Richard's Top Ten Albums of 2020

It’s hard not to put 2020 into any sort of context without it touching on COVID in some way. I’d typically suggest that these lists are hard to produce due to the amount of material we listen to and in many ways 2020 is no different; and certainly I’ve got to acknowledge releases by bands such as Strike Anywhere and Silverstein as being unfortunate to miss out on this actual top ten despite them being exceptional. What I think has been different this year, and if you’ve heard us talking on the podcasts, is that many of our general listening habits have gone back to older material and bands we’ve grown up on; and this retrospection I think has translated across to musicians in some ways. Having reworked Silverstein classic in Redux II and semi-acoustic revisions of Bouncing Souls classics has been a real treat as has the From Exile collection delivered by The Menzingers. The COVID experience has in many ways given us the time to appreciate what we have and where we have come from and, whilst I’ve not included any of these reworked releases in my top ten, they should be highlighted as demonstrating what an effect the pandemic has had on us. Hope you enjoy the list; as always feel free to let us know what you think in the comments and stay safe!

10. Melee by Dogleg

The Michigan four piece’s debut is in many ways as if the twenty year bastardisation of “emo” didn’t happen. Certainly less pop ala My Chemical Romance and more post hardcore brilliance akin to Full Collapse era Thursday (or to be more accurate the wonderful but relatively unknown Prevent Falls), Melee by Dogleg is visceral, personal, angry and raw in every sense. Its complex arrangements off set by Alex Stoitsiadis’ painful yelps, turned raging howls. Whilst full of strong tracks,the imperious “Kawasaki Backflip” will be simply iconic in years to come; whilst last track “Ender” is every part the epic album closer… It’s a fantastic album full of surprises, and one that absolutely deserves its plaudits and acknowledgements.

9. Paradise by Red City Radio

It took a while for me to get Red City Radio; whilst I’ve enjoyed lots of songs, I’ve found them very much a one trick pony (although what a trick when you are throwing out songs like “Show Me On The Doll” or “Rest Easy”). Consequently I instantly got Paradise… it’s a much more nuanced album than they’ve produced previously. Sure it is not as brash as say Titles, and not as relentless as their self-titled, but Paradise has enough big hooks, gravel vocals and massive sing alongs to sit perfectly alongside their back catalogue, with “100,000 Candles” and “Gutterland” very much the equal to what are already considered essential songs. I’m confident in saying this is easily their most diverse and accessible release and the way their sound has expanded I’m sure it will broaden their appeal to the more heartland rock end of the punk rock spectrum.

8. Monuments by Fire In The Radio

There must be something in the Philadelphia water that keeps it churning out excellent bands. The third album from Fire In The Radio is stacked with huge songs that veer from a classic Menzingers inspired rock (“Rewind” / “Ex-SF”) to a more 80s UK indie vibe you’d associate with The Cure or The Smiths at their most catchy (“This Is My Document”). It’s one of those albums that really gets under your skin, driven by the excellent guitar work of vocalists Richard Carbone and Johnathan Miller and a rhythm section that is super tight, punchy and crisp (Adam Caldwell and Ed Olsen) there is plenty to love on Monuments. Personally this is one of those albums that came out of nowhere and blew me away immediately and it has only got more brilliant with repeated listens.

7. The Distance Between by Arms & Hearts

Steve Millar aka Arms & Hearts (taken from the Hold Steady B-Side of the same name) is in a league of his own. His heartfelt anthems invoke bleak Saddleworth moorland on windswept nights looking down on the bright warm lights of Manchester. Finally releasing a full length, which is a near perfect collection of acoustic fist in the air bangers. The Distance Between is stacked with excellent song-writing; endearing lyrics and a sharp attention to detail you associate with the acts namesake lyricist (Craig Finn). The album concludes with an excellent rendition of the previously released “Fortitude”, a song that is deserving of a massive audience belting out every word. Steve has delivered on the promise shown of the early EPs in abundance… an absolutely essential purchase from the Lancashire Springsteen.

