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Si pudiéramos identificar un momento brillante para salir de coronavirus pandemia, sería necesario tener largos períodos de tiempo para escuchar álbum. Sí, en 2020 la mayoría de nosotros nos hemos dado un atracón Netflix y enfriar lo mejor que pudimos. Pero servicios de streaming hizo que el acceso a la música fuera infinitamente infinito. Finalmente pudimos escucharlos bandas cuyos nombres vimos en las camisetas en el último concierto al que fuimos en febrero. Tenemos que reafirmarnos y averiguarlo.

Lo que sigue a continuación es un puñado de grandes récords esa banda sonora de nuestro blues pandémico. Teníamos algunas reglas básicas. Sin recopilación ni reedición de «hits». Sin EP, porque si teníamos tiempo de escuchar, las bandas ciertamente tenían un horario claro para entregar grupos de nueve o más canciones.

Más información: todo lo que siempre quiso saber sobre Frank Iero en un solo lugar

Esos bloques a nivel nacional también nos han ayudado a reinvertir psíquicamente en nuestra escena musical. ¿Cuántos de los llamados «fanáticos de la música» decidieron quedarse en casa el año pasado cuando prácticamente todas las bandas de nuestros dispositivos aún podían hacer giras? Este año, nos tomamos el tiempo para escuchar realmente todo canciones. Por supuesto, Tic golpe Es gracioso. Pero para reducir la cultura a una mera canción partir dice mucho sobre cómo reaccionamos, abrazamos y disfrutamos del arte que existe. Y ese arte toma la forma de codificado géneros y nuevos híbridos disruptivos.

Aquí están los discos que colorearon nuestra cuarentena, marcaron la banda sonora de nuestro aislamiento y nos volvieron estúpidos de alegría. Y cuando escuches a alguien gemir y quejarse de que «ya nada es bueno», ríete de él. Porque realmente están confesando que están fuera del circuito. Y realmente, es bastante grande para ignorarlo …

1975 – Notas sobre una forma condicional

Si ha estado en línea (todo el tiempo) este año, hay una pequeña posibilidad de que te hayas perdido este enorme e impactante lanzamiento de Matty Healy y compañía. Mezcla todo 1975 han construido sus carreras en y más: Auto-Tune bondad, pistas orquestales, Años 80 baladas de poder, pop punk recuerdos que recuerdan los suyos Conduce como yo días y un interés genuino por superarse una vez más. Con NOACF, el cuarteto rompió sus propias reglas para pop sintetizado excelencia, los volvió a unir, los hizo trizas de nuevo y nos dio uno de los mejores discos del año. –Brenton Blanchet

Mínimo absoluto – Despierta sol

A pesar del caos que es 2020, Mínimo absoluto reunió hito después del hito en este año por lo demás sombrío y ofreció luz a los fanáticos con su octavo álbum apropiadamente titulado, Despierta sol. Este disco encapsula perfectamente a ambos punk rock pasó con Tan mal, eso es correcto vibraciones en la pista principal, todas mostrando un inmenso crecimiento y ramificación Pop indie reinos («Lugar favorito» con la banda CAMINO). Sin embargo, además de mostrar su rango, la banda demostró ser verdaderas estrellas de rock en la cima de las listas que han mantenido el primer lugar. Marcador Airplay alternativo gráfico durante más de 10 semanas, su posición más alta con «Monsters» con blackbear. Veterano ATL Los fans experimentarán una ola de nostalgia con «Basement Noise», que narra sus humildes comienzos antes de que tomaran la escena por asalto. Despierta sol es enérgico, introspectivo, dinámico y todo lo demás. All Time Low definitivamente se entregó cuando más lo necesitábamos.María Serra

Contra la bandera – Visión 20/20

Diecisiete días en el año que lo cambió todo Contra la bandera liberado Visión 20/20, uno de los álbumes más importantes de su venerada carrera de décadas. Esta publicación temática con fecha y hora se destripa fuertemente No. 45, sus amigos corruptos y las políticas de odio de la administración de una manera agresiva, incisiva y melódica. No esperaríamos nada menos de Anti-Flag, pero anhelamos más LP como este en el futuro. –Scott Waldman

Preguntando a Alexandria – Como una casa en llamas

Si el homónimo de 2017 estaba probando las aguas con Danny Worsnop de vuelta en el redil, Como una casa en llamas es Pregúntale a Alejandría sumergirse en las profundidades y respirar cómodamente en las profundidades Tan cinematográfico como impenitente, su encarnación melódica de 2020 dejó claras sus intenciones a través de las palabras de «Down To Hell»: «Puedes querer lo que no soy o lo que era / no puedo escucharte a través del nuevo sonido». Armado con el revolucionario «antisocialista», Automóvil club británico afirmó que el mismo veneno detrás de los gustos de «Not The American Average» se enfurece detrás de un nuevo disfraz de singalong. –Ali Cooper

