other album scheduled for next year. Her voice is stunning and I love the lush sound of just about everything she’s released so far.

Jade Bird – Headstart. The Welsh singer-songwriter Bird hasn’t announced a new album but this is her first new track in over a year, since her debut album dropped in May 2019.

HAERTS – It’s Too Late. The duo announced a release date for their third album, Dream Nation, of March 21, with this track and “For the Sky” to be included.

Mourn – Stay There. ThisBarcelona punk-rock trio seem to be getting more experimental as they get older – although they’re still all between 20 and 23 years old – with their fourth album, Self Worth, released on October 30th.

Khruangbin – Summer Madness. Khruangbin had already released one of the year’s best albums in Mordechai, and now they’ve put out a full album with 15 covers, including this reworking of a Kool & the Gang track from 1974.

Django Django – Glowing in the Dark. The title track from the Djangos’ fourth album, due out February 12th, is more of the same electronic rock we’ve gotten from the group since their more experimental first record, 2012’s self-titled debut.

Radkey – Seize. The Brothers Radke are at their best when they turn up the tempo, which they do here on this punk-infused track. Their newest album Green Room just came out on November 27th.

Record Heat – Nathan. Record Heat used to be called Spirit Animal, but they changed their name based on criticism of the possible cultural appropriation involved in the old moniker. I find their music a mixed bag – when they try to introduce anything resembling rap, it doesn’t work, but their straight rock tracks can be pretty strong.

Romero – Troublemaker. A new power-pop group from Melbourne, Romero just released this, their third single, in advance of a debut album coming out next year.

The Lounge Society – Burn the Heather. This West Yorkshire teenaged quartet have called themselves “the antidote to The 1975,” which is good enough for me, although I also dig the post-punk vibe on this, their second-ever single.

Pale Waves – Change. This is my favorite song to date from the Mancunian indie-rock band, whose second album, Who Am I?, is due out on February 12th.

Middle Kids – R U 4 Me? I never got this Sydney indie-pop act’s their 2016 hit “Edge of Town,” but this new track, their first since an EP came out last May, is pretty solid.

Zeal & Ardor – Wake of a Nation. The title track from this gospel-blues-metal band’s new EP, released October 23rd, has more of the same righteous anger in the lyrics and tones down the harshest elements (e.g., blast beats) of some of their earlier output.

Moonspell – The Greater Good. The Portuguese doom metal stalwarts announced their 12th album, Hermitage, will come out on February 26st; it’s their first since 2017’s concept album 1755.

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→ November 1, 2020
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Music update, October 2020.

October turned out to be a great month for new music, perhaps boosted by five Fridays (I feel like music analytics would have to adjust for that). I also think that the pandemic and inadequate responses by many developed nations have left musicians and labels at the point where they don’t feel like they can keep delaying releases – movie studios have a financial incentive to keep kicking the can down the road, but record labels don’t. So this month I have 24 songs on the playlist, with over 90 minutes of new music, running the full gamut of musical styles I like. You can access the playlist here if you can’t see the widget below.

King Gizzard and the Lizard Wizard – Automation. Maybe the best guitar riff of the year. I don’t love everything King Gizzard does, but I’m always amazed by their musical shapeshifting. They can move from psychedelia to metal to blues rock and in between and still put out two albums a year.

Creeper – Annabelle. Creeper’s first album was a horror-themed punk record, but they’ve remade themselves on their sophomore album, Sex, Death & the Infinite Void, which is one of the best LPs of 2020, a mad, sprawling record that recalls Suede, the Killers, My Chemical Romance (in a good way), Americana, and elements of early 1980s post-punk/new wave. Some other standout tracks on the album include “Paradise,” “Cyanide,” and “Poisoned Heart,” but really the whole album is incredible.

HAERTS & Ed Droste – For the Sky. I don’t know if or when HAERTS will give us a new album – lead singer Nini Fabi just had a baby, which I’m sure impacts their timeline – but this one-off track with Grizzly Bear’s Ed Droste is a lovely interlude to tide us over.