6. Hide the Knives by Shellycoat

German skate-lite pop punkers Shellycoat dropped their third LP this year and it’s one that really deserves to take them to a wider audience. It’s a mature and confident album that plays with typical pop-punk tropes through a Euro-pop lens. Sure, it has some amazing straight up rock songs (“Antidote” and “Reverberation” the two stand outs), but leans into a really nice No Doubt pop territory on songs such as “Neonsomnia pt2”, or the magical “Harbour Scene”. Finally in Karen they have a vocalist with an explosive range. The first time I heard her voice I could sense the best bits of Tilt’s Cinder Block blasting from the stereo; it’s equal parts gruff and angelic. She packs so much character into the vocals that it’s easy to lose track of how talented the band are as unit. I really can’t wait to see where they go next!

5. Ways Away by Ways Away

Comprising alumni of some of punk / hardcore / emo’s most brilliant bands (just check the list: Samiam, Boysetsfire, Racquet Club, Knapsack, Paint it Black!), you’d expect the debut from Ways Away to stand out... and stand out it does. Full of anthemic, driving riffs, huge melodies and stacked with singalongs, this is a real tour de force that showcases the talent behind the band. From the opening “Die On The Vine” you’re treated to brilliant interpretation of modern punk-rock with a real emotional edge. Highlights have to include the raucous “Collarbone” or the ballad “Savannah”. Obviously if you are a fan of any of the aforementioned bands you’ll find something to love here; alternatively if you are desperate to find your new favourite band then you should definitely check out Ways Away.

4. Working Title by Nathan Gray

The second solo full length by Boysetsfire’s frontman is almost the complete opposite of his debut (the equally excellent) Feral Hymns. Where previously there was an all-encompassing darkness that permeated his work there is now a drive and positivity that shows Nathan Gray at his most forward looking and resilient. In fact I’d argue this is his most uplifting collection of songs to date and seeing him take such a personal and philosophical approach to life is just brilliant. This is absolutely one of the albums 2020 needed.

3. Skeleton Coast by The Lawrence Arms

I find that the Larry Arms only release songs when they have something meaningful to say, and as such it’s probably why their output has always been consistently (personally I’d go even further and say ridiculously) high. Skeleton Coast is no exception. From the franticness of “Planes, Trains And Automobiles” to the whimsy of “Last Last Words” (my personal favourite off the album), everything is executed with a meticulous precision and the heart and soul that only Neil, Brendan and Chris can deliver. Six years without new material may feel like a long time but if this is what they produce I’d happily, wait for six more!

2. Brave Faces Everyone by Spanish Love Songs

We’ve spoken at length at CPRW Towers about the fact that we can’t believe this album was released this year – such is the way the world has changed since this dropped in February. I can’t think of an album I’ve listened to as much and that has become as ingrained in me as this, the third long player by the Los Angeles misberalists. Brave Faces Everyone is almost like a forewarning for how crap 2020 would be, from its stoic title emphasising how we’ve all had to deal with the year alongside references to overzealous and out of touch policing of minority groups (“Losers 2”). Spanish Love Songs are fast becoming the time travelling Simpsons theory of the punk rock world, with their sharp social commentary which one would typically associate with exceptional hindsight. Brave Faces Everyone may not have the urgency or even the immediacy of the now iconic album that is Schmaltz but what it does have is an amazing personal resonance which rewards repeat listens with a more fervent appreciation for how great the album is, alongside demonstrating how a couple of years of intense touring have honed them into exceptional songwriters and musicians. I think we can now safely recognise Spanish Love Songs as our latest bona fide punk rock superstars.

1. The Weight And The Cost by Be Well

Brian McTernan’s return to the front of the stage is long overdue. The Battery vocalist turned producer extraordinaire has assembled a who’s who of punk and hardcore to deliver the most emotional and impassioned collection of songs this year; an album that touches all forms of mental health, especially depression, alongside the importance of family. It is an album that epically builds towards its conclusion which in this case is the single best song of the year “Confessional”. Be Well’s debut is a perfect snapshot of McTernan’s career with some excellent traditional hardcore moments, the kind of which Bane would be proud of, punctuated by gorgeous melody, pounding beats and proper pop punk moments that you’d associate with bands such as The Movielife. The Weight And The Cost is a masterpiece in every sense and news they are working on LP2 is incentive enough to get on board now before they blow up big time!

