A former member of era-defining bands Longpigs and Pulp, is it any surprise that the solo work of guitar hero Richard Hawley would be any less than pure magic? But don’t just take our word for it, find out for yourself the reasons why Jarvis Cocker, Alex Turner and Paul Weller are lifelong fans of his music too.
A young boy from Sheffield with a guitar on his back and a dream to become the next Elvis Presley ends up shaping music forever. Richard Hawley has surely woven his genius throughout not only the songs of various legendary bands but even more so through his work as a standalone artist. Moving on from his days as a Britpop legend, Richard Hawley’s later work takes on a very different turn. His songs have found a beautifully touching power all of their own. With tracks full of feeling and wonder, love and heartbreak, listen as Richard Hawley takes you away to another world in a way you never before thought possible.
Richard Hawley is very much the Johnny Marr of lush, orchestrated ballads. To be able to craft so many human emotions into his songs truly makes you feel part of something big and wonderful. I’d go so far as to say Richard Hawley is the Johnny Cash of his generation.
His debut album Coles Corner, our favourite of his many spectacular records, is pure bliss from start to finish.
Any die-hard fans of the Arctic Monkeys out there may remember the band’s side project/alias name, ‘The Death Ramps’, who invited Hawley to record with them in 2012, releasing their collaborative song ‘You and I’ as a B-side to the single Black Treacle the same year.
Arctic Monkeys frontman, Alex Turner, makes no secret of his admiration for Richard Hawley’s music for very good reason.
To play us out, Richard Hawley’s early song ‘Valentine’ from his Mercury prize nominated album Standing at the Sky’s Edge. Press play, lie back and be transported.
Fall Out Boy’s seventh studio album MANIA dropped 3 years ago today! That’s crazy how the last few years have completely flown past. So as an album I really loved but was somewhat polarising to an already divided fanbase, I thought on its birthday it’d be a good idea to look back on the 2018 effort from the Chicago heartthrobs.
One of the leading names in the pop-punk scene of the early 2000s, Fall Out Boy have been through numerous sounds and sonic shake-ups. After their four year hiatus, their comeback album Save Rock and Roll was received tremendously well, and fans wouldn’t have to wait long for a follow up in the form of American Beauty / American Psycho. But something was missing, both great albums but stylistically very connected. AB/AP sounding like a more polished off version of Save Rock and Roll, just perhaps more anthemic. So after the non-stop tour cycle of the last two albums, work began on the next. Initially scheduled for September 2017, the album was pushed back by the band to January 2018, upon which the beast was finally laid out to the world.
I actually think the album starts off on a really high note, Stay Frosty Royal Milk Tea is a brilliant fast-paced in your face track that just fills you with adrenaline. Combining this heavy rock riff with electronica in something that sounds not terribly out of place amongst the likes of T2: Trainspotting the soundtrack. Leading straight into The Last Of The Real Ones, another fasted paced but piano-driven rock anthem. After the general new sound of the singles we were treated to in the first half of 2017, The Last Of The Real Ones showed fans that Fall Out Boy were still capable of that modern pop-punk style, but still showing off some of that new sound this album had to offer. An almost off-kilter psychedelic soundscape is present right the way through this album which for Fall Out Boy, is actually something the band hasn’t really explored before, and for me was a very welcome change, people laugh at me for saying this but it was almost like a sonic maturity bled through this record and I really dig it.
HOLD ME TIGHT OR DON’T fuses funk like ska influences to the typical pop-punk prowess but works really well. I think it’s this track that the main issue I hear people bring up about this album starts to show, which is the over-production. Now it’s all a stylistic thing, but in some tracks my god it really works to benefit them. Like I said StayFrosty is a blood-pumping powerhouse and I think the production really compliments the performance on that track really well. But with HOLD ME TIGHT, I think some of the guitars and even the bass get left behind especially in that first verse. But all of those problems are fixed in live performances, the bass is cranked up and the clean guitar parts are much more present. Which is the same to be said for Wilson (Expensive Mistakes). Interpolating Straight To Hell by The Clash, this was a song that was first heard live, but because of this, I think I got too attached to that rendition. The album version is great too, but I think this track in particular benefits with the rawer sound of the guitars, the bass and the drums. The pre-chorus especially just sounds absolutely majestic live but in the studio sounds like somethings holding the overall sound back which is a shame because it’s a really well-written song. A band like Fall Out Boy never really loses it’s ’emo’ identity of the era they thrived in and the line “I’ll stop wearing black when they make a darker colour” just screams out to the inner alternative you.
