FMS Magazine’s Top 21 Albums of 2020

FMS Magazine·
MUSIC
·

It’s probably fair to say very few people won’t be celebrating when the midnight bell chimes to ring out 2020’s death knell. In what’s been a somewhat turbulent year caused by an unforeseen global pandemic that shows no sign of abating any time soon, live music has ground to a halt since March. With tours and shows being cancelled all over the world and very few festivals taking place throughout the year, 2020 will go down in history as many people’s worst in living memory.

Positives were few and far between; the downfall of Trump in America being a lone highlight in recent months. Sadly, superseded by the continual rise of right-wing politics elsewhere, particularly in the UK where the reality of Brexit is about to take hold, supplemented by populism and a Tory government that holds an 80-seat majority.

But enough of politics. Let’s focus on music instead. Because like a phoenix from 2020’s flames of hellfire, this year can lay claim to being one of the finest as far as new music was concerned. Particularly when it came to albums. Looking back through the decades there’s often been a correlation between turbulence and austerity causing a pathway to great art, and this year proved no different.

This year’s FMS Top 21 features a diverse bunch of artists (as with previous years to be fair) from a variety of genres. Some of whom readers will be quite familiar with. Others not so but we guarantee you will be hooked after giving them a listen.

So, without further ado, here are the FMS Top 21 Albums of 2020 as picked by its writing and photography team.

1. Erki PΓ€rnoja – Leva (12 February, 2020)

β€œOf the many gifts the digital age has given fans, access to a giant world of music that would have been hard to obtain physical copies of in ye olde days tops the list. That means there is a lot to sift through, though, but I’m optimistic that the best artists are going to get to the ears that need to hear them. PΓ€rnoja is a fancy-pants pop star in his native Estonia, as part of the beloved Ewert and the Two Dragons, but his solo albums are long overdue in getting the attention of every music supervisor and tastemaker on the planet. Early releases are a Baltic take on Spaghetti Western, sometimes even entering Dungen’s space, but unlike any other music I’m aware of. He is a bonafide guitar hero, but not in the obvious sense. With Saja Lugu, however, PΓ€rnoja started showing his more ambient side, having mastered the slow build. To top it off he ended the year with PΓ€rt ja PΓ€rnoja: SΓΌdaΓΆine, a collaboration with composer Arvo PΓ€rt in Tallinn’s St. John’s Church.” – Alex Maiolo

2. Tame Impala – The Slow Rush (14 February, 2020)

β€œThe Australian psych-rock band – well, Kevin Parker really, in the recording studio Parker writes, performs, and produces all of the music – return for their fourth album and what just may be their best. I’ve worked to this album this year, taken lockdown walks to it, and driven to it – you don’t tire of its sounds, it’s simply brilliant.” – Michael Robert Williams

3. Caribou – Suddenly (28 February, 2020)

β€œAfter the success of 2014’s Our Love, it took 6 years for Dan Snaith to release more music under the Caribou moniker. This is a personal and often vulnerable album, which explores the evolution of Snaith’s relationships through the themes of loss, divorce and gender inequality with music that is both accessible and experimental in equal measure. The breakbeats and soul sample of ‘Home’ provides a likely entry point for many listeners and the most obvious segway from Our Love, but overall, the album feels more tender and explores Snaith’s ability as a songwriter more than ever before. The record draws from across the breath of the musical spectrum with house, pop, hip hop, R&B and jazz all blended together. The result is a rich musical collage underpinned by Snaiths crisp drums, roving synths and an ear for a killer sample. Standouts include ‘New Jade’, ‘Ravi’ and ‘Never Come Back’ as Snaith yet again demonstrates his ability to create meaningful dance anthems.” – William Sutton

4. Officer – Night Tennis (28 February, 2020)

β€œFive years after his debut β€˜Myriads’, this year Dc Logan delivered his second album as Officer. Night Tennis was born at night as Logan battled insomnia, and it works as a whole album – there are stand-outs, lead single ‘Pylon Moon’ being one, but this is an album to put on in the evening, pour yourself a drink, and get lost in the music.” – Michael Robert Williams