Agosto arde rojo – Guardianes

Agosto arde rojo son una de las bandas más consistentes en núcleo metálico, así como el metal y los «ingredientes» incondicionales que componen el subgénero de colisión. Su inclinación por los colapsos brutales evita el problema que suelen traer: el exceso de confianza que reemplaza la necesidad de escribir canciones interesantes. De hecho, el dominio de August Burns Red de los cambiantes riffs de guitarra melódica que prácticamente cantan hace que las cosas se muevan. Encima de eso Guardianes, ve más pesado que nunca en «Bloodletter», que se acerca a la muerte, y explora la atmósfera en «Three Fountains». los superhéroe el tema es apropiado porque estos habitantes de Pennsylvania han ayudado a salvar el metalcore de sintetizadores siniestros y continúan llevando la antorcha. –Bradley Zorgdrager

Policía malo / Policía malo – La raza

Muchas versiones del proyecto punk-rock se centran en ser más difíciles y rápidos y hacer una gran declaración. En su tercer álbum, Policía malo / Policía malo proyecta mucha más empatía que los típicos emisarios punk. Las canciones en La raza parecen instantáneas de personas que encarnan las viñetas de la vida. «Simple Girl» no es un himno al poder de las niñas. Se trata de cantante / guitarrista Stacey DeeViaje. Asimismo, bajista Linh Le«Certain Kind Of Monster» no es un saludo con un dedo a los funcionarios de inmigración y las fuerzas del orden. Es un tratado articulado que se centra en las condiciones específicas de las personas. Todo el mundo grita trivialidades. BCBC están haciendo un camino más rápido hacia corazones sin consignas. Ahora haga cola en «Comunidad» y disfrute de su esperanza. –Jason Pettigrew

oso negro – todo significa nada

Aprovechando el éxito de su carrera más cálido fastidio fácilmente podría haber llevado a una apuesta apresurada, en la radio pop, de un récord para el pilar del R & B / hip-hop oso negro. Pero se tomó su tiempo. Un año después de ingresar a las listas con un éxito de verano en 2019, blackbear dio un hogar a su lanzamiento de agosto, todo significa nada. El récord, sin embargo, está lejos de ser una vergüenza. Hay un synth-pop que recuerda a principios de 1975 («porque son las chicas? «), Baladas acústicas que recuerdan el apogeo 2000 canciones vocales punk («sonríe de nuevo«) Y emocionantes himnos para recorrer la carretera («sollozando en cabo«). Todo puede no significar nada para Blackbear, pero su quinto álbum de estudio es un indicador de que está aquí para quedarse. [BB]

Los Bombpops – Muerte en Venice Beach

Vestido SoCal punk los Bombpops profundizó en su psique para crear canciones soleadas y con cafeína inspiradas en temas oscuros. Eso es adicción, relaciones muertas y la búsqueda de una salida a estos ciclos. (¿Dónde crees que llegaron? ese título del álbum, de todos modos?) El equipo tándem de guitarra / voz de Represa Poli Van es Jen Razavi están tensos y tensos. Pero su composición sectaria sin guantes («Double Arrows Down», «Zero Remorse», «Sad To Me») parece una lectura contemporánea de la legendaria película de forajidos BFF Thelma y Louise. El problema de usar una máscara es que usted y su ride-or-die no pueden verse cantando con Bombpops. Pero si amas el pop punk es tus amigos, seguramente lo entenderás. [JP]

Boston Manor – PEGAMENTO

PEGAMENTO marca una gran desviación de Boston Manor nos hemos familiarizado con los años. Si bien el marcado contraste entre su nuevo sonido y las viejas canciones tomó algún tiempo para calentarse, Boston Manor logró expandirse desde la escena nicho del pop-punk a un nuevo mundo de experimentación. Desde la agresiva «You, Me & The Class War» hasta la amenazante «On A High Ledge» y la abrasiva «Everything Is Ordinary», PEGAMENTO tiene algo para todos y también demuestra que Boston Manor no tiene la intención de ir a lo seguro con su sonido. –Rachael Dowd