Church is just a really cool track, the bassline is absolutely monstrous, in fact, this album really allows the bass to shine a lot more than the last 2 albums which adds a new dimension to the tracks which I absolutely adore. And I mean who the hell gave Patrick Stump and crew a choir? And it works? Insane. And the breakdown makes you want to stop the world. It’s beefy and begs for your attention, and Stump’s vocals on this track are great, really showing off that soul voice of his.
Starting the second half of the album is Heaven’sGate, a pretty ballad with a kick. I think it’s probably one that gets some of the least attention given to, but really I think that’s generally how the second half of MANIA as a whole is lit. For one of the slower tracks on the record, it has some of the cooler drum fills drummer Andy Hurley has to offer, perhaps the softened tone of the verse allows for intricate drum parts to pop out more than they would in the mix of a more energy driven song like Stay Frosty. Champion swiftly comes in next and to be honest, I really like this album all the way through so I can really appreciate what the boys were going for, especially here with Champion but I also get why people weren’t so keen. It’s very clearly the Centuries of this LP, very radio-friendly. Although don’t shoot me but I think I prefer this over Centuries… I mean yes the lyrical content (choruses aside) isn’t as diverse as Centuries, but on a performance and songwriting side, I think it just pops out here better, and the vocals Stump lays down especially on that outro is just killer.
Up next is Sunshine Riptide which I think is a really interesting track musically. Combining psychedelic sounds with those of reggae and hip-hop especially in the way of the flow of Stump’s vocal performance accompanied by featuring artist Burna Boy, who’s verse really grooves with the tracks vibe so well, with the bassline in this track being especially delicious. But I think because it is so new to the scope of Fall Out Boy’s sound, it leaves it in the firing range of “this isn’t pop-punk, boo”. Which is perfectly valid, but I think for a band that’s been around for nearly 20 years, to still be able to experiment with sounds and explore other genres after being shoehorned into such a specific scene, is a testament to the guys. However speaking of experimentation next is Young and Menace, the lead or ‘first song we had finished so we put this one out’ single (which doesn’t have as good a ring to it).
The track starts with some really eerie verses, low register vocals, clean chorus drenched guitars heralding this nightmarish psychedelic vibe that perked my interest very quickly, building to an EDM chorus. Which yeah not the obvious musical transition, and was extremely polarising at the time. It grew on me between its release and the rest of the album following the year after, but I completely get why fans didn’t respond well to it. You take a formula of a sound and out of the blue do something so different that it is almost unrecognisable as the band who released Sugar, We’re Goin Down. The vocal chopped and pitched vocals in the chorus being very out of the ordinary for a band like Fall Out Boy, at least to this scale, but the band said they needed a palate cleanser, the emphasis on the colour purple and the entire shift in sound, it walked so the rest of MANIA could run. The left turn of a track like Young and Menace after the double success of their last two albums just solidified the presence that Fall Out Boy are able to do anything, and whilst not everyone’s cup of tea, it definitely solidified the start of a new era for the band.
The albums closer Bishop’s Knife Trick is genuinely one of my favourite tracks the band have ever put out. This really is taking the emotions of classic Fall Out Boy and transforming it into the modern world. Led by a piano and a jangly guitar swirling that psychedelic sound around your head before exploding into a hunk of a chorus, blowing you out into space. The darker tone of the lyrics really bringing out this darker and more mature sound this record tries to rub off on you within its half-hour playtime, it’s just fantastic. The chorus is just addictive and makes you long for the days of concerts where you could scream at the top of your lungs to the songs that got you through your teens. It’s music video being a direct parody of their decade-old song Thnks Fr Th Mmrs‘ video, which I sort of feel is a bit of a detribute to the song because of the abrupt tone of its interruptions, but maybe otherwise it would have come across ‘too deep’ or something who knows.
And that’s it, that’s the album, it’s not particularly long, but it does stick itself out as a solid staple in the band’s discography. Looking back on MANIA I still really like it, if anything over the years I’ve grown fonder of it. There’s a saying people come up with for things like this which is being “ahead of its time” which I’m not quite sure of my position on that, but I do think that MANIA was overshadowed by the high train of radio success Fall Out Boy had in their early days and in the first few years of their comeback. But the band said this was never meant to be a radio album, and how can you stay inspired by churning out the same stuff. People did treat Folie A Deux harshly at the time, but now a decade later it’s considered by many some of their best work. Hell MANIA was nominated for a Grammy, not that Grammy’s really mean anything nowadays, but I think MANIA deserved a better reception than the one it got.
I hope you enjoyed this look back regardless of your stand on the album, and with a lot of albums big birthdays happening this year (from Arctic Monkeys, Blur, The 1975 and many more), do expect more of these to come and let us know of any albums you think we should cover.
