It was a rough year, but we had some great music. Ada Wofford and Michael Drewes discuss some of their absolute favs in our end of 2020 roundup.
Good Sad Happy Bad—"Shades"
--Ada Wofford
So, this year Micachu and The Shapes changed their name to one of the worst band names in history. The good news is that the album they put out was much better than the last Shapes' album, Good Sad Happy Bad. So, yeah—They changed their band name to the name of their last album, which I believe they did because they switched around member roles and changed their sound a bit. I never got to review the album because I discovered it too late but it's certainly one of my favorites of the year. The album's single, "Shades" is also one of my top tracks of the year for its lo-fi aesthetic, warbly guitars, and catchy hook. I was originally very skeptical when I heard that Mica Levi was going to step away from primary vocals, but you can't argue with these results.
Phoebe Bridgers—"Kyoto" --Michael Drewes
In a year without a Better Oblivion Community Center album, and an LP from Bright Eyes that was more anticipation than substance; Phoebe Bridgers alone is our saving grace. “Kyoto” to me, is one of those transcendental songs that captures a feeling of nostalgia and is far more than the sum of its parts—Think “1979” by Smashing Pumpkins or “Lake Michigan” by Rogue Wave. The way Bridgers’ vocals soar over the cloudy synth in the verses, and how the trumpet comes in during the choruses, really drives it all home. Yeah, maybe it’s a little expected, and we’ve heard it before, but this is really well executed. This is music that feels at home in a concert venue or a half-empty cafe.
Guided by Voices—"Volcano"
--Ada Wofford
This track is featured on the first of three albums Guided by Voices released this year and it's my absolute favorite track of all three albums. It possesses that classic early '90s quiet-loud-quiet power pop sensibility that's been played to death, yet they make it new again. Everything is just spot on; from the slacker bass line to the larger than life fuzz-laden choruses. Turn it on and crank it up.
Deep Sea Diver—"Impossible Weight"
--Ada Wofford
I'm a bit surprised this track has haunted me so consistently since I first heard it in September. Honestly, it's a bit too hi-fi and polished for my taste but it's so damn catchy I can't shake it. The rhythm is groovy and the chorus is infectious; it's one of the best pop songs I've heard in a while. In my review of the album, I questioned the inclusion of Sharon Van Etten as a guest star. While her presence is certainly welcomed, Jessica Dobson has such a dynamic voice that Etten's presence is not really necessary. Overall, this three-and-a-half-minute track is an epic in miniature and despite its somewhat egregious production, it's a track I'll be listening to for a long time to come.
Waxahatchee—"Can't Do Much" --Michael Drewes
I had fully expected to write here about how Matt Berninger’s “Silver Springs” was a classic style song, and that just by listening, you are physically transported to a 1950s lounge in NYC, where all the ladies are wearing cocktail dresses and the gentlemen are donning 3 piece suits, smoking cigarettes and sipping champagne. Then I heard “Can’t Do Much” by Waxahatchee—Now I’m trapped in a time loop in the Alabama countryside. Please send help, or Bill Murray and Andy Samberg. Anyway, Katie Crutchfield’s voice is the star. It’s easy listening, jangle pop. This song is like when you tell your son to mow the lawn, and then you sit out on the deck with a beer and watch.
IDLES—"A Hymn"
--Ada Wofford
I selected this over "Grounds" because this track shows IDLES growing as a band. In my review of their album Ultra Mono, I comment on how IDLES (particularly vocalist, Joe Talbot) are becoming a bit of a one-trick-pony with their song writing. I love "A Hymn" because it's IDLES breaking from the mold they created, perfected, and have since ran into the ground. "A Hymn" shows IDLES as more articulate (in terms of dynamics but also in terms of vocals), more mindful, and more ambitious.
Nada Surf—"Something I Should Do" --Michael Drewes
2020 sucks. You know it. I know it. Everyone can agree about this. You know what didn’t suck? The ‘90s. And more specifically, ‘90s music. So, why not take a musical journey back to the motherland? This doesn’t quite have the same power pop hook of their hit “Popular,” but we’re all beyond that fake high school drama anyway—We have fake news to deal with now. In high school, we don’t know anything. And as we get older, more of the world presents itself to us. “Something I Should Do” is an exploration of this idea. Some of the lyrics are partially paraphrased from an interview with Bon Iver’s front man, Justin Vernon. The music has a groovy guitar/bass part that is filled in by a synth melody. The vocals fade into a spoken word bridge and eventually shifts into an extended outro. Overall, it’s a pretty interesting song. You should listen to it.
Billy Nomates—"FNP"
--Ada Wofford
Billy Nomates is probably my artist of the year. Like with Good Sad Happy Bad, I didn't get to review Nomates' album because I discovered it too late, but it's my favorite of the year. I first learned about Nomates when I saw the video for Sleaford Mods' track, "Mork n Mindy," in which Nomates is featured. I was immediately drawn to their style of delivery and attitude. While I love all the of tracks on their self-titled debut, the track "FNP" hit me the hardest. The title stands for, "forgotten normal people" and the track, like much of Nomates' material, is an anthemic articulation of working-class woes. But what's so impressive is that Nomates' delivers their message with such style and attitude that it never feels preachy or forced. Add to that a Sleaford Mods inspired minimalist punk/electronic sound and you get one of my absolute favorite tracks of all time.
Sleaford Mods—"Mork n Mindy"
--Ada Wofford
Originally, I didn't plan on including this track. When I first heard it, I thought it was kind of dark and even a little creepy. The only part I really enjoyed was Billy Nomates. But over time, the track really started to grow on me. Sleaford Mods always had a way of combining sounds that shouldn't go together but I think this track takes the cake. The eerie synth-hits over the lo-fi bass and drums makes for an odd mix that takes a while to appreciate but is endlessly rewarding when you finally get it. Plus, the video is super weird.
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