Having taken thirteen months to complete the 2020 list, I thought it was best to opt for the shorter format which I’ve used on a few occasions here. Some of the very kind folk who keep a casual eye on my turntable shots and occasional grumbling about pressing plants on Twitter insist that these countdowns are helpful, so here we go. Obviously, it’s my perception of what is best, but I think that’s fairly glaringly obvious, right? In most cases, I’ve cannibalised previous comments I’ve made on these records during my monthly column for Clash Magazine, also entitled ‘Just Played’. If any of these take your fancy, it would be especially splendid if you were then able to purchase them via one of the nation’s many, fabulous independent record shops. They’ve not had an easy year of it and who knows how many of these I might not have ended up loving without them? Ok, enough preamble – let’s get on with it.
30. Flock Of Dimes ‘Head Of Roses’
Early in the year came the latest solo offering from Wye Oak’s Jenn Wasner under the Flock of Dimes moniker, which is some leap from that project’s debut, 2016’s ‘If You See Me, Say Yes’. Indeed, ‘Head Of Roses’ is many things all at once, ranging from autumnal folk to glitchy electronica. Compare the psych-rock of ‘Price Of Blue’ with the indie-funk of ‘One More Hour’ to get a sense of what awaits. The striking gatefold contains a nuanced and involving Optimal pressing that opens up nicely with some volume. It has stayed there with me throughout the year and its textures suit this time of year rather well.
29. Sons Of Kemet ‘Black To The Future’
Those who purchase plenty of vinyl become accustomed to certain signs that they’re in for a treat. A poly-lined inner, a tip-on sleeve or Kevin Gray’s initials next to the matrix info can all bode well. The size of the deadwax is also of interest – too little and the worries about inner groove distortion are significant and normally well-founded, too much and you’re wondering why they’ve not used the full space available. Some were a little concerned at reasonably substantial runout grooves on the four sides of the new Sons Of Kemet album, ‘Black To The Future’, but they simply tell the tale of a dynamic, meticulous and utterly captivating cut. Sterling Sound in the US produced the lacquer and Pallas in Germany delivered this impeccable pressing.
The band’s fourth album has already been justifiably lauded, making greater use of guest voices to amplify messages about the state of the world while still delivering sax riffs to which resistance is futile. Oh, and aesthetes will be delighted to learn that it has the classic Impulse spine design too. When so many are making do, ‘Black To The Future’ demonstrates what this beloved format can still achieve.
28. Floating Points / Pharaoh Saunders / The London Symphony Orchestra ‘Promises’
From the moment this collaboration was announced, managing expectations was always going to prove tricky. However, the label Luaka Bop knew that no such dampening was needed as ‘Promises’ is unlikely to disappoint anyone who spends some time in its company. A spiritual, hypnotic and entirely immersive piece spread over nine movements, the vinyl mastering by Chris Bellman is absolutely on the money. Sadly, the pressing were all over the place and a little time spent browsing this album’s page on Discogs will reveal some of the anguish the label have been through. Perhaps buy the CD of this one.
27. The Coral ‘Coral Island’
Three years on from 2018’s unconvincing ‘Move Through The Dawn’, The Coral have returned with possibly their finest release to date. ‘Coral Island’ is loosely themed around different seasons in a seaside location, songs woven together by spoken language excerpts from a work of fiction entitled ‘Over Coral Island’, written by the band’s keyboard player, Nick Power. Such stitching is atmospheric but don’t go thinking this is some impenetrable concept album.
The 2LP set, pressed at Takt in Poland and silent other than a couple of slightly noisy run-in grooves, sounds fulsome and maintains decent separation during the jubilant jangle of ebullient highlights ‘Change Your Mind’ and ‘Take Me Back To The Summertime’. There are nods to the frenetic psych of their early output alongside more melancholic mid-paced treats like ‘Strange Illusions’. James Skelly’s voice only seems to be improving with age and such is the quality of the songwriting that a double album at this stage in their career is most welcome.