21 year old Frances Garrett is a fundamentally fabulous up and coming indie icon. Masqueraded behind the stage name Frances Forever, an ode to the song Francis Forever by indie inspiration Mitski. Anyone who’s anyone has heard their monumental track ‘Space Girl’ which has blown up on TikTok in the last couple months, but their discography is so rich that to only be familiar with the viral hit quite frankly is a crime. If you’re a fan of artists such as Clairo, Sidney Gish and Cavetown, then get ready to add a new favourite artist to your roster.
Since releasing their EP pockets back in 2018, Garrett has made noise and gained acclaim around their own city of Boston, but aptly disturbed the airways all around the world. Hazy dreamscapes, almost touching on slight psychedelic sounds, all in combination to serenade your brain into a high that’s near impossible to get over.
Track 1 from pockets is the crooning cry inside my car, which casually goes through the strains of mental health within young people, tuned to an addictive, upbeat and jolly sounding song. I think it goes to show the strength of an artist to go into depth even if casually, but make their problems a sugary singalong. Art is an expressive form of talent, and to turn your life into a canvas for the world to consume and hopefully relate to, is something that has had a dramatic increase since the digital age of music in the last decade. The quality of meaning and personality that modern artists put into practice is abundant, and Garrett is no exception.
However on the contrary, you have tracks like fuck u, taken from pockets also, which takes the lyrical theme and explores the correlation between the meaning, the lyrics themselves and how a real human would compose themselves when going through those emotion. It’s almost self aware, one of the lyrics being “Because i’m only thinking ’bout you, and only you and only you / I can’t think of anyone but you / The only rhyme in this song rhymes with you and only you” which at first glance would come across as ‘lazy’ songwriting, but you look at the realm of the track and that’s precisely the joke, and it’s actually quite clever really. One thing Garrett has made clear is their stance on the stigma of ‘how to’ write a song, “Something that I hate about music these days is, ‘Oh, you can’t put that lyric in because that’s, like, a joke lyric, that’s not serious music’. I really think that you shouldn’t take yourself too seriously as a songwriter.” Which is something to really think about, if you want to be true, and want your audience to feel comfortable enough to relate to your experiences, then why become somebody you’re not?
Other tracks from Garrett such as the second half of EP pockets, or single FrankensteinWannabe, are just as efficacious as the tracks mentioned above. Garrett’s musical portfolio is wondrous, and I think the only sort of let down is that there isn’t a crazy amount of music to listen to as of yet. But that’s part of the thrill of discovering an artist such as Frances Forever, you get to watch them release more and grow. You as the listener are as much of the process as the songwriter, and so whatever the future holds for Garrett is absolutely boundless. Not to mention the heaps of covers on their official YouTube channel dating all the way back to 2015, which if you’re desperate to hear more from the Boston badass, I cannot quantify how much you should binge through it all. In just December of last year they were signed to MOM+POP, so I think it’s safe to say 2021 could bring a copious amount of content to delight your ears for years to come.
So I think it best to love you and leave you with the track that’s done the world the pleasure of introducing Frances Forever to the global audience of TikTok; Space Girl. But here’s a live version instead, because this past year has been far too unkind to the live music scene. So take this as a reminder of how fantastic and inspiring live performances are, but also to show off the talent of Frances and friends. Keep your eyes on this one, like the route to the Space Girl herself, the only way for Frances Forever is up.
Well somehow we’re at the end of 2020 (yeah happy new year by the way) and what a rollercoaster it has been. Nobody’s year went to plan, and we’ve all been desperate for a better 2021. But looking back on the year, we were treated to a lot of pretty awesome music. So to recap on our favourites, the TWM team have come together to give you our collective record collection, of our favourite albums that 2020 had to offer us.
SONGS FOR THE GENERAL PUBLIC BY THE LEMON TWIGS
Kylie: Let’s dive into my favourite record of the year, shall we? Prior to the album’s release in August, I simply considered myself a casual fan of The Lemon Twigs. As I type this, however, there is a poster hung up high on my wall along with some merch tucked away in my closet. With that in mind, it’s safe to say I completely fell in love after listening to Songs For The General Public (because, well, it’s the truth!). I grew up being surrounded by the roars of the 1970s, so naturally, I have always held a slight preference for that decade of songwriting and musical craftsmanship as a whole. The Lemon Twigs flawlessly introduce that particular flare into the modern age, and they do so in a way that isn’t a copycat, cut-and-paste sound. It’s very distinctly them, and although their influences may shine through every now and then, it’s still The Lemon Twigs. Songs For The General Public is nothing short of brilliance; each and every track is a work of art. I still have trouble deciding my favourite song off of this record, but because I want every single person reading this to give it a full listen, here are three recommendations: Nobody Holds You (Closer Than The One You Haven’t Met), Fight, and Moon. Thank me later.