Tráeme el horizonte – POST HUMAN: HORROR DE SUPERVIVENCIA

tráeme el horizonte anticipó un regreso a sus raíces pesadas durante algún tiempo, y su lanzamiento de 2020 finalmente cerró el trato. Al apoyar la contagiosa y oportuna «Parasite Eve» con las colaboraciones icónicas de YUNGBLUD, Amy Lee es BABYMETAL, POST HUMAN: HORROR DE SUPERVIVENCIA entregó dos EP por un valor de contenido vertiginoso que nunca podríamos haber predicho. Combinando la energía autoritaria de Sempiterno con su tecnología te amo infusiones, sería difícil creer que la banda misma conjurara la brutal y despiadada ofensiva de «Kingslayer» y los reflejos electrónicos de «Teardrops», pero una cosa es segura: BMTH son espalda. [AC]

Código naranja – Debajo

Está claro que Código naranja se han convertido en los próximos líderes de la música pesada gracias a su explosivo ascenso en los últimos años. Encima de eso Debajo, la banda demostró que serían todo menos predecibles. Su metal de moda duro el enfoque todavía está muy presente a través de ritmos devastadores y perturbadores mientras desafían el status quo y ellos mismos infunden electrónica, industrial, rock alternativo y más en su arsenal. El álbum ve a Code Orange extender sus alas más de lo que nadie hubiera esperado, pero sigue siendo fiel a su base y mentalidad como grupo. –Joe Smith-Engelhardt

Creeper – Sexo, muerte y el vacío infinito

El único aspecto positivo del año que nos trajo COVID-19 fue el regreso triunfal de los habitantes de las tumbas favoritos de la escena Enredadera después de Ziggy Stardust-esque «death» en el escenario en 2018. Cargado con una imponente historia gótica de un ángel que descubre los altibajos del enamoramiento, Sexo, muerte y el vacío infinito Los vi explorar las capacidades del rock retro para contar su vívida historia a través de melodías arremolinadas y cánticos oscilantes. Haciéndose eco de las inspiraciones David Bowie para los asesinos En su estilo inimitable y sensacionalmente oscuro, la segunda era de Creeper demostró que 2020 no fue una cancelación total. [AC]

Danza Gavin Danza – Postquemador

Incluso después de 15 años de lanzamientos, Danza Gavin Danza lanzó una lista de canciones única que incluye una gran cantidad de estilos Postquemador. La experimentación del groove encarnó cada canción y ritmo, desde Tilian PearsonLas voces resuenan en «Prisionero» para BilmuriEs electrico «En la puesta de sol«Característica. Yendo un paso más allá de los ritmos progresivos por los que los oyentes los reconocen, la banda se sumerge en las vibraciones latinas y del jazz. El resultado («Calentamiento global«) Es la salsa picante la que te pone los pies en movimiento. Siendo el noveno álbum de estudio de la banda y lleno hasta los topes de intrincados riffs y extravagantes armonías, Postquemador Es realmente «Uno en un millón. «-Alyssa Quiles

Deftones – Ohm

Equilibraba tranquilidad y ferocidad Deftones‘ modus operandi durante años y Ohm tiene todo lo que un fan podría desear de la era posterior de la banda. A través de su mezcla de calma inquietante y brutalidad dura, logran un registro perfectamente ponderado que explora los elementos que han perfeccionado desde 2010. ojos de diamante con un enfoque veterano. Les tomó bastante tiempo experimentar con su enfoque para capturar ahora un sonido puro que es completamente suyo y ya no depende de crear algo nuevo, sino de perfeccionar lo que funciona. [JS]

Arrastrado debajo – El mundo esta en camino

Saliendo por la puerta con una enorme patada en los dientes, como energía Arrastrado debajo evocan un punk rock metalcore verdaderamente contagioso en su álbum debut. El mundo esta en camino es a la vez nostálgico y fresco, con un tono como el de la escena hardcore punk de mediados de la década de 2000 que tiene un toque extra en cada riff. Es un álbum emocionante, catártico y de alta energía con muchos ganchos pegadizos y golpes a los que volver una y otra vez. [JS]

Ghostemane – ANTIICON

Si un icono implica un símbolo definido, una aspiración convenida convencionalmente congelada en el tiempo, Ghostemane posicionarse como un oponente de esto tiene mucho sentido. Su octavo álbum ve una continuación actualizada de su trabajo, así como una extensión de la herencia, con NIN, Marilyn Manson y Nudo corredizo siendo las referencias más importantes. Lo que hace que «IA» sea una elección inteligente de un acrónimo, que también pone un énfasis simbólico en la inteligencia expansiva como su mecanismo de trabajo hasta ahora y, muy probablemente, su curso de acción futuro.–Giedre Matulaityte

