Indie/Indie Rock Pop/Indie Pop Reviews Uncategorized Why We Love


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.


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.

Add Songs For The General Public on Spotify now.


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.

Add Zeros on Spotify now.


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.

Add The Archer on Spotify now.


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.

Add Ultra Mono on Spotify 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. 


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. 

Add The Slow Rush on Spotify now.


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. 

Add 3.15.20 on Spotify now.


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.

Add Return on Spotify now.


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. 

Add It Is What It Is on Spotify now.


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.

Add A Hero’s Death on Spotify now.


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.

Add Notes On A Conditional Form on Spotify now.


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. 

Add Moral Panic on Spotify now.


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.

Add RTJ4 on Spotify now.


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. 

Add R.Y.C on Spotify now.

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.


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.

Add Working Men’s Club on Spotify now.

Once again, thanks for spending 2020 with us, and here’s to a new year filled with fantastic music. We can’t wait to share more with you.

Indie/Indie Rock Why We Love

Why We Love: Blac Rabbit

Psychedelic rock band, Blac Rabbit from Rockaway Beach in NYC, are phenomenal, and from a place literally named Rockaway, they certainly live up to the name. Sometimes you listen to a band, and from the completely developed and slick production you assume they’ve got a massive presence with multiple albums and touring huge arenas around the world. However, upon discovering deeper into the lifeline of Blac Rabbit, I was incredibly shocked to find out they’ve yet to release their debut album and that they’ve made fame from busking in the New York subway, performing Beatles covers. 

Think of combining the influences of greats such as The Beatles and Pink Floyd along with the contemporary magnificence of bands such as Tame Impala or MGMT. Formed of Bassist Josh Lugo, Drummer Patrick Jones, Keys player Justin Jagbir and fronted by guitarists, singers and twin brothers Raheim and Amiri Taylor. Blac Rabbit quench the thirst after listening to modern bands such as Tame Impala or Post Animal, psychedelic music is well and truly making its resurgence and taking it’s a stand against the flow of typical indie bands these days. Their song ‘Mindspace’ starts off and you can really hear that ‘Innerspeaker’ flair and the tightness these guys have for playing their hearts out is fantastic.

After spending their days playing Beatles songs to New York commuters, the guys of Blac Rabbit quit their day jobs to pursue music full time. Releasing their debut self titled EP around Christmas 2017, the band have gained some pretty stellar traction amongst like-minded music lovers, within fanbases of bands such as Tame Impala and of course The Beatles. The bands work definitely evokes the stylistic choices of The Beatles but definitely gives it a natural twist for it to fit in the modern streaming world, as well as really specifically nailing that psychedelic 60s sound for a modern audience. With the psychedelic rock genre, it’s hard to go about without getting references and comparisons to Kevin Parker’s Tame Impala slabbed all over the place, but Blac Rabbit seems to relish in that, actively saying that Tame Impala is one of their biggest inspirations. In this day and age, it’s almost a trope for young bands to list all the classic artists from decades gone that they admire, and forget about mentioning current relevant artists that may have had the same effect on them. So to see Blac Rabbit admittedly praise recent contemporaries is actually quite a refreshing and honest thing to do.

I first heard ‘Over The Rainbow’ last year and immediately fell in love with the sound of the band. Because of such a diverse range of musical inspiration, the blend of classic and modern production and songwriting feels so current and important for the indie scene today, to be able to break out of its repetitive nature of the last decade. I’m a big sucker for Psychedelic rock I have to say, but hearing this track for the first time really did transport me to another dimension, and all I needed was a pair of headphones. In their live performance of the track on Paste, you realy get a taste for the rawness of their playing as it really feels live.

Twin brothers Raheim and Amiri announced their debut album just before keyboardist Justin Jagbir joined, subsequently dropping the lead single ‘Seize The Day’ in 2018. Between then and now though, the band seem to have had quite the number of false starts in terms of getting the record done. Being such a new band, as you can imagine, getting the funds to get an album made is no easy feat. The band set up a crowd funder but unfortunately didn’t reach their goal, a trope that far too many up and coming bands have had to face. But after some publicity online and a couple of Ellen show performances, the band got signed, put together their own home studio, and their debut album Interstella managed to get recorded and mixed, just waiting on the mastering process as of July this year. Still awaiting an official release date, we’re pleased to know it should come sooner rather than later.