26. Field Music ‘Flat White Moon’
It’s fair to assert that Field Music don’t make bad albums, but it’s still worth highlighting the considerable quality of their latest, ‘Flat White Moon’. Shimmering opening track ‘Orion From The Street’ features cascading piano lines which array themselves in the soundstage before you, wider percussive aspects framing a sensory carnival. The detail is taken very seriously indeed and it’s noticeable just how alive the bass and acoustic guitar sound across the whole record.
‘Not When You’re In Love’ comes on like ‘I Am The Black Gold Of The Sun’ before frenetic percussion makes full use of the stereo spectrum. The Brewis brothers’ consistently inventive capacity for building an angular musical landscape is remarkable and the clear, near silent vinyl Optimal cut that I’ve played often this year is a joy to experience.
25. Jarvis Cocker ‘Chansons D’Ennui’
After the recent work as Jarv Is, it is something of a surprise to listen to Jarvis Cocker’scollection of sweeping French language covers inspired by his audio role in Wes Anderson’s ‘The French Dispatch’. Together the musician and the filmmaker assembled a selection of vintage pieces for Cocker’s ‘Tip Top’ persona to lovingly record. The production of ‘Chansons d’Ennui Tip-Top’ is excellent, evoking a little of the vintage psychedelic sheen favoured by Matt Berry. Whether it’s the fuzzy knees up of ‘Les Gens Sont Fous, Les Temps Sont Flous’ or the stately duet with Laetitia Sadier ‘Paroles, Paroles’ that hook you in, the whole set works incredibly well and goes far beyond mere pastiche.
Cocker’s breathy vocals are as varied as they have been in many years and the instrumentation is vivacious and emphatic. Mastered and cut by John Davis at Metropolis, the vinyl sounds excellent, if slightly sibilant on the aforementioned duet. The copy I received for a Clash review looks to be a US pressing, likely to be through RTI, although it would seem Takt have also manufactured some copies for the EU so be careful!
24. Tindersticks ‘Distractions’
The continuing creative urge at the core of Tindersticks is a regular delight, resulting in some additional late period delights since the 2008 re-boot with ‘The Hungry Saw’. Anyone who purchased their previous album, ‘No Treasure But Hope’, on vinyl will likely be a little trepidatious this time after widespread issues with noise plagued rather delicate music. Fear not, however, as ‘Distractions’ is a very well cut and splendidly pressed affair via Optimal. Take care removing it from the potentially problematic paper inner and give it a clean if circumstances permit so as to ensure the quietest possible background for these seven glorious songs.
Opener ‘Man Alone (Can’t Stop The Fadin’)’ may be eleven minutes long but it doesn’t feel like its sprawling or noodly, instead proving oddly confrontational at times and robustly hypnotic. It’s hardly standard fare and a very fine statement of intent. As with the rest of the record, rhythm is tight and engaging while the vocal sound sits naturally in the room rather than pulling you back to the speakers. Most definitely safe to proceed.
23. Dry Cleaning ‘New Long Leg’
4AD’s strike rate continues to impress, with these London post-punk types and their debut album ‘New Long Leg’. The musical interplay between the four piece is joyfully energising and they were poorly served by having this moment in the spotlight while the nation’s venues remain closed and quiet. Seek out video of recent KEXP performances to get a sense of how this band work together and this will also add a little extra valuable context before embracing the album fully. Florence Shaw’s mostly monotone, wry spoken words often paint enigmatic fragments, mixing found phrases with a poetry of everyday life.
The indie-stores-only yellow vinyl cut via Optimal does a decent job of keeping Shaw out of the space of the pulsing rhythm section. So distinctive is the delivery that it can take a few listens to really identify the varied approaches being taken by guitarist Tom Dowse, bassist Lewis Maynard and drummer Nick Buxton. The comparisons with Wire and Magazine make sense, but there’s plenty of genre-hopping going on and closer ‘Every Day Carry’ possesses some of the spectral poise of Mogwai. A quick nod to the label for very reasonable pricing on this one too.
