This list is a continuation of what began last week, the top five of my favorite 10 records of 2020.
This collection comes from a year’s worth of listening. This list is not based on consumer numbers and sales, as most-consumed does not equal quality. This list is based on what personal impact this record had on the listener (me), and how much it was played, as some of these releases had trouble finding their way off the “currently playing” stage of my personal digital music device or turntable. They’re also on this list because they’re good, and I’ll likely still feel this away about these records in 2030.
5. Jangling Sparrows, “Bootstraps and Other American Fables.” The Pennsylvania-born, Asheville, North Carolina-based Paul Edelman has dropped a diverse dose of alternative country, aggressive folk and charged rock ’n’ roll. While some cuts carry a “remember when” vibe, the record also carries plenty of sneer along with lyrical intelligence that asks questions and makes statements. There’s punk charge and rhythmic chug, a tune like “Highway Jawn” could even find its way into the jam world, and the closing title-track shows Edelman can strip things and do the folkie thing. RIYL (recommended if you like): Beat Farmers, Jason and the Scorchers.4. Songhoy Blues, “Optimisme.” The Mississippi label Fat Possum dropped this release, where Black Keys-influenced blues dances with the psychedelic funk of a 1970s West Africa. A blast of power-chords kicks off the record, which eventually morphs into traditional West African rhythms that kick up much dust with American garage rock, a ramshackle mess that’s gritty and raw. It’s also ripe for representation in the international dance club, where those garage rock riffs are on repeat delivery, bumping out trance rhythms with a psychedelic flair. A record that tends to wander, it’s underproduced, raw and bursting with a trippy groove. RIYL: The Black Keys, Tinariwen.3. X, “ALPHABETLAND.” The storied Los Angeles-based punk quartet drops their first record in 27 years, and it’s as fresh as next week while being just as good as their gutsy music of a gritty Los Angeles from 1980. The marriage of co-vocalists John Doe and Exene Cervenka didn’t last, but the marriage of their voices has, and it remains one of the most memorable vocal duets in independent rock. This is beat poetry set to ripping melodies, while age has done nothing to slow down the aggression. Guitar player Billy Zoom does indeed, and drummer D.J. Bonebrake steps up punk percussion numerous notches. RIYL: The Gun Club, The Knitters. 2. Coriky, “Self-Titled.” Minor Threat/Fugazi/Dischord Record’s Ian MacKaye at this point has developed his own sound, and that sound lives in his latest band Coriky. Joined by Fugazi bandmate Joe Lally on bass and Evens bandmate and wife Amy Farina on drums, Coriky has that guttural rhythm explored by MacKaye’s last two bands, stripped down, bass-heavy melodies that don’t exhibit the speed of classic American hardcore but have just as much raw aggression that plays alongside lyrics that are both direct and ambiguous. And in true Dischord records and MacKaye diplomacy, all three handle vocals. RIYL: Fugazi, The Evens.1. Rose City Band, “Summerlong.” Indie-rock veteran Ripley Johnson’s release (where he played all instruments save for drums) was nothing more of a side project so he could explore making a roots record. There’s enough twang to make it sound like a country record without being a full-blown country record and enough musical exploration to add in the word “cosmic.” Johnson’s vocals are hushed over bouncy and dreamy melodies that are lofty, lazy and loaded with soft, fuzzy guitars. This is a perfect soundtrack for backyard, summer-day beer drinking. RIYL: Natural Child, Flying Burrito Brothers.
Bryant Liggett is a freelance writer and KDUR station manager. Reach him at liggett_b@fortlewis.edu.
5. Jangling Sparrows, “Bootstraps and Other American Fables.” The Pennsylvania-born, Asheville, North Carolina-based Paul Edelman has dropped a diverse dose of alternative country, aggressive folk and charged rock ’n’ roll. While some cuts carry a “remember when” vibe, the record also carries plenty of sneer along with lyrical intelligence that asks questions and makes statements. There’s punk charge and rhythmic chug, a tune like “Highway Jawn” could even find its way into the jam world, and the closing title-track shows Edelman can strip things and do the folkie thing. RIYL (recommended if you like): Beat Farmers, Jason and the Scorchers.4. Songhoy Blues, “Optimisme.” The Mississippi label Fat Possum dropped this release, where Black Keys-influenced blues dances with the psychedelic funk of a 1970s West Africa. A blast of power-chords kicks off the record, which eventually morphs into traditional West African rhythms that kick up much dust with American garage rock, a ramshackle mess that’s gritty and raw. It’s also ripe for representation in the international dance club, where those garage rock riffs are on repeat delivery, bumping out trance rhythms with a psychedelic flair. A record that tends to wander, it’s underproduced, raw and bursting with a trippy groove. RIYL: The Black Keys, Tinariwen.3. X, “ALPHABETLAND.” The storied Los Angeles-based punk quartet drops their first record in 27 years, and it’s as fresh as next week while being just as good as their gutsy music of a gritty Los Angeles from 1980. The marriage of co-vocalists John Doe and Exene Cervenka didn’t last, but the marriage of their voices has, and it remains one of the most memorable vocal duets in independent rock. This is beat poetry set to ripping melodies, while age has done nothing to slow down the aggression. Guitar player Billy Zoom does indeed, and drummer D.J. Bonebrake steps up punk percussion numerous notches. RIYL: The Gun Club, The Knitters. 2. Coriky, “Self-Titled.” Minor Threat/Fugazi/Dischord Record’s Ian MacKaye at this point has developed his own sound, and that sound lives in his latest band Coriky. Joined by Fugazi bandmate Joe Lally on bass and Evens bandmate and wife Amy Farina on drums, Coriky has that guttural rhythm explored by MacKaye’s last two bands, stripped down, bass-heavy melodies that don’t exhibit the speed of classic American hardcore but have just as much raw aggression that plays alongside lyrics that are both direct and ambiguous. And in true Dischord records and MacKaye diplomacy, all three handle vocals. RIYL: Fugazi, The Evens.1. Rose City Band, “Summerlong.” Indie-rock veteran Ripley Johnson’s release (where he played all instruments save for drums) was nothing more of a side project so he could explore making a roots record. There’s enough twang to make it sound like a country record without being a full-blown country record and enough musical exploration to add in the word “cosmic.” Johnson’s vocals are hushed over bouncy and dreamy melodies that are lofty, lazy and loaded with soft, fuzzy guitars. This is a perfect soundtrack for backyard, summer-day beer drinking. RIYL: Natural Child, Flying Burrito Brothers.