Green Day – Padre di tutti i figli di puttana

Prova ad ascoltare questo disco senza alcuna idea preconcetta di chi Green Day dovrebbe essere e che tipo di musica dovrebbero fare: potresti essere piacevolmente sorpreso dal risultato polarizzante di 10 tracce. La band ha fatto le cose a modo suo dalla fine degli anni ’80, quindi perché dovrebbero smetterla adesso? Padre di tutti … esplora molte trame rock che prima erano estranee alla band e merita davvero il tuo tempo. [SW]

Halsey – Maniacale

Halsey ha tutto il diritto di parlare di lei Grammy snobbi. Dopo tutto, il file pop cantante e punk rocker part-time ha consegnato la sua stagione più personale di sempre con il 2020 Maniacale. Il disco è il confessionale di una pop star di uno dei più brillanti del genere. Ed è completo delle tracce più importanti della sua carriera–sia commercialmente che sul metro di onestà–in «Senza di me» e «Dovresti essere triste. » Proprio come il genere si ritrova a implodere nella musica popolare, Halsey è un altro colpevole, padroneggiando folk, hip-hop e qualsiasi altra cosa su cui canti Maniacale. E con Alanis Morissette annuendo col cappello in un intermezzo, e Dominic Fike e BTS‘SUGA facendo lo stesso, Halsey sottolinea la sua ammirazione per la musica nel suo insieme e, naturalmente, per le orecchie degli ascoltatori. [BB]

Hayley Williams – Petali per armatura

Se Paramore’s 2017 effort After Laughter was a taste of Hayley Williams’ pop influences, her debut solo LP, Petals For Armor, was the whole, full-course meal. But that makes total sense. Released initially in the form of two separate EPs this year, Williams helped fans digest the sonic departure in bits and pieces. And in all fairness, we fell in love with it even more as a whole. From the synthy staccato goodness of lead single “Simmer” to the explosive chorus of “Pure Love” to even that boisterous bassline in “Watch Me While I Bloom,” Williams proves successful in her independent pop exploration. And above all else, she proves a modern-day rock icon can–and should–wear the pop star hat better than most. [BB]

Higher Power – 27 Miles Underwater

Even though Higher Power’s genre-melting 27 Miles Underwater poured into our ears all the way back in January, we’re still not over it. Blending surreal, Nirvana-esque melodic downturns with their hardcore heritage’s spitting through gritted teeth, 2020 definitely didn’t see this revolutionary second venture coming. Whether it’s the lulling “Seamless,” the dreamy confrontation surfacing through “Low Season” or the neon nostalgia of “Lost In Static,” there’s no contagious rock stereotype left unturned and clearly no boundaries this Leeds, U.K. outfit can’t break down. This year, we needed an utterly mind-bending album to take our minds off the chaos—thanks, lads. [AC]

Hot Mulligan – you’ll be fine

Hot Mulligan write lyrics that speak to specific problems in a person’s life with enough leeway to leave songs up to interpretation. E avanti you’ll be fine, the band showcase an array of tracks filled with raw emotions. «Green Squirrel In Pretty Bad Shape” puts forth a stagnant melody while putting emphasis on words such as “I’m so sorry.” The band also tackle difficult topics with tracks such as «Digging In.» HM built songs that have the ability to attach themselves to moments in a listener’s life, forming an intimate connection. Whether it’s an overwhelming feeling of happiness that fills a fan’s body or the sensation of nausea, you’ll be fine leaves a distinct imprint that die-hards will revisit well into 2021 and beyond.—Tabitha Timms

I DONT KNOW HOW BUT THEY FOUND ME – Razzmatazz

With the release of Razzmatazz, I DONT KNOW HOW BUT THEY FOUND ME made good on all of their promise. Here the duo of Dallon Weekes e Ryan Seaman deliver cosmopolitan grooves, sardonic commentary, weird genre splices and sonic in-jokes. You don’t need to be fans of their previous bands (actually, it helps non to) to pick up what they’re rolling around in. Spiked with ’70s glam affectations and early ’90s alt-rock eccentricities, Razzmatazz takes you forward into the past. Get in their time machine or end up lying that you did later. [JP]

IDLES – Ultra Mono

Three records in and Bristol, U.K.’s IDLES are still maintaining extreme mania. On Ultra Mono, the quintet have seemingly doubled down on their original madness. Frontman Joe Talbot still rants like an afflicted homeless man with a Ph.D. in sociology: simultaneously surreal, scary and on point. In these dozen tracks, the band shore him up with both pneumatic drill precision and the occasional dark atmosphere (“A Hymn”). On “Danke,” the caustic guitars and tribal drums usher in a great sense of menace as Talbot yells, “True love will find you in the end!” IDLES’ sonic and vocal contradictions continue to make them one of the most exciting bands on the planet. You should feel what you’re missing. [JP]