22. Knomad Spock ‘Winter Of Discontent’
Within seconds of hearing Knomad Spock’s voice, it’s pretty clear that you’re listening to something pretty special. The delicate, intimate tone has a definite folk feel but the songs on his debut record, ‘Winter Of Discontent’, have a palpable jazz sensibility in their use of space and the presence of the drums. Their skittering presence on ‘Egypt’ is utterly beguiling and, as one might expect from an artist who is also a poet and rapper, the words assert themselves in very deliberate locations also.
Get in quick for one from the hand-numbered initial pressing of 250 copies on Hinterland Creative, which features a separate lyric sheet and a selection of black and white photography to accompany the music. It’s a relatively quiet GZ cut which benefits from a little clean, but this music will cut through any distractions. One to watch, certainly, but also one to listen to right now.
21. Francis Lung ‘Miracle’
Discovering a record has been released by Memphis Industries gives it an automatic head start, such is the quality of that exemplary indie label. Francis Lung, the current stage name of Tom McClung formerly of Wu Lyf, unveiled his second solo album, ‘Miracle’, and it needed no such favours to warrant your attention. The most frequent point of comparison used for his music is Elliott Smith, which is undeniably fair, but there’s also hints of Big Star, Emitt Rhodes, Gorky’s and much, much more in this wonderful album. It takes a little time to grow on you, but the vintage singer-songwriter production is masterful and allows these songs to slowly lay siege to your waking hours. ‘Want 2 Want U’ is especially infectious, alongside already released teaser tracks like ‘Blondes Have More Fun’ and the harmonic charge of ‘Bad Hair Day’.
For the Clash column, I received the delightful Dinked edition with an alternative, mirror board sleeve, mint green vinyl and a bonus flexidisc. The song thereon, ‘Internet’, is a beauty which reflects upon our recent circumstances, but flexidiscs have never and will never sound great. The LP itself is an Optimal cut with only a little surface noise. Whichever version you can lay your hands on, be sure to seek it out.
20. Hamish Hawk ‘Heavy Elevator’
Regular listeners to 6 Music will be well aware of Hamish Hawk’s voice, his single ‘Calls To Tiree’ having been ever-present there in late summer. The parent album, ‘Heavy Elevator’, found its vinyl edition caught in the general delays and it finally arrived at the end of October. Hawk’s wonderfully expansive baritone has predictably though understandably picked up some Scott Walker comparisons. Try the tremendously titled ‘This, Whatever It Is, Needs Improvements’ to understand where that link has come from.
But that’s not all Hawk does. Explore the tremendous chorus of recent single ‘The Mauritian Badminton Doubles Champion, 1973’, the slightly manic Editors energy of ‘Caterpillar’ or the mid-paced glinting of ‘Daggers’. A compelling, autobiographical collection, it’s an album which repays repeated listens. The vinyl edition sounds pretty solid, a GZ pressing through Assai. I was sent the spangly Dinked edition for review, which was clear with black splatter. Playback was largely quiet after a clean, so it is possible for a record to look and sound nice at the same time. Regular readers of my writing here, there and everywhere will know that this is something of a rarity.
19. Nick Cave & Warren Ellis ‘Carnage’
After several recent albums with the Bad Seeds which were unavoidably inseparable from context, the surprise arrival of ‘Carnage’ at the start of 2021 resulted in it falling a little below the radar. This was very possibly no bad thing as I found it to be a record which gradually crept up on me as the months progressed. Ominous strings and malevolent synths are prominent, with the creative tensions of recent times still present. The jarring explosion of opener ‘Hand Of God’ becomes more striking which each play, switching from physical shock to captivating artistic vision.
