The annus horribilis of 2020 is finally in our collective rearview mirror. Looks like you made it; I hope that your loved ones are healthy & safe as well. It’s now time to carry on the grand tradition of nominating ten albums of new music from the past year that your trusty craven hermit found to be truly engaging.
A Celebration of Endings by Biffy Clyro. This hirsute Scots trio unleashed a new batch of anthemic rock to illuminate our sunny afternoons. Fuzzy guitars, stomping drums, and twisting rhythms abound, as we’ve come to expect from these fellows. But the occasional symphonic flourishes and even a touch of melancholic bliss give this album multiple layers to appreciate.
The Universal Want by Doves. It’s been over a decade since these Manchester musicians last released an album, but they’ve returned just in time to provide us with some much-needed lockdown entertainment. The new songs mine a similar vein to their past triumphs – arpeggiated guitars, swells of vocals, and that widescreen “Doves” sound. Like slipping on a well-worn pair of jeans that you rediscovered at the back of the closet.
The Unraveling by Drive-By Truckers. 2020 brought us not one but two new albums from the Truckers – an embarrassment of riches (not to mention another excellent Jason Isbell record). Mike Cooley and Patterson Hood clearly have a lot on their minds. The New OK hasn’t yet made it to my mailbox, but I’ve had The Unraveling in heavy rotation this year. It’s always interesting to hear the news of the day diffracted through the lens of these pissed-off southerners. And I’m so very glad that someone finally wrote a song about the useless mantra of “Thoughts and Prayers” that papers over our biggest problems.
Earth to Dora by Eels. You’re never quite sure what you’re going to get with a new Eels record. It’s true they all share the same sonic DNA, but The Man Called ‘E’ occasionally follows his intuition down some rather dark alleys. Earth to Dora is all over the map stylistically. Sometimes it recalls E’s trademark twisted lullabyes, but elsewhere it ping-pongs from sad to frustrated to tunes bordering on… contentedness? Repeated listens are rewarded.
Mordechai by Khruangbin. It pays to be peruse the year-end “Best Of” lists. Every year I seem to discover some new gem that I had somehow missed in the zeitgeist. This year I finally got into the chill-funk of Khruangbin. This album sounds like something from another era, perhaps even another dimension. In the absence of concerts and organized sports, I walked a lot of kilometres this year. But my feet didn’t carry me nearly as far as Khruangbin’s effortless walking bass lines. Perhaps the perfect lazing-on-the-sofa album, with a malt beverage near at hand.
Agricultural Tragic by Corb Lund. Aside from walking, my chief respite from working-from-home this year was the occasional camping trip. And the soundtrack to those camping excursions across the Canadian prairies was the new LP by Corb Lund. As always, these twelve new tunes harken back to the sound of Lund’s outlaw country heroes, while spinning tales torn from the great northwestern plains. And while I generally find spoken-word tracks to be cringeworthy, “Tattoos Blues” is too hilarious not to admire. “No Regerts”, indeed.
Getting Into Knives by the Mountain Goats. John Darnielle is not one to rest on his laurels; 2020 added two more records to the Mountain Goats canon. We’ve come to expect Darnielle to write his songs around a central theme, but not so with Getting Into Knives. The songs cover an admirable range, breezily spanning folk and pop with forays into nightclub jazz. Elsewhere the hooks are carried by woodwinds, and one or two tracks venture dangerously close to “rawk” territory. Fascinating stuff.
Sideways to New Italy by Rolling Blackouts Coastal Fever. Another discovery from previous “Best Of” lists, these Aussies remind me of R.E.M. turned up to eleven, rocking out at Glastonbury. Previous album Hope Downs was their mainstream breakout (or whatever passes for a mainstream these days). But I honestly find this new LP to be just as engaging and perhaps a little more focused. If you enjoy intertwining guitar lines and a solid rhythm section, look no further.
The New Abnormal by the Strokes. Maturation can be the kiss of death for bands that made their mark by being messy, swaggering, maybe even a bit juvenile. But on The New Abnormal, a newfound maturity gives Casablancas and Co. a rich new palette to work with. No longer too-cool-for-school, these nine new tracks are often moody, confessional, and undeniably human. There’s still catchy choruses and sinewy guitars, but the overall impression is less hedonistic, more self-aware “dad-rock”. In a good way!
The Slow Rush by Tame Impala. Some of my favourite songwriters have made a living out of welding melancholy lyrics to bright, poppy tunes (see also – Beck, Matthew Sweet, Zach Rogue). On The Slow Rush, Kevin Parker and crew officially join the club. The 21st century disco vibes cleverly mask the contemplations of a man who’s got his share of troubles. The Madchester beats and synth lines would sound pretty epic in a festival setting – perhaps some day we’ll get to hear them that way.
And my vote for re-issue of the year definitely goes to Wildflowers & All The Rest. Tom Petty always had a soft spot for his Wildflowers project. “Divorce album” is an over-used cliché, but Petty’s purplest patch really did coincide with the breakdown of his first marriage. He reportedly spent well over a year writing and recording the songs that would become Wildflowers – too many, in fact, to be a single album. The record company strongly suggested that Petty whittle things down to a CD-friendly 15 tracks, and he complied. But I suspect that he regretted that decision for the rest of his life, because he knew what gems he had “in the can”. Per the liner notes, Petty had significant input to the expanded re-release of Wildflowers before his untimely demise. I splurged and bought the 7 LP version, as this album also holds a special place in my soul. The first two platters are the original 15 tracks, while the third album holds the 10 songs culled from the original release. These 10 tracks could have formed the nucleus of a fantastic stand-alone record – it’s a bloody shame they’ve been locked away in the vault for so long. LPs 4 and 5 contain illuminating demos and alternate takes, while LPs 6 and 7 seamlessly stitch together something akin to Wildflowers Live from two decades of live recordings. Any of the various versions on CD or LP are well worth seeking out.
Happy New Year everyone, and be safe in 2021. Stay home whenever you can; why not listen to more records?
Craven Hermit 
Hope you’re well. Hope you’ll continue visiting this place and adding more lists.