Peking Duk & the Wombats – Nothing to Love About Love. I wasn’t familiar with the Australian “mad rock” duo Peking Duk, but this came on my Release Radar because I’m a huge fan of the Wombats – and this sounds like a Wombats song remixed.

Battles, DJ Dairy, & DJ Orient – Stirling Bridge. Battles put out a call for artists interested in remixing tracks from their 2019 album Juice B Crypts, and the resulting EP will come out on November 20th. This track comes from two members of black midi, and it’s not a remix of any single song but a new creation from the raw tracks Battles recorded when making the original record.

Goodie Mob ft. Organized Noize – Frontline. Goodie Mob’s first album in seven years, Survival Kit, comes out on November 13th, with tracks featuring André 3000, Big Boi, and Chuck D. This single is an anthem for Black Lives Matter protesters, with prominent mention of the federal government’s use of tear gas on peaceful demonstrators. Cee-Lo also appeared on a new track from Big Boi and Killer Mike called “We the Ones,” which has great work from the two MCs but sluggish music and mailed-in vocals from Cee-Lo, who is a pretty terrible person anyway.

Tori Handsley ft. Ruth Goller and Moses Boyd – What’s in a Tune. Tori Handsley is a jazz harpist who’s been playing with other artists since at least 2010, but is just now releasing her first music under her own name, leading a trio that includes drummer/producer Moses Boyd (whose Dark Matter is one of my favorite albums of 2020). I heard this song before knowing anything about Handsley, and I assumed Handsley was playing a guitar via two-handed tapping, or maybe a Chapman stick, but she gets sounds and patterns from the harp that I don’t associate with that instrument.

Jorja Smith ft. Popcaan – Come Over. This new track from the Mercury-nominated English singer-songwriter Smith appears to be a prelude to a sophomore album, although it’s at least her third single since Lost & Found came out in 2018. It has a more obvious reggae influence than the last few tracks and includes a contribution from dancehall artist Popcaan, although I don’t think he brings much to the table.

Arlo Parks – Green Eyes. Parks’ debut album is finished, and due for a release early in 2021, but this is at least her fifteenth single to date, at least according to her artist page on Spotify. I’ve been late to this party but her voice is gorgeous and whatever you might call her style of music – it’s soulful but not really soul, folk-ish but definitely not folk – I’m here for it.

TRAAMS – Intercontinental Radio Waves. I hadn’t heard TRAAMS before this song, but they released two albums in 2013 and 2015, and a song in 2016, before going dark for the last four years. Wikipedia calls their early music “krautrock” and that’s certainly still evident here, with a flat vocal delivery over a pulsing electronic backdrop.

Slow Pulp – Track. Slow Pulp’s music is indeed slow, and atmospheric, although here they sound more like Slow Smashing Pumpkins (the intro is a lot like the chord pattern from “Today”) – with lyrics about the lead singer’s mother’s anxiety over getting Alzheimer’s disease, which runs in their family.

Artificial Pleasure – The Movement of Sound. Artificial Pleasure released their second album, A New Joy, on Friday, so I haven’t had a chance to crack it yet – we’re seeing a flood of new material this fall, which is great except that I’m never in the car to listen to music at long stretches like I used to do – but it includes this banging track as well as last year’s “Boys Grow Up,” this year’s “Lose Myself Again,” and both parts of “Into the Unknown” as a single song.

Hot Chip ft. Jarvis Cocker – Straight to the Morning. I think I take Hot Chip for granted, because their singles are consistently good, just rarely great on the level of “Over and Over” or “Huarache Lights.” This track includes former Pulp lead singer Jarvis Cocker, although he’s barely noticeable, and the melody is strong enough that the song doesn’t need any help.

