It's without doubt, this is the worst year of my entire life. I've spent over half the year in trackie bottoms and this is particularly upsetting for me, considering there's a pair of glittery flares in my wardrobe who have been gagging to make an appearance since 2019. To make things even worse, something that has been giving me some hope and happiness over the last few weeks, Christmas and New Years Eve, they've effectively been cancelled - wicked.
There definitely isn't a lot to reminisce about as we approach the new year, however, if there's a minuscule factor that stayed somewhat normal in the pandemic, it's the release of new music, thank GOD. I am still incredibly distraught about the fact I have this abundance of new records that I've collected over the year but haven't actually been able to watch the music being performed bloody live - I blame you, Rishi. Academic arse-kisser.
Now, without offending too many Rishi and Bojo brown nosers, I'll move swiftly on, as I take you on a little journey of my favourite albums which have proudly joined my playlists over the duration of this year.
10. Women In Music Pt.III - HAIM
Haim are one of the contributing factors which lead to my deep interest and love of music. When I was deep in the catalogue of 2000's male indie rock bands these three sisters thankfully opened my eyes to, ironically, the dreaminess of women in music.
'Days Are Gone' and 'Something To Tell You', were inevitably fun records, which had fans singing their heart out into their hairbrush and dancing like no one was watching, 'Women In Music Pt.III' however possesses a very unconcealed feel to it, as the siblings draw upon their individual past trauma's, the album is their most direct yet.
Filled with character, the album see's the sisters at their most unrefined - injecting snippets of personality in tracks, such as 'Los Angeles' Danielle recalls "I tried the winter there once, nope." and 'Up From A Dream' where distorted yawns inaugurate the track and soundbites from the beach appear at just the right moment.
The album takes on flickers of R&B, folk and jazz throughout, with untainted classic rock guitar solo pieces, old school jazz/big band style horn sections as well as innovative manipulated vocals (and screams).
It's clear to see Haim have matured massively with this record, moving further away from pop and closer to genre defying, its undeniably an exceptional album from some of the most talented sisters of the 21st century.
The Album Headnodder: 3AM
9. Live at the Royal Albert Hall - Arctic Monkeys
I don't know about anyone else, but, I've been to one gig this year - one sodding gig. The lack of live music this year has been a huge issue for so many of us, for me I've spent the year watching past year's festival highlights whilst sobbing (it's been a tough year for someone who's just graduated with a MUSIC journalism degree). But lo and behold, Arctic Monkeys have caught us in the middle of lockdown 2.0 with a saviour which can take us back time the good old days of live music.
For those of us who weren't lucky enough to grab tickets to their 2018 show at the Royal Albert Hall, Arctic Monkeys kept the unlucky few of us in mind, by having the sublime show recorded, bit of a late release (2 years late), but I'm not bitter.
In my opinion, this album is perfect for anyone mourning the feeling of being body slammed against scaffold barriers and having pints of piss launched at them. Jokes aside, the album is filled to the brim with 20 live versions of fan favourites from all six albums, so even if you're not a hard-core Monkeys enthusiast you're guaranteed to get a little serotonin boost from hearing the chants and emphatic moans of 'I Bet You Look Good On The Dancefloor' being electrified through the Royal Albert Hall.
The Album Headnodder: The View From The Afternoon (Live)
8. Everything Else Has Gone Wrong - Bombay Bombay Bicycle Club
I reckon I smashed a mirror when I was fourteen, because I waited seven sodding years for this album! Fortunately, it was worth the wait, Bombay Bicycle Club's fifth album 'Everything Else Has Gone Wrong' absolutely did not disappoint.
Channeling a lot of drive from their previous, and best to date, album 'So Long, See You Tomorrow', 'EEHGW' carries cleverly crafted crowd jumping guitar hooks, alongside nonchalant synth episodes, a new but kind of old now, staple of the band.
Tracks such as 'I Worry Bout You' and 'People People' are so charming and colourful it sort of compels you to lie in a field of flowers and forget about the world and all of the problems within it. However, if that's not your kind of thing, frontman Jack Steadman caters for all, title track 'Everything Else Has Gone Wrong' takes a different turn, with a dark and muddy established bass line, the tune is an equal balance of chaos and beauty in the essence of frustration and disillusion.
Without sounding too professional, the album is full of loveliness and was just the medicine the doctor ordered for the impending doom which was about to implode shortly after the release of 'EEHGW'.
The Album Headnodder: Eat, Sleep, Wake (Nothing But You)
7. Future Nostalgia - Dua Lipa
A couple of years ago I would've sneered at myself putting a pop album in my top ten albums of the year, not any more - I am quite the fan of solo female pop artists these days, especially Dua Lipa.
