Hearing The Garden’s music for the first time was like unlocking a door that draws you into an entirely different universe. Their sound, as well as their aesthetics, are both completely and distinctively their own. They’ve got a special kind of magic that has presented itself through genre-bending, undeniable originality, and a full creative exploration that’s led them towards developing some of the most unique music of our time.
“California Here We Go” was my introduction to twin brothers Wyatt and Fletcher Shears, and I found myself completely enamored. The sultry bassline, the addictive chorus, and their love for jester-styled makeup had me wanting to dive in deeper as soon as the song was over. For those just beginning to explore The Garden’s discography, this is, without a doubt, an essential song to keep under your belt.
Released just a few months prior, “Call This # Now” is another staple track that carries whimsically hypnotic energy. The music video matches it perfectly, too, and it’s one that I frequently revisit; not only is it just a music video that I genuinely love to watch, but it’s also a good glimpse into what the Shears brothers are all about. I guarantee that after listening to this song—even just once—you’ll find yourself subconsciously humming the chorus on multiple occasions. Or, maybe, I’m just projecting.
You didn’t think I’d leave out “Thy Mission,” did you? It’s safe to say that this is currently The Garden’s most popular song, and with the combined forces of the Shears twins and Mac Demarco, it’s no wonder why this is such a well-received song. The artists, though seemingly on different wavelengths, mesh together so flawlessly; it’s almost as though it was a match made in heaven (or, based on the video, hell). Like “Call This # Now,” this is another music video I am obsessed with. They took an already interesting concept and put their own unique spin on it, and the end result is entertaining, comedic, and stunning.
Alright, there are plenty of other key songs from The Garden I could recommend, but let’s shed some light on their latest release, shall we? Dropped in March 2020, Kiss My Super Bowl Ring consists of eleven explosive tracks that each add something powerful to the mix. It’s truly so fascinating to hear how seamlessly they play around with different sounds—even within the same song—and this album provides so much variety that you’re bound to find at least something to love. My personal favourite is “AMPM Truck,” give it a listen here:
Wyatt and Fletcher have their own individual side projects as well. Wyatt makes his music under the name “Enjoy,” and Fletcher is behind “Puzzle.” These experimental projects are absolutely phenomenal, and I’m wholeheartedly a massive fan of both. A lot of the music from Enjoy and Puzzle is much more laid-back and dreamy compared to their work in The Garden, so if that’s more of your vibe, definitely give both projects a listen. 10/10, would highly recommend.
So, in short: The Garden has quickly become one of my favourite bands. They are certainly ones to watch as they shake up the music scene, and if you’re new to their music, you’re going to want to stick around. I have completely fallen in love with their impressive artistic range and style, and I’m sure you guys will, too.
I’ll leave you with one last thing, and it’s a performance I’ve found myself watching daily. Give it a watch, and you’ll understand why.
Myles Wheeler (better known as Itsameyleo on the internet) is one of the most fascinating, talented and creative individuals of our generation. TWM is all about music foremost, but Myles here is better known as a major YouTuber or vlogger or whatever floats your boat. But not only is Myles completely my favourite YouTube content creator, but he is also one fabulous musician. You see, Myles has a wondrous talent for storytelling, take a look at any of his videos, the passion that goes into making each one, the emotional depth and the fantastic comedy that just nails the punchline every damn time, he’s someone who is going to be huge within his craft, wherever he strives to go (and I must stress, could be anywhere, this man’s talent is incredible). But along with writing, directing and editing his own video content, Myles composes music to add depth to his YouTube videos, writes music in spare time and even has a band basking in some real improv talent, and good improv music is actually pretty hard to do well, let alone find it.
In a very short span of time, I hope by the end of this you’ll be able to see just some of the sheer power of this humble man’s talent. So to kick things off, here’s Myles’ track, Funnier Last Year a song that has really connected to me over the years. Myles has a knack for glistening chord progressions and really beautiful lyrics that really do speak volumes, paired with such a down to earth voice that suits any emotion, I mean listen for yourself.
