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The former reads mostly the same, but occasionally brightened with layers of pop. Yet, it’s different from anything she’s ever released before. For the public to forgive him for his past misdeeds (if it ever will), he needs to forgive himself first to find a way forward. It’s a world not unlike our own, but that’s part of the appeal, really. Grant that their latest, The Prettiest Curse, dropped in June out of sober respect for the COVID-19 pandemic, which forced a reschedule from its original April 3 date. Instead of aiming to melt the brains of tens of thousands of twenty-somethings in a field on psychedelics (though this likely still will, let’s be honest), Parker instead turns his eye toward dancehalls, replacing fuzzy guitars and impressive percussion with bouncy piano and dance-y synths. Eight years later, things are wildly different. The 30 best country and Americana albums of 2020, including records by Ashley McBryde, Elizabeth Cook, Jason Isbell, and Hailey Whitters. ... the best 50 albums from this year have something for everyone. But on Likewise, Quinlan hashed everything out with just Reinhart in the studio, giving the tracks more space to breathe than ever before. Throughout “In August,” she looks back despondently on the fallout of a once-strong companionship: “I have lost your friendship / What does that say about me?” As pillowy synths burst into a mournful geyser of sound, the track takes on a rejuvenating air. The 10 Best Indie Rock Albums of 2020. He and bassist-producer John Collins (former bandmates in The New Pornographers) take it to the extreme on Destroyer’s latest, Have We Met, on which the only actual instruments are electric guitar and bass—and a whole lot of electronic accompaniment, including synthesizers, keyboards and beats. They want us to know that it’s okay to not have all the answers, and it’s okay to feel contradictory emotions. —Scott Russell, Dan Bejar’s songs often sound like part of the soundtrack to a movie that exists only in his mind. Now, a few decades after the golden age of ’90s indie rock, that’s not so much the case. The songwriting remains impeccable. All Rights Reserved. New Releases Now - Sign up to find top new songs of 2020 and videos from the best new 2020 albums! —Ellen Johnson, © 2020 Paste Media Group. Everything Indie Music related; from the newest releases and news, to discussion on … Over the course of Half Waif’s discography, Nandi Rose’s music has expanded from bucolic soundscapes into icier portraits. Within 10 seconds, you know—without a doubt—it’s a Waxahatchee album. Beabadoobee – Fake It Flowers [Dirty Hit] Fake It Flowers, the debut from the British singer-songwriter Bea Kristi, is such an earnest homage to the 1990s that it's hard to find fault with it. View reviews, ratings, news & more regarding your favorite band. Eliot, searing, Dylan-esque vocal delivery, chiming guitars straight off Out in the Storm, pastoral folk not unlike that of her 2018 EP Great Thunder. While earning their stripes as an opening band, playing with acts like Shame, Jay Som and Girlpool, it was hard to determine which direction they would go since their shows were much punkier than any of their recordings up until that point. From the culture-shaking event that was Fetch the Bolt Cutters to the lesser-known records we’ve fallen in love with this year, here are the best indie rock albums of 2020 so far. Written about real individuals, some old friends and others strangers, the songs are as manifold as the human lives they encapsulate, with Leithauser often stepping aside to speak in his subjects’ own words. It’s quite incredible that Quinlan managed to make the song so unrecognizable that I listened to the whole thing without even realizing it was a cover of the legendary Boise, Idaho indie band’s biggest hit. The majority of this year's best indie rock albums feature guitars at the forefront. Probably, but maybe in a much different way than you were likely expecting from a Tame Impala record. There are moments of wonder and discovery, but often those are bookended by rough seas. have been used interchangeably in the past decade. It leans into the electro-pop atmosphere of Three Futures, but the textures are so unsettling and lonely that it would never scan as a bid for crossover appeal. —Steven Edelstone, Rarely when uttering the words “for better or for worse” on their wedding day do couples really consider the latter half of that sentiment. ... and Lilly Hiatt dove headfirst into R.E.M. —Ellen Johnson, Fiona Apple engages our minds like no one else. Hinds’ usual fuzzed-up rock aesthetic bridges the gap between The Prettiest Curse and I Don’t Run nicely. Over the last 25 years, she has made five albums that have all—in due time—ascended to holy text status, even if it took some longer than others to come around to her genius. She shakes and shimmies as a smarmy male singer, while bikini-clad babes dance behind her or unconvincingly “play” instruments. It’s their first LP since signing with Secretly