The most recent drop from the band is the mind-melting Windy Cities. The clash of the phaser driven guitars, the grounding drums, slick lead guitar and the ethereal vocals make for an out of body listening experience. The teasers from the new album and the concrete polished production compared to some of the rawer sounds from their self titled EP just make me so ecstatic for Interstella. Desperately wanting to hear it NOW! But good things come to those who wait, and from what we’ve heard thus far, the album will be well worth the wait.

Check out Blac Rabbit on Spotify, and keep up with them on social media such as their Instagram.

Indie/Indie Rock Why We Love

Why We Love: Post Animal

If you’ve ever experienced the psychedelic odyssey of sounds produced by Post Animal then I’m sure you’ll be happy to join me in this celebration of their cosmic creations. Alternatively, if you haven’t yet had the pleasure of delving into their discography then I strongly urge you to find out a little bit more about them right here and join the trip…

I can still remember feeling as if I’d hit the jackpot when I discovered Post Animal in the same week that I moved to London back in 2016. At this point, they only had a handful of songs on their Spotify but those few special tracks were enough to recognise the gem that I had on my hands and have me hooked. Played out on repeat, their merging melodies became the soundtrack to my new adventure, discovering their rich sounds as I discovered my way in a new city.

Best described as ‘current psychedelic meets classic rock’ the six-piece progressive outfit formed in Chicago two years prior to my discovery. A variety of members contribute to vocals and consist musically of Dalton Allison on bass, Wesley Toledo on drums and Jake Hirshland on keyboard and guitar; joined on the latter by Javi Reyes, Matt Williams and Joe Keery (a name that you might recognise from a little-known Netflix series called Stranger Things). 

Around the time that I discovered the guys, Keery’s breakout acting gig almost brought everything to a halt, but fortunately, they managed to work around scheduling and were able to carry on producing more of their sonic soundscapes. However, as his role (and hair) on the cult show began to get bigger and some time was set aside to pursue solo project Djo (check out the album ‘Twenty Twenty’ for another fantastic listen), Keery decided to take a break from touring with Post Animal. Since his partial departure, the band have continued to go from strength to strength, flowing along like their music and realising second full-length album ‘Forward Motion Godyssey’ earlier this year.

Although collectively coherent, Animal’s songs span a broad range of sounds and an extensive array of influences creep in across tracks. Upon initial listen, it’s hard not to feel like When I Get Home is cut from the same cloth as many well-loved Tame Impala tracks- but it’s by no means a copy thanks to the incorporation of some 70s rock elements. There’s also a Reckoner-Esque sound driving their eponymous track as well as songs like Safe or Not; kicking off with an initial acid house hit and transitioning into something reminiscent of Two Door Cinema Club and funk-fuelled How Do You Feel all on the same album. Not to mention the poppy stand out single Ralphie from the first album ‘When I Think Of You In A Castle’ and the likes of earlier track Lonely Jones that at times evokes a hint of ‘Lucy In The Sky With Diamonds’ (I could go on but I think you get the gist).

It’s hard not to shout about all of their songs, as each holds a place in my heart but it is clear to see that the band have grown over their years together. Certain elements of their self-produced tracks like captivating hooks and arpeggios came naturally to the guys from the get-go. However, a determination to cover such wide experimental ground meant that some of their earlier work was lacking a little lyrical direction. There was never an issue with this as their songs were still strong and got the ball rolling; it’s just more evident since they’ve truly come into their own. Progressing with a real ‘forward motion’ they’re now displaying more introspective lyrics whilst channelling a slightly darker sound which makes for an engrossing departure from the dream-like one fans were used and really dazzles.

It’s exciting to know that Post Animal have the self-awareness and skill to evolve as they have. This, combined with their ability to transport you to a summertime by a lake in the States (even during British autumn) and distort the lines between genres proves that they’re a class act and provides me with the faith that you’ll love them just as much as I do.

Check out Post Animal and Djo