Switching to his band Broughton, enabling Myles and company to deliver an even more visceral sound. There are so many brilliant tracks to choose from but my personal favourite has to be 3:58. Initially written through the band jamming, on their improv/demo album Improvovia which can be found on Bandcamp. “Improvising songs is an interesting thing. Sometimes they can fall apart within the first strum of a chord but other times you can all manage to get a feel of the mood and know which direction to take it in. It’s a fun experience.” And to think music this stunning can form from pure improvisation based on perhaps a few lyrical phrases and chord ideas, it’s just really astounding to listen and realise all that synced creativity. It’s something to really admire, and the praise is completely deserved.
There are so many brilliant tracks to choose from such as Drift Away or Flickering Light off their 2014 debut album Alright, Night. The band played live at UK YouTube convention Summer In The City and one of the tracks they played was Fourarms, and it’s here in this live performance you get a taste for the rawness of their music, the passion and energy they put into performing. As a reference, there have been multiple occasions where Myles has broken strings live and cut his hand and bled over his guitar, so the guy really means ‘.bizness’ when he plays.
As far as I’m aware only one of Myles’ albums is on major streaming services such as Spotify being his 2020 EP Beehive, featuring some absolutely beautiful tracks such as I Could Be. Myles’ music is something you just absolutely have to go and check out.
I implore you all to listen to Myles’ solo work on Bandcamp here and check out Broughton’s discography here. Sadly as mentioned before, most of their music is not on streaming sites such as Spotify or Apple Music (Yet..?), but honestly trust me and take the time to check out Myles’ music on Bandcamp because you really won’t regret it.
If you’re a fan of artists such as Dodie and Mac DeMarco or Alex Turner’s Submarine soundtrack, then Myles is someone you must discover. I recommend Epic Eel Time, Drift Away, Long Lovely Life and In Front Of Me, but the bottom line is everything this man pours his heart into is absolute gold and utterly deserves your time, you really can’t go wrong. I hope you enjoy Myles’ work as much as I do.
Failure is a band I first encountered many years ago now, over a decade at this point. And there is just something fantastic about them, from the way they’ve created space sounds, segues and more, the fact they’re not as big as household names from the 90s is still hard to process even now. But that doesn’t mean they haven’t left an impact on the music scene. There’s a saying I’ve seen go around a lot about Failure which is that they’re your “favourite bands, favourite band” which I think is a great way to put it, if not a little detrimental but I think we can look past that because Failure’s talent is amazing. And once you know that signature sound, you’ll be hearing its influences all over your favourite band’s discographies.
Another Space Song is perhaps one of their most well-known songs, and for christ sake why wouldn’t it be? I mean just listen to that filthy fat bass tone there, or that glistening guitar to accompany it. Deep distorted bass, psychedelic and prog rock soundwaves that their influence can be heard among bands such as Muse and Paramore (Particularly with Paramore’s Future).
The band had been making noise since their debut album in 1992, through the years releasing 3 stellar albums, including the iconic 1996 record FantasticPlanet, but had a break up just one year later. During the time of their hiatus the band members all went on to do different things, frontman Ken Andrews going on to work as a highly sought after music producer (and I mean it’s clear why). Fellow member of the band Troy Van Leeuwen was invited to join rock giant Queens Of The Stone Age which is where you’ll find him even now. But after the decade long break, Andrews, Greg Edwards and Kellii Scott all got back together and decided to give this old thing another last spin, releasing 2015s The Heart Is A Monster, showing once again that the sounds of Failure are not one to be trifled with. Just go listen to the monstrous headbanger The Focus (which needs to be blasted on full volume), Hot Traveller or the nightmarish Counterfeit Sky. Whichever way you go you’ll be in for a treat I’ll just put it that way.
In 2018 the band dropped brand new album In The Future Your Body Will Be the Furthest Thing from Your Mind, that further showed how Failure’s know well-known sound can be strayed from to construct a phantom frenzy of a sonic experience that you only get with a band as dedicated as Failure. Maintaining that speed and ecstasy of 90’s grunge and prog rock, but also delving into cleaner sounds here and there, like the somewhat David Bowie Blackstar inspired instrumentation of Dark Speed.
I’m going to leave you with Stuck On You from Fantastic Planet. A song that has been covered countless times and well, I think it’s very deserved to be heralded at such a level by committed fans of it. A slow and heavy tune that brings you right back to the ’90s but completely reminding you as to how futuristic Failure’s Fantastic Planet really was.