Deep Sea Diver – Hurricane. Deep Sea Diver grew out of a solo project of that name by Jennifer Dobson, now the lead singer/guitarist/songwriter of a full four-piece band. Sharon Van Etten makes a cameo on the band’s new album, Impossible Weight, which gives you some idea of their sound, although Dobson’s vocals are far superior and give this song a hint of pop.

The Struts ft. Joe Elliott and Phil Collen – I Hate How Much I Want You. It is entirely appropriate for a band as bombastic as the Struts to call in two members of hair metal icons Def Leppard for a song this ridiculous. I love it.

Dinosaur Pile-Up – It’s Tricky. Another snotty rock band covers another seminal early hip-hop track. This shouldn’t work, but it does.

Are We Static – Wildfire. This new track from AWS starts out a little like that annoying 2014 song “Geronimo” by Sheppard, but instead of turning into a poppy sing-along it converts that nervous energy into a swirling guitar-driven chorus, a quantum improvement in my mind.

Black Honey – I Like the Way You Die. I love Black Honey but this title is on the bleak side for a band this poppy.

All Them Witches – Lights Out. ATW’s Nothing as the Ideal has some incredible psychedelic sludge rock riffs across its eight songs, highlighted by this one and “Enemy of my Enemy,” although the six-minute-plus tracks go too long for their content.

Rob Zombie – The Triumph of King Freak (A Crypt of Preservation and Superstition). I did not foresee Rob Zombie dropping one of the best hard-rock tracks of 2020, I have to admit, but this is peak RZ content, even hinting back at the last White Zombie album Astro-Creep: 2000 with samples and electronic elements.

Pallbearer – Vengeance & Ruination. The kings of American doom metal – or just modern doom metal, period – just released their 4th album, Forgotten Days, and I think it’s their most accessible work to date, although it still has some longer tracks to satisfy diehards (and perhaps scare off folks looking for more radio-friendly lengths).

Killer Be Killed – Dream Gone Bad. Mastodon vocalist Troy Sanders is involved in two side projects that released new tracks this month; this is the better of the two, as the latest Gone is Gone track didn’t do much for me. KBK includes Max Cavalera of Soulfly and formerly of Sepultura, but the sound is closer to Mastodon’s here, very bass-forward with thrash elements but mostly clean (and strong) vocals.

Dark Tranquility – Identical to None. DT’s newest album Moment will drop on November 20th; it seems like more classic Gothenburg melodic death metal, with some great thrash riffing below the growled vocals. I haven’t spent a ton of time on this but I think Gothenburg bands have a distinctive melodic sound that works more at the middle and higher ends of the guitar’s range in each song’s standout riffs, whereas comparable bands from other scenes just try to blow you away with speed or riffs at the bottom end of the range.

Carcass – Slaughtered in Soho. And this is the one exception to everything I just said – but Carcass is sort of an exception to a lot of generalizations about extreme metal, coming out of grindcore to create a ridiculous subgenre termed “goregrind” (which didn’t need its own name), only to abandon both the style and the lyrical content with Heartwork, among the greatest extreme metal albums in history and proof that you could craft compelling melodies without sacrificing speed, growled vocals, or other trappings of the death-metal genre. This track comes off their four-song EP Despicable, which just came out on Friday, with tracks that missed the cut for their next album. The riff on this one is great, and remarkably slow and grooved for Carcass.

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→ October 17, 2020
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Stick to baseball, 10/17/20.

Just one piece this week for subscribers to the Athletic as I work on the top 40 free agents ranking, which will run a few days after the World Series ends: Nick Groke, our Rockies beat writer, asked me a bunch of questions about Colorado’s farm system, and I dutifully answered them. Klawchat, board game reviews, and dish posts should return next week.

My guest on this week’s episode of The Keith Law Show was my old partner-in-crime Eric Karabell, although Bias Cat did not make an appearance. My podcast is now available on Amazon podcasts as well as iTunes and Spotify.