In This Moment – MOTHER

From their initial incarnation in 2005 to the release of their recent album, Mother, In This Moment have continuously found sonically innovative ways to reinvent both themselves and the wheelhouse of metal. Leaning heavily into spirituality, Mother granted Maria Brink and co. the opportunity to showcase a more theatrical and larger-than-life quality that In This Moment have embraced in more recent years. Clocking in at 54 minutes, the record oozes with the group’s classic darkness and anguish while merging subtle notes of softness and melancholy into each track, including the Steve Miller Band, Queen e Mazzy Star covers. From the first haunting chord on the interlude track, Brink confirms that she’s the mother of metal and the future of the evolving genre.—Paige Owens

Joji – Nectar

Joji’s Nectar is a rare listening experience worth committing to—and quite possibly the brightest silver lining of 2020. Offering an 18-song manifestation highlighting Joji’s artistic maturity and growth from his massive 2017 debut record, Nectar is a truly exquisite album that affords no skips. Nectar defies all odds of the “sophomore slump” and works to redefine genre-bending across each track. The diversity of the album leads the way for every listener to find a track to sink into and effortlessly expands upon Joji’s atmospheric sound that gained him mass popularity on his first album. One full listen of Nectar will make it incredibly clear why it should be a top contender for your album of the year slot. [PO]

Joyce Manor – Songs From Northern Torrance

Culled from early material circa 2008-2010, Songs From Northern Torrance acts as a snapshot in time by resuscitating rarities that have never existed on a studio album. Capturing Joyce Manor’s beginnings as a two-man acoustic unit spitting bare-bones oddities, the compilation segues into full-band rumblings at the halfway mark (including the self-released Constant Headache EP in full). In either setting, frontman Barry Johnson sounds as formidable of a storyteller as ever, cramming sloppy suburban tales about suicidal admissions at driving ranges (“Five Beer Plan”) and staying in love with people who tell lies as easily as politicians (“House Warning Party”) into cuts that rarely dare to exceed two minutes. It’s a quick 15-minute ride—one that evokes all the feelings of heading back down to the basement or slamming your first tallboy in a stranger’s backyard.–Neville Hardman

Knuckle Puck – 20/20

Knuckle Puck did the unthinkable in pop punk and developed a definably unique sound. “20/20” and “Earthquake” show their ability to avoid obvious hooks and, in doing so, produce extra compelling ones. Lead single “Tune You Out” builds from an introspective first verse to a second that maintains the motif but is driven by chords, with Joe Taylor‘s vocals going from falsetto to blunt yell, all with creative placement. Their music has always felt particularly earnest, perhaps borrowing that from cousin genre emo, which permeates here. If they keep going like this, they’ll never need to worry about hindsight. [BZ]

Laura Jane Grace – Stay Alive

The cover of Stay Alive, the surprise album from Laura Jane Grace, offers no better likeness of all the joints we’ve snuffed out to muster through this garbage year. More in line with As The Eternal Cowboy’s slower cuts (“Cavalier Eternal”) than hot-blooded rock, Grace recorded the songs exactly how she’d rehearsed them in her Chicago home, with producer Steve Albini at the helm. As a result, she sounds freer than ever. Unencumbered by overloaded digital mixes that blend 20 different versions of a song together, the tracks came out more organic. This allowed Grace to wax poetic on seclusion, despair and holding out for hope in a way that sounds like she’s finally breathing again. Don’t worry: Her punk snarl still persists—it’s just quieted down, echoing a call for survival above all else. [NH]

Loathe – I Let It In And It Took Everything

From a distance, it may seem like an elegant network connecting hardcore, shoegaze, black metal e djent like little dots on a map. Zooming in, it starts feeling like getting plugged into multiple storylines that merge into a fully immersive RPG experience. Three years after their debut, Loathe came back with a sonic equivalent of a roller coaster ride across surrealistic, Deftones-esque soundscapes while taking sudden turns and making deep dives into groovy down-tuned distortions while lyrically exploring the terrors of the human condition. For Loathe, it was also an explosive breakthrough from Liverpool’s metalcore underground to mainstream recognition. For the rest of us, it will remain as a memo about how powerful of an escape this type of music can be. [GM]