Canadian, and it follows their 2016 self-recorded debut Rice, Pasta and Other Fillers. Written, recorded, produced and mixed in Leithauser’s cramped, DIY New York City studio The Struggle Hut, the album achieves a powerful sense of place, capturing the city and its innumerable narratives—NYC is well-trod creative territory, to say the least, and could have easily made for a mundane effort in the hands of a lesser songwriter. From the culture-shaking event that was Fetch the Bolt Cutters to the lesser-known records we’ve fallen in love with this year, here are the best indie rock albums of 2020 so far. In some ways, it possesses little pieces of all the musical lives Crutchfield has lived before: punk-y vocals à la her once-upon-a-time rock band with Allison, P.S. Saint Cloud is a whole new world. Hear the hot songs of the year and all important new cd releases of 2020 in one place. After recruiting three more full-time members—Shannon Connor (guitar, keys), Logan Severson (guitar/backing vocals) and Brendan Manley (drums)—and signing to Saddle Creek for their debut album, Disq were fully equipped to bring their distinct charm and varying influences to life. Brooklyn Vegan's Indie Basement placed 40 indie-rock albums from 2020 in its cellar - it's an interesting selection, covering the best, and some unexpected albums. Tucked in among the record’s memorable melodies, clever arrangements and impressive guests are a steady stream of details that lend plainspoken perspective to Bridgers’ emotional highs and (mostly) lows. July … He’s now wondering aloud about getting a home in Miami, going and getting married and tattooing her name on his arm (“Instant Destiny”) and thinking back on how he was feeling a year prior when he had no cares in the world (“One More Year”). She doesn’t like to do what is expected of her. The following is a list of albums released or scheduled for release in 2020.These are notable albums, defined as having received significant coverage from reliable sources independent of the subject. Discover the best new indie, rock & alt music in our April compilation! —Lizzie Manno, In 2017, Waxahatchee’s Katie Crutchfeld quite literally blew the music world away. Following Clean, Soccer Mommy (real name Sophie Allison) became especially vocal about her struggles with body dysmorphia, depression and anxiety. Like every record before it, her latest album Fetch the Bolt Cutters taps into both the repulsive and the revolutionary. He felt like he was only going backwards, and he was left wondering why won’t they talk to him. Facebook10LikeShareTweet With this being the year of the pandemic, many indie rock bands and artists’ 2020 releases were simply ‘missed’ as indie music fans’ lives were turned upside down. Visit Juno Studio. —Lizzie Manno, The whole idea behind releasing or performing a cover is to add your own spin to it: Otherwise, what’s the point? But she tacks on an extra bit that contextualizes the rest of the song: “It’s 4 a.m. again,” she sings flatly, “and I’m doing nothing again.” And all of a sudden … you’re there. Superstar proves itself a tightly knit satire of celebrity, effective thanks to Rose’s sharp storytelling and her calculated use of distortion, which highlights the artificial quality of the protagonist’s new surroundings. The intimacy of the story is bolstered by the album’s production and Shauf’s deft instrumentation. The story now has a place to sit—in a dark room, screen glowing, silence deafening, thoughts racing. The 50 Best Albums of 2020. Plus, when you’re battling your own demons, it makes things even harder. The album’s clear standout (and one of the year’s best songs), “Kyoto,” features Bridgers’ crunchiest guitar riffs yet, a soaring chorus and the travails of dealing with someone who can’t quite get their shit together juxtaposed with a wander through a 7-11 and trip to the suburbs to stare at chemtrails. One of this year’s highlights arrived early in … December 3, 2020 Lis Sinatra. Those kinds of moments pop up all over Punisher, which is generally noisier and more upbeat than its predecessor. Every aspect of the central storyline—an ex randomly showing up after moving out of town, bad jokes, drunken ramblings—feels like it could be happening at your local dive just a couple blocks from your apartment. 10. Not so with The Prettiest Curse. That’s particularly obvious on “The Alarmist,” as Hall nearly whispers the final line of the first verse: “I whisper to myself / Then I’m spinning it half around / Like an echo / A faraway sound / Saying, ‘be good to me.’” Though the first stanza makes it seem like this is a song about the breakdown of a relationship and Hall’s inability to communicate effectively, that raw “be good to me” refrain feels wholly personal, directed towards himself and no one else. Listening to Fiona Apple is often like bearing witness to a prophet speaking in tongues. You’re not seeking a partner for a pleasure cruise, but rather for an intrepid, Magellan-style circumnavigation, in which sailors get scurvy or fall overboard because they mistook