I’m due to send out a fresh edition of my free email newsletter this weekend as well. We’ll see how that works out for me.

As the holiday season approaches, I’ll remind you every week that my books The Inside Game and Smart Baseball make excellent gifts for the baseball fan or avid reader in your life.

And now, the links…

  • Now some longreads: ProPublica details the fall of the CDC, undermined from above by the anti-science Trump Administration and from within by craven, spineless leadership.
  • Sara Benincasa’s essay “Fred and Me” is just wonderful and I won’t spoil it in the least.
  • Why has Germany handled COVID-19 better than its neighbors? By following the science, including implementing widescale, frequent testing.
  • QAnon, the batshit-crazy hoax embraced by multiple alt-right figures and now our sitting President, is tearing families apart as people become sucked into this utterly false conspiracy theory and alienate family members with their nonsense.
  • Lauren Witzke, the Delaware GOP candidate for the Senate seat currently held by Democrat Chris Coons, appeared on white-nationalist, anti-immigrant hate site VDare last month, not long before saying the Proud Boys provide security at her events. She has no chance to win, but still, Delaware Republicans should revoke their endorsement of her.
  • Draining the swamp update: A former patent litigator became a federal judge and is openly advising patent trolls to come to his court. This lets those trolls abuse the patent system (which has its own problems, but still) for their own profit, and ultimately American consumers will end up paying the cost.
  • The role-playing game designer outfit Roll20 is holding a 3-day virtual gaming con with proceeds to benefit a charity focused on racial justice.
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→ October 3, 2020
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Music update, September 2020.

Whew, that was the most loaded month of the year for new music, perhaps as bands and labels have accepted that we’re not getting back to anything like “normal” until 2021, at the least. There’s over 90 minutes of new music here, including four metal tracks at the end (more than I usually have, but it was a better month on that front as well). If you can’t see the Spotify widget below you can access the playlist here.

SAULT – Free. Do we still not know who SAULT are? The just-released Untitled (Rise) is the band’s fourth album in thirteen months, and once again is full of funk and soul tracks laced with strongly political lyrics. They’ve put out so much music I have a hard time keeping up with specific tracks, but this track might be my favorite so far, and the album is their best yet.

Public Enemy featuring Nas, Rapsody, Black Thought, ?uestlove, YG, and Jahi – Fight the Power: Remix 2020. This should be terrible, but it’s not, probably because Chuck D wisely gives up the mic to several other MCs, most of them younger and better rappers than he is right now. The message is what you’d expect, but it hits harder because of the voices delivering it.

Prince – I Need a Man. Prince’s estate released this previously unheard song, which he wrote for the Hookers and later wanted to use for Vanity 6, as part of their mammoth remaster/reissue of Sign O’ The Times. Prince released very few tracks this good after his name change and the end of his contract with Warner Bros. I hope there’s more, since we all know Prince recorded about a billion songs he never released during his lifetime.

Ghost of Vroom 2 – Rona Pollona. That’s Mike Doughty, and this is the closest thing to a Soul Coughing song he’s made since that seminal quartet broke up after El Oso.

Arab Strap – The Turning of Our Bones. I thought Arab Strap was more of a quiet, indie-folk sort of band, but this new track, their first since their last album dropped in 2005, is dark, electronic, and, more in keeping with their prior output, about sex.

Zeal & Ardor – Vigil. Z&A put out two songs in early September, this and “I Can’t Breathe,” both directly aimed at the scourge of police killing unarmed Black Americans with stripped-down backing music with fewer metal elements to it.

Everything Everything – Big Climb. RE-ANIMATOR dropped on September 11th, although by that point I’d already heard half the album from various singles and early releases. This is the best of the remaining tracks, with their normal frenetic combination of fast-sung lyrics and heavy synth work.

Black Honey – Run For Cover. This is Black Honey’s second new single this year, after “Beaches,” so I assume there’s a new album coming soon. I loved their self-titled debut, which was full of great power-pop hooks.