This top ten was written by Richard Mair.

Album Review: Working Title by Nathan Gray (by Richard Mair)

Throughout the course of his career, political antagonist, social commentator and perhaps most famously Boysetsfire frontman Nathan Gray has had an uncanny ability to challenge perceptions that people hold about him, to explore different parts of his personality and ultimately keep listeners on their toes with a back catalogue that ranges from all out hardcore and metal bangers, think of either I Am Heresay or the Nathan Gray Collective on top of his aforementioned “day job”, to pop infused folk/punk/emo ditties of The Casting Out. This latest release, Working Title, is the follow-up to 2018’s excellent Feral Hymns and, whilst released and recorded under the Nathan Gray moniker, it’s a very different album to its predecessor.

To enjoy Working Title you certainly don’t need to know the story behind it, however to truly appreciate it as a piece of art it certainly helps. If Feral Hymns was the moment Nathan escaped an all-encompassing darkness, Working Title is the new found appreciation and love for life. It’s an album full of hope. Where isolation and despair were the focus previously, it’s been replaced with celebrating all that makes us special as individuals or as a collective. The message is simple – it’s an album recognising the journey of self-discovery and not giving in when times are hard. Ultimately, Nathan has crafted what is simply the most uplifting, life-affirming and positive of albums; one that that repeatedly hits all the feels... punching you through the chest to rip your heart out just to prove to you it’s still beating.

The opening tracks are a true statement of intent; from the fist in the air declaration of never giving in and accepting one’s flaws as an opportunity to grow as a person detailed emphatically through “In My Defense” to the high tempo, fun and slightly self depreciating “I’m A Lot”; where Nathan describes his obsessive nature, and ability to fixate on things; his political / social commentary approach to life set to music. It’s an honest acknowledgement of his intensity and it’s this self-awareness that resonates through the whole album. While it’s so easy to relate to, Working Title almost feels like an autobiographical synopsis of where Nathan is with life.

Lead single and title track “Working Title” follows this explosive start and really ups the ante. Much will be made of the inclusion of another punk rock legend providing backing vocals and sure Chuck Ragan adds a real weight to the chorus (truthfully I would love to hear this as a duet ala David Bowie / Freddie Mercury Under Pressure style); Ragan’s bark creating a nice earthy grind contrasting against Nathan’s more melodic, soaring style. However, I’d also say that this is also the first opportunity for the supporting cast of stars to really shine; the drum rolls and bursts laid down by Jake Blochinger are just stunning, almost firework sounding towards the latter stages of the song, really helping build its anthemic character; alongside the fantastic noisy melody delivered by guitarist Jaelyn Robinson. “Working Title” is truly a MASSIVE song, and one you’re guaranteed to fall in love with instantly; the word anthem gets bandied around far too easily these days, but genuinely this ticks all the boxes and more!

Given the full on assault of the opening songs, you’d expect Nathan to slow things down slightly and, to be fair, he does... marginally. “What About You” starts slow, with a piano led first verse, before exploding into another big sing-a-long chorus. Again, it’s important to recognise the other contributors here as the bass line of longtime collaborator and fellow Boysetsfire player Chris Rakkus is just brilliant and creates a nice depth to a song which is largely lofty and almost ethereal at times.

The album does actually contain some quieter moments. “The Refrain”, with its heavy reliance on a string accompaniment, is (dare I say it) Disney-esque... one can’t help but imagine Angela Lansbury singing it after blasting out “Beauty And The Beast” (not a sentence I ever thought I’d write)! It’s a gorgeous song; a real tear jerker, with the ability to stop you in your tracks. There is a real sense of isolation and loss throughout the song but this is tempered by an almost knowing acceptance of letting go; it’s wonderfully nuanced and layered and reminds us that Nathan Gray hasn’t lost any of that human touch that makes songs like “My Life In The Knife Trade” or “Alone” so special. The other real subdued song is “Mercy” a folk-y punk style song that reminds me of Chuck Ragan or Tim Barry. It’s a nice addition and feels like an intentional nod back to Feral Hymns, as a way of showing how far removed Nathan is from the darkness that birthed the previous album.