It’s safe to say that Dublin has become the capital of new and exciting European bands pushing the boundaries and breaking norms in the past ten years. Delorentos are one such band who experienced a whirlwind of success with their single S.E.C.R.E.T, which launched these college students from Ireland into the spotlight across the world and spawned a plethora of great albums. The band takes inspiration from the legends Arcade Fire and Pixies; the resulting sound is equally phenomenal.
The music video to S.E.C.R.E.T was filmed at a house party and gained public attention for being the first Irish music video to feature a same-sex kiss. The band described it as causing ‘quite a stir’ in Ireland at the time.
Delorentos recently celebrated the 10th anniversary of the single which had launched the band’s career. In a video posted to their YouTube channel, they gave some insight into how the song had shaped their lives.
Soon after their success, things took a turn for the worst. Their manager quit, their distribution company folded, and they ended up losing their record deal. With the future uncertain, singer and guitarist Ronan Yourell left the band, and the group decided it was time to split.
They left behind them an album’s worth of unfinished demos, so at the start of 2009, the members reunited to record what they called a ‘farewell album’. Being back in the studio together brought back many fond memories of the bands. It reminded them how much they enjoyed writing together without the overhead pressures of labels or the expectation to top their hit single. They decided to reform the band.
Delorentos released the finished album You Can Make Sound in October 2009, which in its first week reached number 2 in the Irish Charts and gave way for many great follow up works.
Since then, their continued success has taken the band across the world, their music to almost every continent, and many great albums from them following suit.
These four from Dublin, who met as college students, now write brilliant music which goes from strength to strength, we love them and you will too.
Five years ago, upon being gutted on missing out on a ticket to see Muse and then Nothing But Thieves, I decided to check out who’d be supporting the latter on their tour and check out the band that I’d now be missing out on. I found myself one gloomy morning on my way to college checking out that very band, Airways, and from the moment that first chorus dropped I was hooked. The song in question was One Foot, a track that blends sounds from such indie rock icons such as Oasis, Arctic Monkeys and Gorillaz, but in a very modern way a’la YUNGBLUD or RAT BOY, taking indie and punk right into the heart of the 21st century. Discovering this band as the support act of the support act of my favourite band at the time, it can’t be said anymore but, man never skip out on the opening band.
Later I managed to encourage my mates to listen to Airways because they just so happened to release a smash hit that made it onto Spotify’s ‘Walk Like A Badass’ playlist, Reckless Tongue. A song that combines the classic style of 2007 Arctic Monkeys with the indie and hip hop modernity of 2017. Just a menacing tune that makes you want to headbang in the middle of the street, shop or wherever you may be when you find yourself listening to their EP Starting To Spin. Alongside One Foot and Reckless Tongue, this EP boasted White Noise Boys a track that sparks some lowkey ska vibes, not the most conventional vibes but enough that you can hear a band like Madness or The Specials perform it. But the classic indie rock sound wasn’t all they had to offer, scratching the surface of some electronic sounds with the title track.
So fast forward a year and the Airway boys settle for Nothing But Thieves‘ guitarist Dominic Craik to do some producing work for them, which splashed a cavern of depth so visceral in the form of Blue Gasoline. God you can just taste the talent Airways have to offer here on out, it’s a dick tease the fact they’ve not released an album at this point. Combining synths to reverb-drenched guitars in a dreamy journey that makes you want the clouds to just swallow you up.
Fast forward a year yet again and we’re gifted the double single Trampoline / The End. The latter gets overshadowed by Trampoline a bit so I want to gloss over The End which is a beast of a track. What do you do when you’ve done the whole indie rock thing and the ethereal soundscape? Combine them in the most monstrous way possible. Fans of Twenty One Pilots seem to take a liking to this track in particular, so if that stuff is up your alley, make it a point to check out this one.
But then switching stuff up once again, going back to a more indie realm, Airways dropped their latest single, Out Of Luck in 2019. Which is a little while ago so I am praying this means we’re all the more closer to a debut album. Back to a faster pace upbeat style, but taking guitar inspiration from the likes of Johnny Marr but perhaps with a more disciplined surrounding, but then kicking off into another classic headbanger in the chorus.
Imma leave you guys with Alien. A song about the bands rejected US Visa’s leaving them unable to play at SXSW. Lyrically it’s actually more of a funny story, I mean I’m sure not for them the amount of money they probably lost in that application was probably no joke, but hey it made for a good song and hopefully, in a few years time they’ll be playing it to huge crowds on a headline tour through the very country that said “nah mate, not today”. I’m paraphrasing here but you get me bro.