Machine Gun Kelly – Tickets To My Downfall

Pop-punk purists have had a lot of thoughts about Machine Gun Kelly jumping into the genre with the release of Tickets To My Downfall. But with rock influences blended throughout his previous four full-lengths, the transition was only a matter of time. Con Travis Barker producing, MGK continued to close the gap on genre expectations with a stacked list of collabs featuring Halsey, Trippie Redd, blackbear, iann dior, the Used’s Bert McCracken e YUNGBLUD. While each track on the chart-topping album will have you air-drumming even harder than the last, you’re missing out if you think that’s all TTMD and its deluxe cut have to offer. A slew of powerhouse singles (“bloody valentine,” “concert for aliens”) and underrated anthems (“drunk face,” “jawbreaker”) are accented by soul-baring lyrics as well as emotional tributes to MGK’s daughter, Casie (“play this when i’m gone”), and late father and aunt (“lonely”) for a well-rounded release that’s paving the way for the future of the genre.—Rachel Campbell

Marilyn Manson – WE ARE CHAOS

If anyone could save us from the insanity of 2020, it’d be Marilyn Manson. No less hypnotically menacing in his eleventh studio sensory onslaught, the “God Of Fuck” returned with WE ARE CHAOS to brighten the prospects of a disastrous year with melodic narratives. Armed with the movie soundtrack-esque “DON’T CHASE THE DEAD” and industrial nostalgia of “INFINITE DARKNESS,” you’d be forgiven for thinking this was just another Manson album—that is, until the title track broke Manson’s previously aggressive facade for a surreal singalong we haven’t seen the likes of since Eat Me, Drink Me. [AC]

Movements – No Good Left To Give

Following the warm reception of their 2017 debut, Feel Something, it was clear Movements had some big shoes to fill when it came to their sophomore release. Rather than cracking under the pressure, however, Movements managed to create a harmonious piece of work that truly explores what it means to exist. From the nostalgic punk sounds reminiscent of their Outgrown Things days on “Tunnel Vision” to the somber poeticism on “Don’t Give Up Your Ghost,” there’s rarely a moment on No Good Left To Give a 20-something won’t identify with. Con No Good Left To Give, Movements prove once again that their music is a permanent solace listeners can turn to when life reaches its darkest points. [RD]

NOFX/Frank Turner – West Coast Vs. Wessex

What could’ve become a bro-laden shits ’n’ giggles project actually turned out to be a wonderfully inspired mutual admiration society. Esteemed SoCal punk wise guys NOFX took on their favorite tracks by U.K. favorite son Frank Turner, who then returned the favor. West Coast Vs. Wessex sports a great tracklisting and even greater interpretations. Exhibit A: Fat Mike rearranging “Thatcher Fucked The Kids” into a sweet ska jam. Exhibit B: Turner’s take on NOFX’s “Scavenger Type” is the kind of aural amphetamine we’d like him to dose us with frequently. Honestly, any dream pairing of il tuo favorite bands covering each other probably wouldn’t contain a fraction of the greatness West Coast Vs. Wessex has. [JP]

Nothing – The Great Dismal

2020 was hideous. But esteemed Philadelphia-based guitar unit Nothing delivered their fifth and best album. The feedback/noise/shoegaze elements that helped define the band toward more aggressive realms (read: metal, post-hardcore) blossom here for maximum bliss. The Great Dismal is not a record you listen to when you’re getting ready to go out or serving dinner to friends. No, you break plans and schedule Nothing into your life, allowing it to convey all the atmospheric vistas your imagination hasn’t yet considered. There isn’t a song on that last My Bloody Valentine album that’s as compelling as “Say Less.” This writer will fight you. Without a mask on, even. [JP]

Nova Twins – Who Are The Girls?

London duo Nova Twins, aka Amy Love e Georgia South, signed to Jason Aalon Butler’s 333 WRECKORDS at the end of 2019 and broke out into the scene in a brilliant way with their debut album, Who Are The Girls? The two have been cranking out heavy, bass-laden tracks since 2016 but hit their stride with sludgy rock bangers such as “Taxi” and “Undertaker.” Nova Twins are definitely experimental and not afraid to mix elements with rave beats and airy vocals. No two songs are alike, but each one’s carefully inspired beat will make you feel completely badass. This roller coaster of a record is a spectacle to behold, with their powerful personalities showing through in each lyric and out-of-this-world songwriting sure to bring a much-needed refresher to the heavy rock scene. If you don’t know them by now, you’ll see them headlining shows in no time, and they’re just getting started. [MS]