a manatee for a mermaid. But Apple isn’t just sitting on these songs during the long gaps between albums; she’s buffing them to perfection. Through scratchy indie rock (“Don’t Ask Me Twice,” “Give/Take”), grand punk (“Lilac”) and even auto-tuned pop (“Something”), Porridge Radio take pop songs much further than listeners might’ve thought possible. Some of these albums could easily find a home on other lists—pop, punk, or perhaps folk—but they also all fit here, under the indie rock umbrella. In comparison to the expansive sound of his recent work with indie four-piece Foxwarren, the woozy woodwind, warm piano and guitar (all played by Shauf himself) come across as if they are being played in the small back room of a bar. “I was in a really bad place,” she reflected in a more recent interview SPIN. Now, though, as her star is rising, Rose has turned that critical eye inward. How do we make things better and dig ourselves out of a hole—especially if we don’t see the hole or if that hole has become comfortable? In Fetch the Bolt Cutters’ case, these psalms beam clearer than ever before. Starting out as a duo of Isaac deBroux-Slone and Raina Bock in Madison, Wisc., the band self-recorded their first release—an EP titled Disq 1—in deBroux-Slone’s basement and released it in 2016. —Max Freedman, In 2012, Kevin Parker was an introvert. Shadow Talk is all about finesse and dynamics—melodies cascade with subtlety and spark with a euphoric glow. Gone are the cathartic, fist-pumping moments from “Cadmium,” the louder, capital-R Rock aesthetics from “Then Again” or the bruising solos à la “Aphasia.” Hall & co. respond with a more refined batch of songs on Marigold. Best Rock And Indie Albums Of 2020. Angles’ “Taken for a Fool,” Comedown Machine’s “All the Time” and a handful of Impressions songs suggested that our leather-clad early-aughts heroes might still possess a flicker of their initial spark. She considered leaving music altogether. Brighton, U.K. quartet Porridge Radio grapple with these questions on their new album Every Bad. ... indie rock and folk music to give a record that feels exhilaratingly free. And from those roots, the band continues to grow, excelling at their characteristically propulsive rock while making room for more emotion-imbued softness and nuanced instrumentation to shine through, a natural progression that quietly slips an arm around the listener, rather than grabbing them by the lapels. Her record Out in the Storm, which we named one of the best albums of that year, displayed a whole new side of the singer. Working Men's Club - 'Working Men's Club' 18. That stylized artificiality has been an unspoken running theme in Bejar’s music as Destroyer, at least since Kaputt in 2011. or studio (Universal, Disney, Warner Bros….). But rarely does an artist deconstruct and completely transform a beloved song to the extent that Frances Quinlan does with “Carry the Zero,” the Built to Spill classic that landed at number two on Paste’s best songs of 1999 list. —Andy Crump, Listening to an Andy Shauf album in full is akin to binging a particularly compelling TV show: Both pull you in with characters that feel just as real as you or me, who populate a world we’d like to escape to. —Clare Martin, Even when they were young teens, it was obvious that Disq knew how to write great pop songs. It’s a devastating tune about death and depression, and if it ended at the three-minute mark, it would still be a stunner. It runs on twang, jangle, truth and wide open spaces; on the album cover, Crutchfield, dressed in a billowy baby-blue frock, sprawls across an old Ford truck bearing a license plate from her native Alabama. Rose’s Lavender follow-up The Caretaker is smaller in scale. She’s said as much. —Clare Martin, Some psychedelic albums reach a hypnotic end cheaply. If Out in the Storm was a tornado of sound and emotion, Saint Cloud, Crutchfield’s fifth album under the Waxahatchee alias (out Friday, March 27 on Merge Records) is the calm that comes afterwards. Shauf’s storytelling and uncanny realism have long been the linchpin of his appeal as an artist, though his previous release, The Party, showcased his talent on a whole other level. Married duo Alaina Moore and Patrick Riley, better known as Tennis, have recently endured one of the most difficult stages of their life, but found solace in each other throughout. It’s one thing for a band to capture a world in chaos, but it’s much more difficult to accurately capture a mind in chaos—Porridge Radio make it look like a cakewalk. As a woman who lives mostly secluded from society and releases music so rarely, she’s frequently the object of speculation and even sexualization (see: the late ’90s). —Steven Edelstone, In April 2018, Mackenzie Scott, the preternaturally talented songwriter who records under the name TORRES, announced on Twitter that her storied label, 4AD, had dropped her from a planned three-album deal “for not being commercially successful enough.” It was an upsetting blow, particularly given the strength of TORRES’ third album, Three Futures, an