5. Sorry – 925 (27 March, 2020)

β€œOn their debut album, London’s Sorry borrow from and reject previous generations in equal measure to create a woozy, experimental and fearless introduction. The album is deeply self-aware, and often indifferent. It is rooted in the experiences of young people in the city, lived and imagined. Whilst 925 sees an expanded line up for the band, the core of their music remains the interplay between founding members, Asha Lorenz and Louis O’Bryen, best demonstrated on highlight ‘Perfect’, and their unwillingness to be confined to any singular genre. 925 is a dark album, with reflections on death, fear, drugs and love, punctuated by moments of wry humour and the bright punch of saxophones on ‘Right Around the Clock’, glitchy guitars on ‘Starstruck’  electronica on ‘Lies’ and folk on ‘Heather’. References to Tears for Fears and Oasis acknowledge some of rock music’s significant moments, but lyrics are inverted, and images undermined as Sorry craft their own vision of music and society. The result is at its best playful, creative and unpredictable, and hints at much more to come from this young band.” – William Sutton

6. Indian Queens – God Is A Woman (03 April, 2020)

β€œHackney Wick based trio, Indian Queens were already attracting considerable attention last year having been invited by Robert Smith to join the roster of his carefully curated Meltdown Festival, thanks to their dark and beguiling shimmering guitar led sound and haunting vocal harmonies which drew comparisons with Warpaint and Portishead. Sisters, Jennifer (guitar/vocals) and Katherine O’Neil (bass) plus Mat Bick (drums) have made good on their promising start with debut album God Is A Woman. Their swirling and trancelike synthesis of shoegaze, psychedelic alt rock and trip hop produced both a record packed with banging tracks like β€˜I Get No Rest’, β€˜Some Kinda Blue’ and β€˜Pretty Little Thing’, plus dream pop anthems β€˜Wanderlust’, β€˜Us Against The World’ whilst retaining a sense of depth, intrigue, and mystery throughout. Since COVID descended and stopped play, the control measures have hit the less established acts the hardest. Unable to tour their new records or raise their profile at festivals, it’s been frustratingly easy to see all the hard-won momentum of many young musicians slip away because of circumstances out of their control. Indian Queens certainly impressed with their appearance at Rockaway Beach, right at the start of the year (one of the only festivals of 2020!), and this stunning first full length deserves to get way more consideration and acclaim than it has yet received.” – Jimi Arundell

7. Fiona Apple – Fetch The Bolt Cutters (17 April, 2020)

β€œIt has been a long time between albums for Fiona Apple, eight years in fact, and Fetch The Bolt Cutters was five years in the making. Described by Apple as being about freedom and with the message β€˜Fetch the fucking bolt cutters and get yourself out of the situation you’re in’. In the title track she sings about being bullied and mocked when she was younger ‘I listened because I hadn’t found my own voice yet’. Well Bolt Cutters doesn’t sound like anything else released this year, so she clearly doesn’t have that problem anymore – it’s relentless, original, unpredictable, and brilliant.” – Michael Robert Williams

8. The Howl & The Hum – Human Contact (29 May, 2020)

β€œIt’s as if they knew human contact would be something most of us would crave this year. The debut album from the York four-piece is a powerful display of accomplished songwriting, delving into uncomfortable personal experiences through clever imagery and highlighting β€˜a very modern kind of loneliness,’ even though it was recorded before society fell into this period of self-isolation. Moving from the dark and pensive to the positively anthemic, the album is a polished mixture of melancholy synth-pop and heartfelt minimalist ballads, with β€˜Until I Found A Rose’ and β€˜Hostages’ demonstrating the diversity of this excellent record.” – Mike Powell

9. Run The Jewels – RTJ4 (03 June, 2020)

β€œDespite Run The Jewels fourth album being recorded in 2019, in many ways it provides a potent soundtrack for 2020 and could have been made in direct response to some of its events. Blending humour, political reflection, and social commentary the album brings light and dark in equal measure as the duo hone their song craft to deliver their strongest album to date. A stellar collaborator list, including Pharrell, DJ Premier, Mavis Staple and Zack de la Rocha, helps strengthen the record but the potency of Killer Mike and El-P as individuals and a duo is what drives the record. A protest record that takes aim at police brutality, corruption, and corporate America, it is pointed and sharp without ever being preachy. The production is as abrasive as ever, equal parts hard-core punk, sci-fi and boom bap hip-hop, it subtly expands on the pairs previous efforts. The record sees the pair truly embrace their position as rap’s elder statesmen, whilst continuing to push boundaries as they continue to be driven by experiences in their own lives and the injustices of society around them. The prophetic ‘walking in snow’, meditative ‘JU$T’ and playful ‘Yankee and the Brave Ep.4’ provide perfect examples of why Run The Jewels remain one of the best duos in rap history and the most vital producing music today.” – William Sutton 