Porridge Radio – 7 Seconds. This new-new-wave track has an intense feeling of desperation to it that elevates it to something more than just another very catchy rock song with a good synth line.

Sunflower Bean – Moment in the Sun. I’ve been on Sunflower Bean’s wavelength pretty much from the start and loved their 2019 EP King of the Dudes, so this one-off single, which has a summery vibe that feels like the soundtrack to a walk on the beach, is right in my wheelhouse.

Cut Copy – Like Breaking Glass. This track is very obviously Cut Copy, but also reminds me quite a bit of St. Lucia’s first album or his song “Dancing on Glass,” which I assume is some sort of subliminal connection in my brain because of their similar titles. Anyway, this is a perfectly adequate Cut Copy song, not “Need You Know” or “Black Rainbows” but good enough for my purposes.

Django Django – Spirals. The Djangos’ first new track since they released an album and an EP back in 2018 is more of the same, as “Spirals” could easily have fit on Marble Skies or Born Under Saturn as one of either album’s singles.

Of Monsters and Men – Visitor. Unlike most good OM&M songs, this one is driven more by its music than by Nana’s vocals, which are understated here.

Sprints – The Cheek. The driving bass line at the start of this track reminds me of Romeo Void’s “Never Say Never,” of early Killing Joke, even a bit of Joy Division, but with the strident vocals of Karla Chubb. The Dublin quartet have said contemporary Irish punk band Fontaines DC are an inspiration, and you can hear that influence here as well.

Bartees Strange – Mustang. A reader recommendation from last month, Bartees Strange is a Next Big Thing, a huge fan of the National who sounds quite a bit like the Hold Steady on this track from his debut album, Live Forever, which just came out on October 2.

The Aubreys – Smoke Bomb. That’s Finn Wolfhard’s new band, since Calpurnia broke up last November.

Courting – David Byrne’s Badside. This new Liverpudlian post-punk quartet look like they’re barely out of middle school, let alone old enough to know who David Byrne is, although the lyrics have nothing to do with him and are instead an indictment of what the band call “pub culture.”

Mourn – Men. As much press as the Spanish band Hinds gets, Mourn is just better. Both bands comprise only women, but Mourn’s three members are superior musicians and have shown musical and lyrical growth over their three albums. This is their second single of 2020, so I presume there’s another LP in the works.

LA WITCH – True Believers. This is a holdover from last month that I somehow forgot to put on the August playlist, but LA WITCH’s sophomore album Play With Fire would be in my top ten for the year so far.

Pallbearer – The Quicksand of Existing. Is this Pallbearer’s most uptempo song? The American doom stalwarts will release their newest album Forgotten Days on October 23rd, and this muscular track is dark and gothic but it’s got more in common with Kyuss/QotSA than true doom metal – and now it’s my favorite Pallbearer track.

Carcass – The Long and Winding Bier Road. Carcass’ new album has been pushed back, probably to 2021, so instead they’re releasing an EP, Despicable, of tracks that didn’t make the latest album.

Dark Tranquility – Phantom Days. One of the pioneers of the Gothenburg melodic death metal sound, Dark Tranquility will release their eleventh LP, Moment, in November. The guitar work and melody here are both superb if you can deal with the death growls.

Vio-Lence – California Über Alles. Yes, it’s a cover of the Dead Kennedys song, but also interesting that it’s the first new material Vio-Lence, one of the more significant Bay Area thrash acts of the late ’80s, have released since 1993.

Napalm Death – Amoral. I have talked about Napalm Death more than I’ve ever listened to their music, really, as their early stuff, which practically defined the genre of grindcore, was way too extreme for me. Their sound has evolved over the last thirty-plus years, and their sixteenth album, Throes of Joy in the Jaws of Defeatism, sees them working across a range of metal genres and even going into no-wave/post-punk territory, although you’ll always have to deal with Barney Greenway’s vocals.

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