Liam: Somehow managing to channel Bowie’s ghost, Declan McKenna managed to drop one of the best albums I’ve heard in a long time, definitely my favourite record of the year. An album with no filler and some killer songwriting. If you thought What Do You Think About The Car? was good, your mind will be blown upon hearing track one of Zeros. Upon its release I could not stop listening to it, other albums popped up here and there but this album for me was an instant hit, Declan felt unstoppable. Pure indie pop production that made the hits POP out. Declan’s voice solidly grown since the last record, the voice cracks replaced with raspy belts and shouts that somehow envoke more anger and frustration from the social commentary of the last album somehow. Hit by a plague of a year, this album shone a light through the darkness for all to see.
K: And well if I were to sum up this record in just a few words, I’d probably say something along the lines of thrilling, electrifying, and powerful. Zeros is an absolute explosion of an album. As you make your way through the tracklist, you are thwarted deeper and deeper into the alternate universe Declan has created, though, you may eventually find that it isn’t too far off from our own. Using his music to cast a spotlight on important world issues, Declan isn’t a stranger to political music. His debut album, What Do You Think About The Car?, led to many labelling Declan as a political musician due to the album’s strong messages and ideas. Although he doesn’t want to trap himself in one box when it comes to songwriting, Zeros emphasizes the importance of a variety of issues in a more intricate, storytelling fashion. Focusing on environmental issues, abuse of power, and the ever-looming fear of the unknown, Declan McKenna’s sophomore album is certainly one to remember.
L: The Archer was a phenomenal album from Portland singer-songwriter Alexandra Savior. Completely rounding her sound previously crafted from her first LP Belladonna Of Sadness, but this time completely on her own without the help of Alex Turner. With the pressure of losing her record deal, manager and writing the entire album on her own, this almost gateway of freedom allowed Savior to explore her sound and the ways she could fine-tune it to become The Archer. Being finished all the way back in 2018, after the label struggles, her prowess was seen by 30th Century Records, and in January she dropped her most ambitious work to date. The Archer makes you feel as if your life is a movie, and God herself has decided to write the soundtrack. Alexandra Savior’s latest effort is the effect of slowing down time during an adrenaline rush, a complete pipe dream that blends to your skin.
Aimee: The moment I first listened to Belladonna Of Sadness I knew that Alexandra Savior was something special. She delivered such a well-executed record with real conviction, but as mentioned by Liam, her 2020 release The Archer truly hits the target. This time lighter and cloaked with a haze of mist, her second record is enough of a departure to keep things fresh but still contains that cinematic wonder we already loved her for. She really hones that trade-mark sound whilst using it to show a different side; where a greater sense of vulnerability is present (but still backed by that strong attitude and spirit rooted within). The Archer effortlessly sweeps you away on a journey as personal as creating it was to Savior. A perfect experience for entering a new year; the LP gives you what feels like endless time and space to reminisce and reflect on feelings that have washed over or hit hard and even dream about what is to come.
A:Ultra Mono was the first album that I wrote about for TWM and what an album it is; loud, gutsy and in your face (exactly what a record from Idles should be). It kicked off my journey here with a bang, their transitional tracks and brash beating sound a sure-fire way of supplying a bolt of energy to any listener. Sticking true to their guns, there’s no shying away from divisive topics with bold declarations; delivered via lyrics that paint a picture with each line. The Bristol band have proven their strength from the start but have definitely evolved record to record with this third being their most diverse yet. The LP is not only charged and weighty but also flexes their abilities to produce a softer sound at times (see: ‘A Hymn’), as well as having some fun with cheeky digs and quick-witted lines (‘Grounds’). Ultra Mono couldn’t have come at a better time; never shying away from harsh truths and providing a great dose of motivation, it was one hell of a record to help us through one of the strangest years imaginable. I’m sure it will see us through whatever is heading our way next too.
James: I think it’s very much true that punk is BACK IN and my god how good it feels to see a record like Ultra Mono become so adored by music lovers. As my dad asked me yesterday with a tear in his eye ‘your generation are listening to punk again?’ Yes, dad, Ultra Mono is certainly paving the way for a generation of new bands and a bit of kick-ass music is exactly what last year needed to see us through to the end. It’s the album which first brought IDLES to my attention and something tells me I’ll be buying their records for a long time to come now.
K: I can vividly remember what I was doing and where I was at when Kevin Parker announced last year that a new album was on the horizon. I swore that this was a sign that 2020 was about to be incredible; I mean, a new Tame album after five years? Pinch me.