If “Mercy” reminds me of a couple of punk rock legends gone solo, I can’t help but draw a parallel from The Gaslight Anthem’s Brian Fallon to “Still Here”. Fallon’s first foray into music outside of TGA was the wonderful Horrible Crowes. “Still Here” has so much of the soul and spirit I’d associate with the album “Elsie” through the music. The vocal delivery, melody (in particular the keys throughout the verses) and tones are brilliantly infused with that club band vibe; and yet it still feels perfectly Nathan Gray. Rather than a 50s stereotypes of femme fatales we have a personal journey of fighting to survive; knowing the journey isn’t over but being resilient to the path ahead. I can’t think of another song from Nathan’s back catalogue that sounds anything like this and it’s a really surprising and successful sound for him.

Both “The Markings” and “Hold” are straight up rock tunes; keeping the middle of the album ticking over. Both are immense fun and absolute ear worms. “The Markings” reminding of latter day Hot Water Music (think Never Going Back or Overload); whilst “Hold” is perhaps more akin to The Casting Out, albeit replacing the rather dark lyrics with more upbeat and positive messages.

There are also a couple of songs that provide links to Feral Hymns. “No Way” echoes “As The Waves Crash Down” with its introduction (like a call and response suggesting something of a shared DNA); and the songs “Never Alone” and “Alone” offering perhaps a more definite link through their naming and lyrical content. In both cases, the Feral Hymns tracks carry an angst which is challenged in Working Title. In the case of “As The Waves Crash Down” it is essentially a call to arms pleading with to listeners to make a final stand with Nathan, yet “No Way” is saying that I’ll stand on my own knowing it’s the right thing to do; it’s a very subtle differentiation yet demonstrates the new found belief that’s at the heart of Working Title. With both “Alone” and “Never Alone” there are some truly wonderful and goosebump inducing parallels with the lyrics (Never Alone’s “crying inside with a smile on your lips ...” “broken in silence looking for a light” compared to Alone’s “hiding fraud within their smiles” “don’t let her see I’m falling apart, the street lights burn so bright”) and it’s these nods to the past and the attention to detail that is truly astonishing and help define Nathan Gray not just as a brilliant performer but as an artist of the highest order; I dare say there are many more parallels, symbols and iconography that tie the two and would love to see what everyone else has spotted.

The final two songs are great at rounding off the album with a fitting conclusion. “The Fall” has some Cure style keys giving it a gothic tinge whilst “Down” is a proper melancholic closer. After what is an album’s worth of emotional outpouring, “Down” is the reflective breath; a pause almost to judge how far we’ve travelled. It’s a gorgeous acoustic song that is Nathan at his most poignant best, and links nicely to the Jesse Barnett split EP of last year, again showcasing Working Title as part of this ongoing process of self-discovery rather than a standalone item.

Ultimately, Working Title is a journey and needs to be appreciated as such. In many cases, it’s almost the complete antithesis of Feral Hymns in its positivity; rather than living in the darkness of the previous album, it’s a movement into the light. Yet this album could not exist without its predecessor; they are in essence companion pieces to each other, or two sides to the same coin. The first lines of the album within “In My Defense” speak of a brand new direction and coming back stronger after dealing with the ‘fall’. This is absolutely what Working Title is; it’s the voice of resilience and hope in dark times. It’s a celebration of life and love and wishes for a positive future, but a recognition that the journey we want for ourselves and our loved ones will never be complete. Working Title is yet another achievement from a man whose life and soul has been laid bare across music for 30 years. It is wonderfully nuanced, detailed, fun, hopeful and uplifting yet heartbreaking, poignant and reflective at the same time. Very few people can meld such feeling through their work, weaving such a compelling narrative set against music that resonates on an emotional level. Working Title may suggest that Nathan is on a journey and as such it’s a privilege being able to join him on the ride.

Stream and download Working Title on Bandcamp here.

Like Nathan Gray on Facebook here.