These are often beautiful songs, as much because of rather than in spite of the various textures deployed. The title track is captivating, with its curiously swaying percussion, while ‘White Elephant’ feels a little like a different, previous Nick making a return. Then there’s the elevating piano notes of ‘Albuquerque’, of which I suspect I will never tire. It’s a Takt pressing, just like the troublesome B-Sides box set, so you may have to try a few. I waited until a few weeks ago to pick mine up and it’s pretty quiet, so there may be a fresh, better batch out there now.
18. Arlo Parks ‘Collapsed In Sunbeams’
The long-awaited debut album proper from Arlo Parks, ‘Collapsed In Sunbeams’, flew out on vinyl upon release at the end of January. It’s a wonderful pop-soul record with a powerful bottom end that needs a little taming for the analogue realm. Matt Colton at Metropolis has had a valiant effort, although the medium’s inherent tendency to blur heavy bass – often described as vinyl’s ‘warmth’ – means it still feels a little muddy at times.
I was sent the red pressing – although a picture disc was available for those who don’t play their records – done through GZ, which took a few cleans to tame the surface noise. While it’s not quite a perfect debut, the highs still soar with the year having passed. The tricky beat on ‘Hurt’ is magnificent, ‘Too Good’ somehow evokes the early Nineties (for some reason, the opening takes me to Shanice’s ‘I Love Your Smile’) with its emphatic chorus. More nuanced tracks like ‘Black Dog’ and ‘For Violet’ show that it’s not just all about the bangers. Not sure about the vinyl crackle effect on the latter, mind you.
17. Karine Polwart & Dave Milligan ‘Still As Your Sleeping’
The hopping across pavement slabs to avoid the cracks piano refrain which opens this album was enough to have me hooked. As the summer came to an end and my mood darkened a little, I found comfort in the often majestic music produced by the Hudson Records stable. Joining their ‘Hudson Club’ ensures immediate digital copies of all of their releases and so I became acquainted with this striking record. Scottish folk singer Polwart and pianist Milligan combine to offer an album which may be sparse but is far from sombre. Arranging several traditional tracks amongst more contemporary covers, Polwart’s beguiling delivery coheres the work of others with a number of new pieces into a very fine album.
‘The Path That Winds Before Us’, one of Polwart’s originals, has moved me to tears on several occasions. It is rare to hear voice and instrument quite so in-sync at they are on this particular track. If it does nothing for you, check for a pulse. ‘The Quiet Joys Of Brotherhood’ feels entirely in keeping with our impending climate catastrophe and if you, ahem, Do Look Up previous versions, you’ll find Pete Seeger and, most memorably, Sandy Denny have sung it previously. Milligan’s controlled intensity is especially noteworthy here. A decent vinyl pressing entered the world just before Christmas, should you be as smitten as I am.
16. Saint Etienne ‘I’ve Been Trying To Tell You’
Saint Etienne’s latest, ‘I’ve Been Trying To Tell You’, is something of a departure from their more recent releases, opting to fully submerge themselves in the bleary pop landscape of several decades ago. Using samples that populated daytime radio during the New Labour era, they paint watercolour washes of times gone by. A woozy, lulling capacity to both ensnare and slightly unsettle the listener makes for a unique record that gradually reveals its charms. The murky sample of Natalie Imbruglia’s ‘Beauty On The Fire’ which loops through ‘Pond House’ appears to be emitted from a submerged radio – fitting considering the source material’s original video – while elements of the Lighthouse Family and Tasmin Archer may not be quite so obvious to all. From the striking artwork on in, PVC sleeve aside, this is an aesthetic delight.
Demand coupled with the current pressing limitations met that, incredibly, different cuts were made via GZ, Optimal and Vinyl Factory. Having sampled the latter’s clear vinyl and Optimal’s black, this column would urge readers towards the second of those. The soundstage felt a little more controlled on that pressing and the clear version had a little bit more surface noise. Most striking, however, was the different space on each side used up, with Optimal favouring much more dead wax than The Vinyl Factory. Whichever variant attracts your cash, and there are a few, this record has true staying power.
Part Two soon. Honest.
Just Played 