Ozzy Osbourne – Ordinary Man

A decade since his last studio output, Ozzy Osbourne’s 12th album saw the Prince of Darkness openly contemplate his own mortality. Using towering orchestral compositions to reflect upon the life and times of metal’s craziest icon, it’s almost as if we had to wait until the world nearly came to an end in 2020 before we’d see Osbourne share the mic with Elton John in the heart-wrenching title track. Ordinary Man was far from mundane in its approach—even flipping Osbourne’s two-way collaboration with Post Malone on its head with the ferocious “It’s A Raid.” [AC]

Palaye Royale – The Bastards

Serving as the trio’s third LP, Palaye Royale’s The Bastards presents roaring anthems alongside reverberating odes. Just as they wished, the full-length takes you into another world. Behind ominous backbeats scattered throughout (“Tonight Is The Night I Die,” “Nightmares”) is an element of elegance drifting through each riff. The album would fit seamlessly in a black-and-red ballroom of rock ’n’ roll, where the patrons spin around one another, lost in the rhythm of each drum pattern and lyric. [AQ]

Phoebe Bridgers – Punisher

Very few records have fit 2020 as snug as a skeleton onesie. Phoebe Bridgers‘ Punisher just so happens to be one of them. Bridgers has every 2020 state of emotion on lock in her 40-minute modern indie classic. There are heartbreakingly personal anecdotes like the apocalyptic closer “I Know The End” to remind us of current times. There’s the occasionally upbeat anthem, which just so happens to be about feeling like you’re living someone else’s life (“Kyoto”). And Bridgers’ ability to unite some of the genre’s best and most talented peers in members of Bright Eyes or her own boygenius is enough of a testament to the layers this record can offer if you listen close enough. We’ve been punished with much of 2020. But Punisher was our escape from one hell of a time out. [BB]

Picturesque – Do You Feel O.K?

Told through sonic hooks and thundering breakdowns, Picturesque share a story of heartbreak and love with their sophomore release. Do You Feel O.K? features a cohesive tracklisting not only capturing the frustrations behind toxic online dating culture but the vulnerability that comes along with finding and caring for someone. Elements found in hip-hop and trap to rock and hardcore make appearances throughout the LP. From Dylan Forrester’s “ATTN:”-grabbing guitar solo to the emotional ballad that is “Day By Day,” Picturesque’s mixture of genres created a new wave of sound in a time where some believe they’ve heard it all. [AQ]

Poppy – I Disagree

Poppy’s I Disagree is an excellent record. But nothing excellent could ever come out of disagreeing with the nü-metal mogul and AP cover star. On her January release, YouTube’s greatest game-changer made the full-blown transition into rock hero. And it’s got everything. There’s a fiery title track of epic proportions. There’s “Sit / Stay,” which almost sounds like a monstrous and intense early ’00s Need For Speed cut minus its futuristic harmonies. And there’s even a song for those who want an easygoing ballad and a full-time escape into Poppy’s atmospheric universe in “Sick Of The Sun.” I Disagree gave us something we all could agree on in a year full of contention: Poppy is the real deal. [BB]

PVRIS – Use Me

Deep crescendos, lilting vocals and intimate lyrics are what make PVRIS unique to their audience. Con Use Me, vocalist Lynn Gunn takes credit for her work, unleashes her anxieties and lays her mind out for everyone to hear. Using technical rhythms and danceable instrumentation to complement Gunn’s shining vocals, PVRIS occasionally revisit soft melodies (“Use Me”) and pump up the energy for others (“Dead Weight”). Reminiscent of 2014’s White Noise, Use Me is a sonic roller coaster crashing through waves of euphoria and peace. [AQ]

Sharptooth – Transitional Forms

Sophomore albums are traditionally meant to be a nightmare, but vicious hardcore outfit Sharptooth are having the time of their lives. Transitional Forms created a neat soundtrack that made us all miss those events we once called “shows,” offering an up-in-your-grill onslaught exploring vocalist Lauren Kashan’s enviable range accompanied by bleeding atmospherics. While we’re unable to hear the incendiary “Say Nothing (In The Absence Of Content)” booming out surrounded by a snarling pit, we’ll have to settle for windmilling in the kitchen to the acerbic “Mean Brain” and two-stepping in the bathroom mirror to “Life On The Razor’s Edge.” [AC]

Silverstein – A Beautiful Place To Drown

A Beautiful Place To Drown simultaneously flows seamlessly yet comprises a collection of could-be singles. Case in point? The electronic-driven “All On Me,” which succeeds in spite of its distance from their post-hardcore sound and comes complete with a Saxl Rose sax solo. Speaking of, Silverstein masterfully selected friends (Beartooth‘s Caleb Shomo, Underoath‘s Aaron Gillespie, Simple Plan‘s Pierre Bouvier, Princess Nokia and Intervals‘ Aaron Marshall) to guest, pushing songs forward without steering them adrift. Rather than give up their past or wallow in it, they embrace their role as trendsetting elder statesmen and toe the line—laugh lines and all. [BZ]