10. Sonic Boom – All Things Being Equal (05 June, 2020)

β€œAs one of the founding members of Spacemen 3, Pete Kember’s status as one of the most influential musicians of his generation is already assured. It’s perhaps telling then, that thirty years have passed since the dissolution of Spacemen 3. Which also coincided with the release of Kember’s first solo release as Sonic Boom, Spectrum. However, it’s the long-awaited follow-up All Things Being Equal that’s got us incredibly excited all over again. Now residing in Sintra on the Portuguese riviera, All Things Being Equal represents a collection of songs that came to fruition over five years, having initially started the record while living in his hometown of Rugby. While not exactly a concept album in its truest sense, All Things Being Equal was heavily influenced by the environment surrounding its creator, while musically going back to basics using analog synthesizers to create a reverential soundtrack to 2020.” – Dom Gourlay

11. Jehnny Beth – TO LOVE IS TO LIVE (12 June, 2020)

β€œJehnny Beth, singer for the art-punk group Savages, released her solo debut in June and it sees her really carve her own path outside of Savages. Beth describes it as a very personal record and was inspired to work on her own solo album when David Bowie died in 2016, and she then began working on the lyrics. Helped out by both Atticus Ros and Flood, the music varies from powerful industrial, to ballads – and is a fascinating glimpse into where Jehnny Beth may be heading. Stand-out tracks ‘I’m the Man’ and β€˜Innocence’ – play loud!” – Michael Robert Williams

12. Phoebe Bridgers – Punisher (18 June, 2020)

β€œOn Bridgers’ second full length release, Punisher, she asserts her position as a leading indie talent with a striking, dark and powerful record. The album showcases the 25-year-old Californian’s keen ability to translate personal suffering and everyday experience into relatable reflections on human emotion and identity. Her songwriting is rich and detailed, as Bridgers reflects on parental divorce and a troubled relationship with her father (β€˜Garden Story’, β€˜Kyoto’), self-identity (β€˜Chinese Satellite’) and troubled relationships (β€˜Halloween’). These real-life experiences are overlayed with a pervading sense of darkness and droll reflection, grounded in cultural references. Her powerful songwriting is complemented by a strong sense of melody and a wide palette of indie musicianship created in conjunction with frequent collaborators, including Conor Oberst and her boygenius bandmates. Whilst Punisher pays tribute to one of her greatest influences, Elliot Smith,whose mark is felt throughout the album, the strength of this sophomore record creates the foundation for a new generation to form the same deep emotional bond with Bridgers’ own music.” – William Sutton 

13. Π“Π¨ (aka Glintshake) – Π“ΠΈΠ±ΠΊΠΈΠΉ Π³Ρ€Π°Ρ„ΠΈΠΊ (17 July, 2020)

β€œSinger, Kate Shilonosova is a multidisciplinary artist, and has created of her own music/art/fashion world as Kate NV. Jenya Gorbunov also creates no wave masterpieces as Π˜Π½Ρ‚ΡƒΡ€ΠΈΡΡ‚ (aka Inturist). The former’s Room for the Moon shows her continuing to mine Japan for influences in 2020, as she did on her last release, FOR, while also nodding towards quirky new wave acts like Martha + The Muffins at times. Gorbunov’s Inturist dropped ΠšΠΎΠΌΡ„ΠΎΡ€Ρ‚ this year, and it’s by far his most fully formed album yet. It’s free jazz for people who don’t like free jazz, with James Chance-style sax blasts, and chorused fretless bass, Γ  la Mick Karn, supporting shrapnel bursts from the band leader’s Telecaster. We haven’t even gotten to Glintshake yet, a band I’ve written about in these very pages, which features both of these artists, and their two musical genius bandmates, but then again my intent was to waylay the reader into a 3-for-1, and you’re still here. Previous releases from the band weaved in and out of straight up agit pop, dance punk, and their own brand of art rock effortlessly. Π“ΠΈΠ±ΠΊΠΈΠΉ Π³Ρ€Π°Ρ„ΠΈΠΊ finds them on a slightly looser foundation. Even as a super fan who considers 2016’s ОЭЩ ΠœΠΠ“Π—Π˜Π£, one of his 10 favourite albums of the last decade, it took a minute for Π“ΠΈΠ±ΠΊΠΈΠΉ Π³Ρ€Π°Ρ„ΠΈΠΊ to get the claws in, but once it did it didn’t let go. By the time the 21-minute opening track had led me to Jesus my eyes had already welled up a little.” – Alex Maiolo