Yikes.
Even though we are all well aware of the fact that the year turned out to be a giant catastrophe, The Slow Rush gave us one last treat before the world flipped upside down. I can confidently say that it was well worth the wait, and although I’m still mourning the fact that I was meant to catch a show this year, I’m even more confident that the live shows will be just as worth it. With tracks like “Lost in Yesterday,” “Instant Destiny,” and “Breathe Deeper,” it’d be criminal to not include this record on any “Best of 2020” list. Everything Tame Impala puts out is the musical manifestation of magic, and The Slow Rush is certainly no exception.
L: Exactly, five years after the release of Currents and Kevin Parker drops The Slow Rush? Damn. A record like Currents is hard to top, but Parker definitely gave us his all. This album for me was probably the most prevalent LP throughout the year. With some albums, you get lost in the hype and after 3 months of non-stop exposure to it, you suddenly find yourself distant from it, having moved onto the next big release. But The Slow Rush was different. Different tracks growing on me and becoming my next favourite off the album, right from it’s release in February, to only a couple weeks ago upon me grabbing a vinyl copy and hearing it again in a whole new light. 5 years worth of inspiration, experience and production has given us some of the most solid producing Parker has given us yet. The Slow Rush was a good summary for this year, and for me, really helped me get through this challenge. Hearing track 1, One More Year hits differently now, and I think this entire album will now for the rest of my life.
L: Donald Glover’s fourth studio album 3.15.20 came out of nowhere, but then seemed to slip under the radar a smidge too. Being released just days before the first national lockdown here in the UK, perhaps people’s minds were far too spaced out to fully notice and appreciate it. Which is a massive shame because it’s actually a really good record. If you’re expecting Because The Internet 2.0 or Awaken My Love the sequel then you’ll be disappointed, but if you’ve been liking the latest ventures from Childish Gambino like This Is America and Feels Like Summer you’ll be in for a treat, especially with Feels Like Summer making the cut onto the record. With features from Ariana Grande to 21 Savage and more, the album flows completely seamlessly, with each track transitioning into the next. Each track apart from 2 exceptions are unnamed, each entitled with the timestamp that each respective track starts during the LP. What this does though, is in a modern world where the consumption of singles has almost completely thrashed the album playthrough out of the park, it makes you listen to this whole album through and through, and appreciate all 57 minutes of it from start to finish. And with it being a bit of a hidden gem at the minute, you can bet you’ll find some tracks you wish you’d have known sooner.
K: Bliss. Pure, bona fide bliss. Katy J Pearson is an absolute gift of a musician, and her debut album as a solo artist, Return, marks the beginning of a luminescent new chapter for the young singer. This record is a peaceful spring afternoon, swinging in a hammock, book in hand…
Alright, alright I’m back; I got a bit lost in my own metaphor. Words cannot accurately express my love for this record enough. I am completely infatuated with every single aspect of it, and as soon as I heard it for the first time, I texted just about everyone I know about this beautiful songstress. I even wrote a piece on her, which you can check out here (wink, wink). This record quickly became a top pick for me before I even finished it in its entirety, and I genuinely cannot wait to see what else is in store. Do yourselves a favour, stop what you’re doing, and give Katy J Pearson a listen—you will not regret it.
L: Thundercat’s fourth studio album It Is What It Is was a smash in the ballpark for the Californian singer and bassist. Smooth soul-infused funk to serenade you through whatever your day may bring you. There’s no denying the talent within this man, the things he plays and sings over at the same time were always complex and beautiful, but his 2020 effort surpassed expectations. Featuring artists such as Steve Lacy, Childish Gambino, Louis Cole and Steve Arrington, the album certainly knows how to catch your ears and dig in deep to your soul. This record goes through a lot of emotions but in typical Thundercat fashion, it’s humorous, and that little element of realism helps ground this artistically wonderful collection of music, to the real world. It’s heaven don’t get me wrong, but it’s heaven with a sign with your name on it.
J: Just when you thought Fontaines D.C. couldn’t top their debut album Dogrel (2019), in 2020, they came through with perhaps the most anticipated and most incredible follow-up album since Joy Division’s Closer. I’ve said it before, and I’ll say it again, Fontaines D.C. will likely be remembered as one of the best underground post-punk bands of their generation. They may not have been able to tour the album extensively this year, however, but it’s by no means hindered the response from fans. We can’t wait to see them put on a show with the songs from their second LP once venues reopen. Instead of touring, the band have been hard at work on the excellent live sessions which premiered on their YouTube channel. The sessions are truly the closest I’ve felt to the excitement and atmosphere of a live gig all year.