Spanish Love Songs – Brave Faces Everyone

Spanish Love Songs have always had a talent for voicing all of our self-loathing and anxiety. But on Brave Faces Everyone, they’ve cranked it to a 10, conjuring every last fear, addiction, panic attack and suicidal tendency that’s ever surfaced. Throughout 10 tracks, most of them eerily prescient, the band attempt to strike a balance between rich realism and a message of hopefulness trying to bloom through the cracks. At points, the songs cement the utter bleakness of our reality. Other times, they offer solace for our faults and failures, swearing that pain is a shared experience and we are never alone. By the album’s end, however, one thing remains absolute: “It gets harder, doesn’t it?” [NH]

Stand Atlantic – Pink Elephant

With their sophomore album, Stand Atlantic made us forget about the woes of 2020 with the confident, upbeat Pink Elephant. Aside from the classic pop-punk songs we’ve grown to know and love from the Australian group, Stand Atlantic experimented with their sound, implementing alt-pop synth tracks and heartfelt ballads to prove to fans that they’re growing into something all their own, and they’re not done yet.—Alex Darus

THICK – 5 Years Behind

5 Years Behind, the debut full-length from Brooklyn trio THICK, is the product of playful, abundant joy mingling with frenetic punk energy. Named after feeling like you’re lightyears behind friends who found success early on and need to catch up, the team of Nikki Sisti, Kate Black e Shari Page alleviate our anxieties about not being good enough. Across 11 tracks, THICK are accosted by change (“Sleeping Through The Weekend”), undermined by clueless men (“Mansplain”) and stifled by expectations (“Your Mom”). But through it all, they don’t sound like they’ll ever harden from their experiences, emulating their punk predecessors by singing tongue-in-cheek lyrics over perky melodies instead of grumbling on Twitter. [NH]

Tommy Lee – ANDRO

Did anybody ever expect that Mötley Crüe’s drummer would reinvent himself as an electro/hip-hop stylist? On ANDRO, Tommy Lee made a solid record that will stretch your subwoofers, soundtrack your wildest adventures and flirt a bit with pop. Lee has a cadre of hungry MCs and Rock Star Supernova’s Lukas Rossi (remodeling Prince’s “When You Were Mine”) in tow, and the results are stellar. Not sure how many people who had tix for Mötley Crüe’s postponed stadium tour ponied up for ANDRO. But that’s not the point. The act of reinvention hasn’t sounded this inspired, quantized and badassed in a long while. [JP]

Touché Amoré – Lament

Originally intended as a love album, Lament finds Touché Amoré penning their most accessible work to date. While 2016’s Stage Four was written during a period of intense mourning, Lament wasn’t about crafting a better, more anguished record. Grief cracks you open and changes you. With that, there will always be pressure to “move on” and “feel better.” For frontman Jeremy Bolm, it meant stepping back and reflecting on where his life is at instead. Featuring the poppiest song within their catalog (“Reminders”), pedal steel quirkiness (“A Broadcast”) and a collaboration with Manchester Orchestra’s Andy Hull (“Limelight”), Touché Amoré deliver resonating blasts of vulnerability that sound like the most fun they’ve had stretching their boundaries in years—and they’re all the better for it. [NH]

The Used – Heartwork

The Used rarely shy away from tugging at your heartstrings, and the sonically and stylistically diverse Heartwork more than does the trick in the emotion department. Returning to svengali producer/songwriter John Feldmann after one record away (2017’s divisive effort, The Canyon) successfully reignited the fire with the band, and this release is certainly their most consistent front-to-back album since 2009’s Artwork. Hopefully we all can hear these songs live soon. [SW]

YUNGBLUD – weird!

With more than two years passing since YUNGBLUD released his breakout debut, 21st Century Liability, saying his next full-length was highly anticipated is an understatement. Embracing the tongue-in-cheek lyricism and relatability of his past releases, the musician takes it up a notch on weird! for an album that is anything but a sophomore slump. With everything from a punk-fueled banger (“strawberry lipstick”) to a sugary-sweet pop anthem (“cotton candy”), channeling the Beastie Boys (“superdeadfriends”) and crooning through a powerful ballad (“teresa”), YUNGBLUD explores both new sounds and lyrical themes with a fresh perspective. Coupled by his message of acceptance for both yourself (“god save me, but don’t drown me out”) and others (“mars”), weird! certainly has a track for anyone who’s willing to listen. [RC]

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