alluring art-pop concept album examining bodily pleasure with Kraftwerk and CAN as aural reference points. Over the best and most inventive psychedelic rock instrumentals in decades, Parker let all of his apprehensions and regrets out, knowing full well he’s “gotta be above it now” and that he “can’t let them bring me down” though he’s long realized they will. Again. They’re also masters of grooves both meditative and invigorating, and they experiment with foreground and background sounds in mind-numbing ways. 2020 is going to be another exciting year for the indie music scene and the beginning of a new decade. Their second album’s roots run deep through their creative output to this point: The chords of b-side standout “Cameo” originally belonged to Hope Downs’ abandoned title track, while the chorus of closer “The Cool Change” first appeared in a song Tom Russo, White and Keaney performed in a previous band back in the 2000s. Marigold also follows Skylight’s tendencies to aim for a softer, more delicate, more intimate sound than anything on Cardinal. Now, Shauf is following up his 2016 effort with The Neon Skyline, another concept album about a couple of friends on a night out at the pub. Saint Cloud is Crutchfield’s country/Americana record. The Best Indie Rock Albums of 2020. It’s one of many moments on Likewise that prove not only that her solo career deserves to exist, but also that she’s able to thrive without her longtime bandmates (or at least without them in their full roles). On “Blinking Light,” a synth-pop ballad that flows like a gentle stream, Rose describes circling the drain and leaving texts unread, and though the image of a neglectful Rose is bleak, the song’s slow glide toward her belting away her agony is equally somber and invigorating. Moore herself never learned to swim, just as most of us are not taught how to navigate the choppy waters of grief and strife. —Clare Martin, Fans of Rolling Blackouts C.F.’s The Go-Betweens-indebted, jangle-pop-tinged guitar-rock will find themselves on familiar ground on Sideways to New Italy. —Lizzie Manno, Marigold is the first true collection of Pinegrove songs that addresses (or doesn’t) the events that have unfolded since lead singer Evan Stephens Hall’s admission of sexual coercion in late 2017 via a Facebook post. H.e.a.t II is a gleaming chrome comet of pure class, its core … When the seminal, ’70s-inspired garage rock group dropped the latter of those albums, 2003’s Room on Fire, some fans and critics complained that it sounded too similar to 2001’s groundbreaking Is This It. Following the commercial success of Yours Conditionally in 2017, Moore wound up in the hospital with a bad bout of the flu, Riley’s father Edward died of cancer and his mother Karen was hospitalized “on the brink of a stroke,” Moore recalls. As … Swimmer was borne from this heart wrenching period of time, a fitting name considering the sailing motif in Tennis’ discography (Cape Dory recounts their post-college sailing trip along the East Coast, and most of Yours Conditionally was written during their journey at sea from San Diego to the Sea of Cortez). ... self-titled album is more indie-rock than anything else, it could be safely argued. Scott remains an improbably vivid writer both lyrically and melodically; throughout Silver Tongue, she takes desire and infatuation as her subject and icy synthesizers as her instrument of choice. Doves - 'The Universal Want' 19. As a concept album, it documented the titular event, exploring vignettes about all of the party’s various attendees. These challenges lied solely at the periphery of Clean’s tales about youthful, regretful romantic breakdowns and insecurities, but on her eagerly anticipated Clean follow-up color theory, Allison bravely pulls her mental illness from the sidelines to the forefront, and she also tackles a grave subject she’s spoken about far less frequently: her mother’s terminal cancer. Settling on even the best 15 indie rock records proved quite the task. The quintet—which comprises singer-songwriter-guitarist trio Tom Russo, Joe White and Fran Keaney, plus bassist Joe Russo and drummer Marcel Tussie—arrived essentially fully formed with 2016’s Talk Tight, and have remained remarkably consistent since, from 2017 EP The French Press to their acclaimed full-length debut, 2018 standout Hope Downs. Apple has never been one to deliver approachable melodies or catchy choruses—she repeatedly serves us the abnormal, in all its twisted glory, with minor chords and off-kilter rhythms, often constructed with everyday objects rather than musical instruments. Gone were the fortified bedroom pop of 2015’s Ivy Tripp, the rock-tinged freak-folk musings of her 2013 stunner Cerulean Salt and the brainy lo-fi recordings of her 2012 debut American Weekend. Optimism led him astray. It’s not a set of sugary hooks designed to crack the Discover Weekly algorithm: The record, which is self-produced, sacrifices no ounce of Scott’s sharp-angled, emotionally explosive songcraft. 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