L: Yeah I mean I’ll be honest when this album dropped I didn’t really think it had much of a lasting impression on me. But over the weeks I noticed myself coming back to it, over and over. Tracks such as I Don’t Belong and the title track A Hero’s Death completely dominating my months’ playlists at times. After thoroughly enjoying Dogrel, it was 2020s A Hero’s Death that solidified me as a fan of Fontaines D.C.
L: The wild ride of The 1975s fourth album was not an easy one, for fans or the band. After having to delay the album multiple times, and then a global pandemic cancelling the entire tour beyond rescheduling. Notes On A Condition Form was a long, coherently messy (if that’s a term we can all get behind) album, and that’s not to knock it, I love how diverse the album is. I know I said this about The Slow Rush but I think within the context of 2020 and isolation, this album really did feel connected to my soul when it was released. Somehow encapsulating almost every anxiety and pleasure that you could go through during this heartache of a year. Lyrically perhaps some of Matty’s most personal delves into his mind, but so intrusively relevant into mine as well. It’s one of those records that listening back to, you’ll never really separate it’s universe to the year it happened to collide with, but in the years to come, perhaps that’s something good. A retrospective of the worst, and a reminder that even in the darkest of times, we can pull through anything.
K: Alright, I may be a bit biased here considering The 1975 is my favourite modern band, but this is without a doubt one of my top records of the year. NOACF is new territory for the band, experimenting with different sounds, styles, and genres, and the end result is otherworldly. I listened to the entire album as soon as it dropped at midnight, and I was on the phone with my friend since we couldn’t be together to hear it. It was truly such a magical, unforgettable experience; it was a few months into the madness of the pandemic, and although we were separated, this album helped us feel connected again. Without trying to get too sappy here, this album has undeniably been a rock for me throughout the year. I absolutely adore every single song on NOACF, and I have my fingers crossed that I’ll be able to hear them live sooner than expected.
L: Nothing But Thieves latest outing certainly packs a punch. The typical RnB inspired rockers have gone at it again, this time with an emphasis on electronic music that really nails a new sound for the band, whilst staying true to their roots. It’s this kind of innovation that’s saving rock and roll. Moral Panic is an album written before Covid times but somehow completely gets the struggles and issues we’ve faced this year. I don’t know if that’s supposed to be comforting or not as a social commentary. But whatever the case, it makes for an integral listen for those who’ve simply had enough of the nightmare that has been 2020. Moral Panic is setting in, and Nothing But Thieves are not gonna let that slide. This is a rock record where the guitars are amped up to groove with you. If rock decided to start up a disco, this is what they’d play first. Another album that rounds up those 2020 vibes but in a way that you can dance your cares away in your living room.
J: In a year which felt like the world was falling apart and had everyone shaking their head at the thought of four more years of Trump, Run The Jewels sucker-punched the world with their highly anticipated fourth album. Like each of their albums before this, the record is a frustration driven rave in your pocket from beginning to end. The angst of a generation poured into one great record. In response to some of the year’s events which woke up the world; the killing of George Floyd and the Black Lives Matter protests which followed, RTJ4 makes good on the promise of keeping that flame alive with an important collaboration of phenomenal hip-hop artists. Along with Pharrell Williams, DJ Premier, desert rock legend Josh Homme and many more, RTJ4 is a library of fight songs to take the momentum built this year into the next.
L: Speaking of Mr Homme as a big fan of his work, upon hearing he co-produced the album I just had to listen to it, and I was pleasantly surprised that the album sounded nothing like any of his typical work. I wouldn’t have known he had anything to do with the album had it not been for the beauty of Wikipedia and word of mouth. But Homme aside, all that meant was I discovered RTJ4 and really dug the grooves this record had on offer. With pulling the pin being my personal highlight, the entire album was just such a wonderful avert of my expectations going into it completely blind, which was such a blissful feeling because nowadays it’s damn near impossible to do that. But the payoff was well worth it and discovering Run The Jewels was something brilliant.
L: Mura Masa’s second album was a change of tone from their first musical venture. R.Y.C becomes this millennial outcry. Being young in the 21st century is no easy feat, but R.Y.C is an album that encapsulates all the rage of being a young adult in 2020. Being this more guitar-driven, sugar-coated, slacker, indie/folk/pop combine harvest, there’s little here to not relate to. Alexander Crossan’s vocals really hit home here, completely humanizing the angst and fear of modernity. But he’s got help all over the album, with features from Clairo, Slowthai, Ellie Rowsell of Wolf Alice, Georgia and many more. All within that young adult bracket, so the roots of this record dig really deep into every performance. Going from the blissful calmic a meeting at an oak tree Featuring Ned Green to the angry demoralisation of Deal Wiv It Featuring Slowthai, possibly the highlight of the whole album, talking about the harsh reality of gentrification and the changes of the modern world that sticks out like an upright nail in a game of heads down thumbs up. A shout for attention that’s completely and utterly deserved. This entire album goes through the ropes as the soundtrack of a coming of age film for the modern sadboi, but trust me, it’s completely worth the experience of listening all the way through.
