Al Menne “Freak Accident”
It’s certainly no accident that Los Angeles singer-songwriter Al Menne’s solo debut album is one of the best indie releases of the year. Initially making waves with Seattle-based rock outfit Great Grandpa, Menne has gained a steady and building reputation for their thoughtful lyricism and inimitable vocal stylings. Fans of the previous band have a lot to hang onto here as Menne’s signature motifs paint the entire record. What sets it apart as a solo effort is a dialed-back and more devastatingly vulnerable sound, making it perfectly understandable that I was unable to stop crying for about three weeks after the album was released. -CM
Slaughter Beach, Dog “Smiling, Waving, Crying, Laughing”
Modern Baseball‘s Jake Ewald mines for simplicity on his fifth LP in Slaughter Beach, Dog. As a result, ‘Crying, Laughing, Waving, Smiling’ is yet another glowing masterpiece for the acclaimed Philly songwriter. While still holding true to the ‘music to listen to on headphones while crying in your room’ genre SBD has perfected over the years, the band cranks the Americana vibes up to a hundred while condensing Ewald’s standard novella-length lyrical refrains down to their most essential elements. If only we could get those in our comments section to take on similar editing abilities. – CM
Brian Damage “Previous Episodes”
Columbus, Ohio’s Brian Damage – not to be confused with the Misfits incredibly short-lived drummer – released their third LP ‘Previous Episodes’ this year. It’s yet another power-pop masterpiece from The Heartland’s favorite off-the-radar weirdo, Brian Baker (not to be confused with the longtime guitarist of Bad Religion). Imagine you got hit in the head with a hammer. We won’t go into details as to why, but let’s pretend it was a pretty good hit and you went unconscious for several days. In your coma, you lived an entire life in the ’90s. You were happy, successful, and your fashion sense finally made sense. Needless to say, you became mortifyingly depressed upon waking up in this present-day hellscape. Fortunately you can always go back with this album. -CM
Mutoid Man “Mutants”
What more can you ask for in an album? Riffs out the ass courtesy of Steven Brodsky (Cave In, Old Man Gloom, ex-Converge, etc), absolutely insane drumming from Ben Koller (every band ever), and creepy yet memorable lyrics strung over 10 songs that somehow get stronger as you go. This band can do no wrong and it should be illegal for only three people to be this loud. All in all, 38 minutes of nonstop headbanging. Good luck in the pit when they play “Unborn.” – SE
Wednesday ‘Rat Saw God’
What’s that? I couldn’t hear you over all this righteous fuzzed-out bliss. Jesus fuck, this album rips. I was only a kid in the nineties, but thanks to the internet absolutely destroying my perception of time, hearing ‘Rat Saw God’ as a 34-year-old had me acting like one of those crossed-armed old dudes that do nothing but talk about how sick it was to see Nirvana in a laundry mat back in ‘89 or some shit. Wednesday harkens to ’90s heroes of old while still managing to inject a new sense of wonder into the material, proving once and for all that guitar rock will never die until it becomes uncool again for a period of time in a few years. – CM
MOVE ‘Black Radical Love’
In a broken nation sadly filled with bullshit and racist ‘Try That In A Small Town’ rhetoric, Boston’s Move channels collective fury through immensely satisfying and politically bent hardcore. Calling back to the genre’s explosive and revolutionary political roots, the band has made an awful (read, fucking amazing) racket with their debut LP, ‘Black Radical Love.’ Making up for a pandemic-driven delay in releases, each song carries an immense sense of urgency, picking you up just to kick your shit in over and over again. It’s easily one of my favorite records of the entire year, and I personally don’t trust you or your politics if it isn’t one of yours. – CM
Superviolet “Infinite Spring”
Superviolet’s debut album came into the land of the living three years after Steve Colicek’s excellent and beloved indie-punk band, the Sidekicks, called it quits. This project exudes a quieter side of the songwriter while paying homage to some of his earthier influences. With Colicek’s dazzling voice firmly featured, these new sounds are given the space to breathe without sacrificing the intensity fans have come to know and love from the Columbus, Ohio musician. If you’re anything like me, every track on ‘Infinite Spring’ will have you feeling things you haven’t felt in years while briefly wondering if it’s time to quit that hardcore band you’ve been in for far too long. – CM
Yves Tumor “Praise a Lord Who Chews but Which Does Not Consume; (Or Simply, Hot Between Worlds)”
When I first saw Yves Tumor a few years ago, a rowdy fan accidentally kicked dirt directly into my eyes. There was so much dust in the air during their set that every time I blew my nose for weeks to come, the tissue would be blackened. This is to say, Yves Tumor really knows how to whip a crowd into shape. That fateful set still remains one of the most chaotic I’ve ever seen in my life, which makes it no surprise that ‘Praise A Lord Who Chews but Which Does Not Consume,’ packed to brim with genre-bending art pop, was one of the most epic releases of the entire year. – CM
Zulu “A New Tomorrow”
What is there to say about an album as perfect and unexplainable as Zulu’s ‘A New Tomorrow?’ It’s everything. It’s shocking, it’s innovative, it’s unlike anything ever heard before within the genre, and it’s not just a statement but a monumental moment that will be discussed for years upon years for its political and cultural importance. And despite all of these serious pontifications, it’s still full of breakdowns that make you wanna throw your friend into a fucking wall. ‘A New Tomorrow’ is an apt title, because Zulu is the fucking future. – CM
boygenius “the record”
Before boygenius released ‘the record,’ my Spotify Wrapped probably would have consisted of Julien Baker, Phoebe Bridgers, Lucy Dacus, Better Oblivion Community Center, Bright Eyes, and a mix of doom metal and math rock that you absolutely don’t care about. And because I need the reader to know I’ve been a day-one fan, yes, probably a little boygenius too. Anyway, thank God this album came out so I could consolidate all my listening into one place. This record is indeed ‘the record’ of the year. Every song is a banger and deserves to be listened to on repeat for at least three months while you desperately consider quitting your job or calling your ex. Honestly, the album is so good, I just hope you’re crying because of the songs and not because they make everyone else feel bad by comparison. Like, can you imagine how intimidating it must have been for Taylor Swift to briefly share the stage with these (boy)geniuses?” -MM