When I first heard Dua way back in 2016 I thought she had a cracking voice, but there was nothing that sold me hugely on her. I listened to her self-titled album when it was released in 2017 and added a couple of tracks to my playlist, specifically catered for getting ready before nights out, but nothing induced me to listen to the remainder of the album, it was just another pop record about heartbreak for me.
Now, her 2020 album 'Future Nostalgia' is a whole different story. With a freshly bleached (half) head of hair, the pop star has become so much more personable on this record, with disco twists in an outer space cosmic world, which follows dance and r&b influences from the likes of Jamiroquai, Moloko and Outkast.
Lipa tackles themes of female inequality, empowerment and intimacy throughout the album, all in a concoction of thunderous funk filled baselines, shiny synths and distorted keys finely mixed together with Dua Lipa's dulcet tones. "I know you ain't used to a female alpha" she asserts in title track 'Future Nostalgia', contrasting with 'Boys Will Be Boys' Dua recalls "And put your keys between your knuckles when there's boys around" as a second nature, thanks to the the reassurance of sexual assault/harassment that women face on a daily basis.
'Future Nostalgia' is packed with anthems fit for any house party, club (maybe in a couple of years when the shit show is over), or bedroom when you just fancy a bit of solo karaoke.
The Album Headnodder: Levitating
6. What Kinda Music - Tom Misch and Yussef Dayes
It's not unusual to find Tom Misch partnering up with one artist or another to create some smooth grooves to go flawlessly well with a glass of wine in the summer sun, so in that sense, finding out his second album was a co-release with Yussef Dayes didn't at all shock me.
His debut album, 'Geography', was polished to perfection and was just what fans of Misch craved after listening to 'Beat Tape 2' on repeat for the past three years, it stayed true to the original making of the jazz and soul musician. But 2020 was going to be different for Tom Misch, by deciding to create his second album alongside drummer and long time pal Yussef Dayes, making the album so much more exciting whilst still managing to maintain the ultimately chilled atmosphere.
Title track and debut single, 'What Kinda Music' was a glimpse into Misch's new sound, a world away from the jazz fuelled 'South Of The River'. With a raw and particularly unrefined stunted drum intro, the track is on a much darker level to the previous work Tom has produced, almost tricky to refine to a certain genre, would make sense, given the album title.
Both Dayes and Misch bring the best out of each other in this record, in instrumental tracks such a 'Kyiv' and 'Sensational' it exhibits both their signature fingerprints in such eccentric ways, the pair establish a connection as perfectly matched as cheese and wine.
The album certainly doesn't lack foot tapping and head nodding hooks and grooves. 'The Real' emphasising high-pitched distorted vocals in the refrain, opposing against Misch's woozy and dreamlike serenades in the main verses.
Combining two of the UK's heavyweight jazz musicians both maintaining a bewildering talent for separate instruments has created one of this year's most exciting collaborations for fans of soul to r&b and even rock. Definitely my favourite new project this year.
The Album Headnodder: Nightrider
5. Foolish Loving Spaces - Blossoms
Since their rise to fame with ultimate house party corker 'Charlemagne', the Stockport cheeky chaps still have never failed to provide us with disco ridden indie goodness three albums later.
Whilst 'Blossoms' was filled with tracks born for festival headline slots, second album 'Cool Like You' was wide eyed with a new hint of electro pop, 'Foolish Loving Spaces' however turns their head back to the 80's, glistening with flares of fixtures from the likes of ABBA and Talking Heads.
The record oozes with obsession and gooeyness, if it isn't already apparent through the track listing, 'Oh No (I Think I'm In Love)', 'Romance, Eh?' and 'Falling For Someone' just to give you a taster of what lies ahead. Refreshingly though, they're so far removed from your classic soppy lovesick ballads, permeated with notions of self depreciation, the album is wonderfully ironic, so much so, I find it literally impossible not to move at least one limb to the tune of 'Your Girlfriend', a weirdly uplifting track about the pain and desperation of how much you want to be with your best mate's S.O.
It's undoubtably still a Blossoms record but thanks to their constant boundary pushing they've elevated their sound to the next level, creating a pop/alternative/nostalgic/trippy genre, brave and proper cool.
The Album Headnodder: Your Girlfriend
4. Lianne La Havas - Lianne La Havas
I must admit, the first time I heard Lianne La Havas wasn't until some point in 2019 when I heard a track from her 2015 album 'Blood' in the pub I was working in at the time. I definitely became a fan of hers from that point on but couldn't help but feel a huge flaw looming over when investing myself in 'Blood', It felt hugely manufactured. I can't even fully explain why, but something had me unsettled about the album - maybe it was the bright coloured tropical album cover with La Havas placed in the centre in a 9-5 office outfit with a face like a slapped arse, I don't know.