Listen to Airways on Spotify before they blow up so you can tell your mates “I told you so”.
When I say ‘virtual band’ you’ll probably first think of Gorillaz, but move over Damon for this group of equally crazed animals. Studio Killers are back and bigger than ever before, thanks to one classic tune’s unexpected viral success.
The animated group, formed of singer ‘Chubby Cherry’ keyboardist ‘Goldie Foxx’ and DJ ‘Dyna Mink’ (as well as their manager ‘Bipolar Bear’) first gained attention in 2011 when their single ‘Ode to the Bouncer’ reached number 9 in the UK Club charts. Doing live gigs as a virtual band is just as tricky as you’d imagine. Still, after crowdfunding the money to kickstart their venture into the physical world, the band first brought their animated personas to life in 2014.
After enjoying their first album’s major success, the group suddenly went quiet as the characters’ anonymous talent went back to doing their own thing. That was until 2018 when a video appeared on their YouTube channel announcing big things. The same year, they brought us two brand new singles and announced that they would be crowdfunding an animated web series based around their characters.
Some lucky bands see an unexpected surge in their popularity when one of their songs is featured in a movie or a tv show. There are many examples of groups being propelled into the spotlight, thanks to Hollywood, but something this group didn’t expect was to become a TikTok phenomenon. Their track ‘Jenny’ became a viral sound used by thousands of creators on the platform and has since relaunched the band into the spotlight and gained calls for new music ASAP.
Jenny is all about lead singer Cherry’s infatuation with her best friend, with one particular lyric being put to short videos of peoples friends, dogs, vegetables, you name it.
I wanna ruin our friendship. We should be lovers instead.
Cherry
Since the band’s formation, the musicians’ identities have remained a mystery, with all online interactions done via animated videos or stand-in look-alikes. The voice behind the ever-lovable singer Cherry is rumoured to be male singer Teemu Brunila of the band The Crash. Studio Killers have neither confirmed nor denied this, but if it is true, his female persona certainly adds a whole new spin to these already brilliant songs.
In celebration of their second wave of success, the band released an official lyric video to Jenny on YouTube. Their fanbase’s soaring growth will surely help in the group’s pursuit of making an animated series of Cherry and the boys, with the Kickstarter already having gained over double the support of their original crowdfunded gigs back in 2014.
For those who maybe aren’t usually keen on electronic or club music, fear not. Studio Killers offer something more entirely. The band’s fun, comical and fearless personas are full of all the bits we love about virtual bands, they most definitely offer something refreshing. Every Studio Killers song is a treat, so go ahead and treat yourself – take it away, Cherry.
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.
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.
WhenYoung started cooking up brilliant tunes as a group back in 2017 when the Irish trio, formed of vocalist and bass player, Aoife Power, Niall Burns (Guitar) and Andrew Flood (Drums) moved to Dublin under the band’s original name ‘Sisters’. Their debut singles ‘Actor’ and ‘Silverchair’ paved the way to quick success after gaining a few local names as fans – The Pogues frontman, Shane MacGowan, and the man himself; Bono… so no biggy really.
Later that year they were invited to play MacGowan’s 60th birthday in Dublin city centre without even having released an album at the time. WhenYoung, or ‘Sisters’ as they were, must have known from their early experiences that they were onto something special.
And indeed they were… now with an even more developed, kick-ass sound, it doesn’t take long to realise why they gained such legendary fans.
The group met in true Irish rock n’ roll style, sneaking into their local pub in the town of Limerick for some underage drinking and chats about the bands they loved. Later, after forming a band themselves, they moved to Dublin; a city big enough to suit their ambition. They went looking for the excitement they craved, and golly they most definitely found it.
WhenYoung are very much the next generation of bands such as The Cranberries and The Velvet Underground. If you’re a fan of either, this is a band for you.
Nowadays, with their first album ‘Reasons To Dream’ out in the world for all to hear, and with more people than ever having their ears tuned to the group’s unmissable sound, the three friends from a small town in Ireland are set to concur the world. WhenYoung have since based themselves in London, a bigger city fit for the scale of things to come? Don’t we know it.