And so here we are at the end of our collection. Out of all the albums we loved throughout the year, there was just one that we all loved and felt like it deserved the spotlight.
Before we get onto why we love this album so much, all of us at TWM would like to thank you for your support over our magazine. We absolutely love sharing new music with you, and we’ve got a lot more in store for this new year.
So if you only take just one record from this list, we can all safely say this is a safe bet to go with.
WORKING MEN’S CLUB BY WORKING MEN’S CLUB
K: Stumbling upon this group felt like unearthing pure gold. Working Men’s Club is absolutely hypnotic, and at times, it’s hard to believe this record isn’t a hidden gem from the 80s or 90s. As we all know, 2020 was the year of distance and isolation, but this record massively helps with making you feel like you’re on a night out despite staying at home in your pyjamas while desperately trying to figure out what day of the week it is. Aside from the mesmerizing, addictive beats, the songwriting is just as brilliant (“Cook a Coffee,” anyone?). There is an abundance of genius within this album, and considering the fact that this is just their debut, Working Men’s Club are well on their way to becoming something incredibly special.
L: I remember when Aimee’s article on them went live and just being in awe and genuine hype upon hearing Valleys. All that craving for 80s New Wave, Dance and Electronica soundscape that I genuinely don’t think I’ve heard since the likes of New Order. I love it when bands today hark back to the days of the Hacienda, but no band I think has ever managed to dissect the core of that music, translate it into the modern-day so perfectly but still remaining so presently 80s. It’s nostalgic and futuristic at the same time. For a bands debut album, you really can’t get much better than this.
A: Nothing’s ever held me in more of a trance than when I first experienced Working Men’s Club’s eponymous debut record. Growing up in Manchester, grey, drizzly days spent wandering around the city would heavily feature daydreams of imagining what it was like back in the 80s and 90s. This album is as if somebody read my mind and wrote a soundtrack to accompany them. I was so excited to find something individual and new that simultaneously felt familiar in the best of ways; it felt like the record I could only ever wish for. Ever since that came true, I’ve spent a lot of time with it on repeat and my love hasn’t once wavered. Whether I talk to someone who was also lucky enough to stumble upon the LP like myself or insisted that family and friends listen, everyone who hears is in undeniable agreement on just how good it is. You can’t help but feel psyched up and ready to rave which is exactly what we needed to get through 2020 and will surely help us kick start the new year and look forward to a future with more music from Working Men’s Club.
J: Too right about being transported back to 80s Manchester, you don’t need to have grown up in the golden era to crave dancing in a sweaty nightclub while listening to any of their brilliant songs. Watching this music video makes me miss those late nights with friends, in music terms, it’s about as close to an antidote for the boredom 2020 brought as we could get. These are songs not just for the younger generation, but something about the Working Men’s Club sound seems to entice almost anyone who listens. If you played this at Christmas I guarantee your nan would be up on her feet too. For Working Men’s Club, this is only just the beginning… 2021 awaits. If there’s anything you take away from this list, get yourself a copy of this album.
Stumbling upon Malcolm.’s music was by pure chance, thanks to the ever-elusive ways of the Instagram algorithm. As soon as I heard the preview for his latest release, “Nobody,” I instantly wanted to put a spotlight on this up-and-coming artist. For fans of indie and surf rock, this one’s for you.
To start things off, how would you describe yourself and your music to a new audience?
Describing myself is definitely weird, but I guess I’m what happens when someone bases their personality on sitcom characters. I’m pretty introverted, I self deprecate a lot, I’m gifted at avoiding drama, and I’m in a constant state of confusion. My music is a little easier to explain. It’s mostly a blend of rock and R&B. I use mostly real instruments, and I usually put groove first. It’s pretty much modern soft rock.
You recently put out a song called “Nobody” (which is an absolute tune, might I add). What do you want your listeners to take away from the track?
“Nobody” is a song that’s all about contemplating being single. If fans can take anything away from it, it’s to not worry if you don’t have anyone, and don’t force yourself into anything if you’re not ready.
You also released your debut album Vibey Rock. back in May—congratulations! What was the overall process like, and what helped inspire each track?