Five years later, she releases her self titled 'Lianne La Havas', contrasting completely with her last album. The album art for a start, a portrait shot of the musician in a wholly candid state, her curly locks shading her face whilst her beaming smile takes centre stage. Something as simple as this formed an attachment to the album for me, it gave me a sense that the record was going to allow La Havas to breathe and produce music which was natural and a form of actual self-expression, not fuelled by bastard managers telling her to 'change'.
As expected, 'Lianne La Havas' is bewitchingly stripped-back, putting her skilful guitar playing and strong husky tones as a priority, she creates a neo-soul/folk styled piece of brilliance. Establishing a right to her own style and sound, as she hints in 'Bittersweet' and 'Sour Flower' "I'm born again" and "Now I'm free" the album stands alone with impassioned melodies which intoxicates you to keep listening.
After giving booze and fags the cold shoulder whilst recording the album, La Havas' vocals gives a new meaning to the word sublime. The new found confidence in the musician doesn't go a miss, as she takes the plunge and cover's Radiohead's 'Weird Fishes', giving the track a formidable soul-inspired remix, it's on par with the original in it's own right.
Lianne La Havas encompasses a prepossessing collection of acoustic and electric guitars, loungey drum punches and silky smooth keys to satisfy any palettes which crave for more of the likes of Amy Winehouse and Ms. Lauryn Hill.
The Album Headnodder: Please Don't Make Me Cry
3. Moral Panic - Nothing But Thieves
Coming in with the bronze medal are one of the first band's my parents begrudgingly let me see without being accompanied by an adult when I was fourteen, in a pub venue of all the places. Nothing But Thieves have pulled it out of the bag with every album so far, dominating their haunting rock tracks with the electrifying and operatic vocals of Conor Mason. I've been pretty consumed with 'Nothing But Thieves' and second album 'Broken Machine' in the past, but nothing prepared me for how much my AirPods were going to be cemented to my ears after the release of 'Moral Panic'.
Featuring a vigorous theme of dystopia in the record, it was particular fitting for a release at the end of this year. Whilst still maintaining their signature eerie and alternative sound, the Essex boys successfully intensify it through the use of much muddier guitar slams and the added extra of house piano chirps.
The album is a stunning amalgamation of Armageddon, anthems and heartache - bit of a perplexing combination but it really is one of the most listenable albums of 2020.
The Album Headnodder: Moral Panic
(Full review available here - https://isigston.wixsite.com/website/post/nothing-but-thieves-moral-panic )
2. Petals For Armor - Hayley Williams
Proudly taking second place is Ms Williams with her first solo project 'Petals For Armor', where she places herself at the highest point of the emotional vulnerability scale, incorporating her past trauma, mental health decline and reflection into an alluring spectacle of growth.
The launch of Paramore back in 2005 was monumental within the music industry, it soon forced the band to became a staple for the punk/rock/emo community. Since then Paramore have changed their sound to such an extent, last album 'After Laughter' was more fitting for indie pop fans. Since deciding to take her uninhabited path, Hayley Williams has developed her own individual sound into something so far detached from any past Paramore albums.
Debut single 'Simmer' initiates with sharp inhales and, despite how bizarre it sounds, beatboxing, which is reminiscent to an early Streets track but soon descends into compelling chilling number. Unlike tracks such as 'Watch Me While I Bloom', which embody infectious bass rumbles scattered with twinkles of synths which make it more suitable for dancing more than anything.
The record is incredibly diverse, each individual track can slot themselves into a different genre, so no two sound the same. Despite being created in the midst of misery, 'Petals For Armor' has bloomed into a gorgeous triumph and is the most unique collection of music I've heard all year.
The Album Headnodder: Dead Horse
(Full review available here - https://isigston.wixsite.com/website/post/hayley-williams-petals-for-amor )
1. The Slow Rush - Tame Impala
Taking first place is, of course, the wonderful Tame Impala with 'The Slow Rush'. After receiving my Spotify 2020 wrapped this year, I don't think I could've put anyone else in first place really...
I guess the obsession with this album came from the fact that I literally have begun to wear the grooves out of 'Currents', the desperation for a new album was unreal.
'The Slow Rush' was everything and more that I was hoping for with the release of a new Tame Impala record. A concept record fuelled by the theme of time, it makes the listening experience so much more valuable when you're able to pick out little Easter eggs through lyrics, effects and soundbites.
The album is less guitar heavy than previous records but concentrates further on funky bass hooks, methodical key pieces and weighty distortion - allowing it to flow closer to psychedelic pop, rather than rock.
A transcendent piece of work from Kevin Parker, who encompasses a theme of something we often wish would go quicker (especially now) into a drug infused haze of luminosity.
The Album Headnodder: Lost In Yesterday
Full review available here - https://isigston.wixsite.com/website/post/tame-impala-the-slow-rush )
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