14. Crack Cloud – Pain Olympics (17 July, 2020)

β€œWhen Crack Cloud’s first two EPs came out three years ago it was clear they would have a groundbreaking, game changing record in them sooner rather than later. Fast forward to 2020 and they’ve delivered it with some aplomb in the shape of Pain Olympics. Conceived as a document of the collective’s past lives battling opiate addictions – their times in various recovery programs responsible for bringing the group together – then subsequent journey through to the other side. Pain Olympics is a record that delivers something new with every successive listen. A melting pot of styles and genres that embodies the true spirit of post-punk; in that it never stands still or attempts to retread a given formula. Instead, as with fellow sonic experimentalists, Late Of The Pier, These New Puritans and Animal Collective, Crack Cloud have bestowed an otherworldly concoction of aural delights, even its subject matter isn’t for the faint hearted” – Dom Gourlay

15. James Dean Bradfield – EVEN IN EXILE (14 August, 2020)

β€œIt’s been fourteen long years since we last had a solo album from Manic Street Preachers singer/guitarist James Dean Bradfield. This time round, he’s teamed up with Patrick Jones, brother of Manic’s bassist, Nicky Wire and long-term collaborator, to create concept album, EVEN IN EXILE; a tribute to life and work of Chilean singer, poet and communist activist Victor Jara. Recent years have seen Bradfield begin to work on film soundtracks, and he applies his newfound cinematic scope to the lyrics penned by poet and playwright, Jones, creating a widescreen sepia-tinged masterpiece album, which tells Jara’s complete story through song, with Chilean tinged art pop tracks like β€˜RECURDA’, driving anthems like β€˜THE BOY FROM THE PLANTATION’ plus powerful instrumentals β€˜UNDER THE MIMOSA TREE’, β€˜LA PATRIDA’ and tracks like β€˜THERE’LL COME A WAR’ and β€˜THE LAST SONG’ which have the gravitas of an epic film score. The latter of which painfully illustrates Jara’s torture and murder by the Pinochet regime, through impacting soundscapes. It’s a testament to the skill of the Manic’s songwriter, already well experienced in interpreting weighty subject matters, that he has avoided making a dry album which only has interest for existing hardcore fans. By widening his lens and trying his hand at a range of instruments, he has crafted a nuanced and compelling LP, an intelligent record which achieved considerable chart success by comfortably breaking into the Top 10.” – Jimi Arundell

16. Sault – Untitled (Black Is) + Untitled (Rise) (18 September, 2020)

β€œThe mysterious and much talked about Sault felt particularly right in a year where Black Lives Matter finally took hold. Not only is the messaging in line, the music plucks from a rolodex of the best of soul, R&B, Motown, hip hop, dub, early disco, and West African electronic music. Even the production nods to some of the greatest funk records ever made. Hyped AF and for good reason.” – Alex Maiolo

17. IDLES – Ultra Mono (25 September, 2020)

β€œIt had been hyped by many sources as IDLES unexpected (and possibly ill advised) β€˜hip hop album’, and while the influences of Mike Skinner and Kano can definitely be heard, what we got on third LP was definitely not a Bristolian white boy take on grime. Instead, Ultra Mono refits and re-purposes their leftist post punk popularist chants with a heavier, harder, and more experimental sound engineered for the ever-larger stages they now occupy, thanks to their immense success. The first of their full-length records to not be released under a cloud of personal tragedy, Ultra Mono was in danger of being eclipsed by the furore of petty jealous fights started by acts goading critics consider peers (not once instigated or welcomed by IDLES) and over-shadowed by the inevitable sneering backlash from the more pretentious quarters of the British music press. Despite the record dropping amidst these growing tensions, their diehard fanbase loved the harder edge and subversive Dadaist missives and sent it straight in to Number 1. How’d you like them cliches?” – Jimi Arundell