Vibey Rock. was a long time coming. I had the idea for it after I released my first EP, Khaki, in 2017. That’s when I started morphing my sound into a more 70s style, using a lot of warm and bright sounds as well as a more organic approach. The first track that kind of pushed me in that direction was “Far Away,” and although it’s not actually on the album, it really showed me the type of vibe it could be.
“ADHD” was written after finally being diagnosed. It started mostly as a joke song, but it’s also just a good introduction to who I am. “Slow Motion” is a feel-good track about a crush, and also one of the best basslines I’ve made. The collaborator, RUSUR, is a guy I met online around five years ago after entering a remix contest for one of his tracks, back when he still went by Johnny Gr4ves. “Sorry Girl” was literally just me wondering if I could make a filler track, and “Manly Man” was what happened when I decided to try to make an early-60s sounding track; it’s all about making fun of my lack of traditional masculinity.
“Same Mistakes” was written after I sent a drunk text to a girl and instantly regretted it. Luckily, she was in another country and it didn’t actually go through! “Leave Me Alone” is just an introvert anthem; if you’ve ever had your social battery run out at a party, you know the feeling. Next, “Lonely Sun” came after hearing Vampire Weekend’s “Sunflower.” I was just amazed by the complexity of it without it taking away from the overall feel-good vibe of it. Lastly, “Ride Again” is my favourite song I’ve made; it’s kind of a finale for songs about the girl most of my lyrics have been about. Writing this track helped me accept that we may never get back together, and it’s okay.
As we make these first few steps into the new year, it’s safe to say that it’s a relief to leave 2020 behind. As a musician, how did the year affect you?
Honestly, I got lucky this 2020. I rarely played shows before 2020, and I got a lot of time to spend making new music. Yes, not everything went well for me, but compared to other artists, I didn’t suffer many losses.
Livestream concerts became the norm last year as well. Do you have any plans of doing your own in the coming months?
I don’t think I’ll be doing any livestream concerts in the near future. I’m not against them, but I’d rather just wait until the world opens up again and, in the meantime, push my energy into making as much music as possible. The thrill of performing isn’t really there without a live audience.
Steering away from the super fun topic of COVID, I absolutely adore your sound. How did you develop it, and are there any musicians that helped inspire it?
I’m glad you like it! My sound choice is very inspired by classic rock and soul, while my songwriting mostly comes from alternative R&B. The artists that have had the biggest impact on my sound are definitely more modern ones, like Anderson .Paak, Childish Gambino, Harry Styles, Asher Roth, Rex Orange County, Leon Bridges, and Dominic Fike.
“ANTIGLOW” is a really incredible track, and I read on your Instagram page that you wrote it as a follow-up to an older song of yours called “Glow.” What drove you to write this newer track?
“ANTIGLOW” and “Glow” are set in the same environment, yet have totally different perspectives. When I wrote “Glow,” I made it with one of my best friends. We would go to a lot of local dances, and being the few kids that were good at dancing, we always killed it. Now, I’ve lost interest; it just doesn’t feel the same anymore. I don’t like showing off as much, I’m not big on hitting on strangers, and I suck at drinking.
The main connection between the songs is a callback line to “Glow.” The first line of it is, “It’s feeling like a disco,” so in “Antiglow,” I put, “It’s no longer feeling like a disco,” kind of as an easter egg for some of my older fans. It was actually my roommate Brody Larson that came up with the title idea, though! He’s also a musician and is obsessed with unique titles.
Another song of yours, “Jim & Pam (Goddamn),” has raked in over 70k listens on Spotify, and it was released just a couple of months ago in August. It goes without saying that this is an amazing accomplishment; did you ever expect it to receive as much attention as it has so quickly?
I’m super grateful that “Jim and Pam (Goddamn)” is getting the love it is. I kind of knew when I wrote the hook that it would be one of my more popular songs. So, I put more money into the ads for it than usual, and I guess the Spotify algorithm gods rewarded me for it. You can never tell how well a song will do, so I always hope for the best and expect the worst. Sometimes, it works out!
What can we expect coming up? Any more new songs on the horizon?
For new music, I’m releasing one single a month for as long as I can keep it going. I started doing that with “Jim & Pam” and have been keeping it going since. My next song, titled “Friends,” is going to come out on the 25th of January. I also plan on releasing two remakes of some older songs of mine that haven’t aged too well, those being “Pretty Please” and “Betty White.”
To wrap up, what would be your absolute dream gig?
That’s definitely a cool thing to think about; I think a big outdoor show would be super fun! Having it somewhere warm like Australia or Hawaii would make it even better. I don’t think anything else would suit my music better.