18. Working Men’s Club – Working Men’s Club (02 October, 2020)

β€œIt’s been a rollercoaster eighteen months for Working Men’s Club. Having released debut single β€˜Bad Blood’ at the start of 2019 then signed to Heavenly Recordings a few months later, that old chestnut artistic differences left them with just founder, Syd Minsky-Sargeant as their only full-time member. Which is just as well because Minsky-Sargeant’s single-minded vision has paid dividends so far. Having put together a new band, Minsky-Sargeant then entrusted Ross Orton to rubberstamp his magical production skills on his exquisite creations, ensuring Working Men’s Club’s self-titled debut was every bit as great as those incendiary live shows (remember them?) towards the tail end of 2019 had enticed us into believing it would be. Taking its cues from New Order and A Certain Ratio via The Fall and even Suicide, every one of its ten pieces fits immaculately into Working Men’s Club’s measured soundscape. It’s bleak in places, yet with an underlying optimism and outlandish euphoria in its execution. Album of the year? You bet!” – Dom Gourlay

19. RΓ³isΓ­n Murphy – RΓ³isΓ­n Machine (02 October, 2020)

β€œ2020 was a fucking drag, y’all. Sure, it gave us all a lot of time to contemplate things like hard resets, the meaning of life, and what hygiene even means during a plague. Some of us were handed some unexpected gifts, but for the most part it was the year of cabin fever. Which is why a proper disco album felt particularly good. Everybody knows RΓ³isΓ­n Murphy is a treasure. Much better-known artists aren’t even in the same postcode as Murphy when it comes to her inimitable style. What puts her in the Pantheon, however, is she’s never made a bad album, solo, or as part of Moloko. RΓ³isΓ­n Machine maintains the streak, plus it inspired a lot of us to ditch the sweatpants, and put on our best look, even if we weren’t gonna leave the house.” – Alex Maiolo

20. Travis – 10 Songs (09 October, 2020)

β€œIt may not break new ground, but the ninth album from the Glasgow indie stalwarts has a comforting familiarity in these uncertain times. With a pleasant mix of piano, harmonies and Americana, and featuring a duet with ex-Bangle, Susanna Hoffs, on β€˜The Only Thing,’ the 10 songs on the album tread steadily along the folk-pop path; β€˜A Ghost’ and the slightly rockier β€˜Kissing In The Wind’ raise their heads above the parapet of what is a satisfying rainy Sunday afternoon record.” – Mike Powell

21. Luke Abbott – Translate (20 November, 2020)

β€œIn the past decade it seems like every year produces a few albums that have more than a little Switched On energy. At over half a century old, electronic music has been with us long enough that even β€˜retro-future’ is a retro genre. There were strong showings this year from Kelly Lee Owens, Abe Seiferth, and Pye Corner Audio, all of which I wore out, but the one I kept going back to was Translate. As with the others, it’s not mired in bleep-bloop pastiche, though. Abbott is clearly informed by die alte Elektronik, but he’s definitely bringing something new to the game.” – Alex Maiolo

So, there you have it! What were your favourite albums this year? Whose album are you most looking forward to hearing next year? There’s a few FMS are particularly looking forward to already. Both Still Corners’ long awaited fifth long player, The Last Exit, and Rats On Rafts’ third LP, Excerpts From Chapter 3: The Mind Runs A Net Of Rabbit Paths, drop next month. With new records also expected from Mogwai, The Cure and Jane Weaver among others, 2021 promises to be another year where albums will dominate while live music remains in a state of limbo.

Special thanks to the FMS team for their contributions: Alex Maiolo, Dom Gourlay, Jimi Arundell, Michael Robert Williams, Mike Powell and William Sutton!

Intro/Outro: Dom Gourlay