Brett's Top Ten Albums of 2020

To describe 2020 as a rollercoaster year would be an understatement. Although the cancellation of our plans to travel to MPF and Fest due to well-justified lockdowns and restrictions were difficult blows and put us through all the stages of grief, I am very grateful that we were able to get through the year where the worst thing happening was some inconvenient travel plan changes, others have not been so lucky.

There were some good days though. I think in the very beginning of our lockdown there was a live-streamed event almost every weekend, which was fun; and I’ve really enjoyed watching some of my favourite bands perform live from a “venue” with a comfortable couch, clean bathroom, and shared with cats. I do hope that some of the smaller bands were able to get the support that was really needed through the various community initiatives.

During the lockdown and self-isolation, I found it very difficult to listen to new music and instead leant into bands and albums that were comfortable, like nostalgic hugs via my ears; so, I think if I had to pick my 10 most listened to albums this would be a very different list. As a consequence, my list is mostly made up of bands and labels that I’ve known and loved for a long time. Make no mistake, there were still a really long list of albums to pick from this year. 2020 may have sucked for the most part but the music was still top notch and the albums on this list are amazing in my opinion. They’re the kind that by the end make me want to flip the record or click play and start over.

10. Skeleton Coast by The Lawrence Arms

The Lawrence Arms have been around for over 2 decades now and have earned their spot in the upper echelons of the punk scene with a consistently brilliant back catalogue of releases. Their last album, Metropole, was released 6 years ago and with only a “greatest hits” compilation to satisfy fans since then, the anticipation surrounding Skeleton Coast was high. Luckily the band completely smash all expectations with 14 tracks featuring the trademark shared vocals from Brendan Kelly and Chris McCaughan, some beautiful storytelling lyrics, expertly crafted melodies, and of course a few doses of humour thrown in for good measure.

Favourite song: Ghostwriter

9. Dancing With The Curse by Get Dead

Six months ago, I would have classified myself as a casual fan of Get Dead and their album Dancing With The Curse wasn't even on my radar of anticipated releases of 2020. That was until I stumbled through a Youtube-hole into a clip of them performing at the Weekend at Fatty's virtual concert, which featured a handful of songs from their (then) upcoming release. The performances of Fire Sale and Stickup in particular drove me to pre-add the album to my library and it has been on regular rotation since it was released in October. The 12 tracks on Dancing blend elements of hip-hop, ska, and hardcore nicely to create a listening experience where no song sounds the same as the last but which still feels cohesive and firmly rooted in the band’s California punk roots.

Favourite song: Stickup

8. Wonderful Hell by War On Women

It doesn’t feel like that long ago that War On Women made my list of top 10 albums of 2018 but maybe I’m just not used to my favourite bands releasing music more often than every 4 to 7 years. Wonderful Hell is War On Women’s third full-length with Bridge9 and the band has thankfully kept their anger and vitriol towards the socio-political environment and unjust system that the majority of the world finds itself trapped in. The crisp production and dynamic song structures feel like a natural progression for the band who have always pushed the boundaries of traditional hardcore, so even a 6-minute slow-building song like Demon doesn’t feel out of place and instead just leaves you wanting more.

If you’re a fan of the album or the band in general, make sure to check out Shawna’s new podcast, But Her Lyrics, to get more insight into the songs and the stories behind the album.

Favourite song: The Ash is Not the End

7. Ctrl Alt Del by Pmx

I was introduced to Pmx by Colin, friend and founder of CPRW, as a recommendation related to the MPF 2018 line-up and it remains one of the best recommendations anyone has given me ever. The Scottish quartet have established themselves as one of the best at combining the sound of punk from the 90s, with technical flourishes found in modern melodic skate punk. On Ctrl Alt Del, Pmx takes their tried and tested formula and improves on it with more mature song writing, tighter melodies, and cleaner production. I was looking forward to seeing the band perform these songs live at MPF 2020 before it was cancelled so I’m hoping to get the chance when live music is safe again. If you’re a fan of 90s Epifat punk and melodic skate punk, then Ctrl Alt Del should be in your record collection or digital library.

Favourite song: Tongue Tied

6. Brave Faces Everyone by Spanish Love Songs

They’ve done it again. Everyone loved Spanish Love Songs’ sophomore effort Schmaltz in 2018 and I have no doubt that Brave Faces Everyone will be near the top of many top 10 lists this year. Instead of taking the success of Schmaltz and rehashing the same formula with new lyrics, the band have taken a big step into embracing and refining their own unique sound with trembling vocals pushed to the limit, lyrics dripping with authenticity, cracking production, and big choruses that I can only imagine people screaming at the top of their lungs with fists in the air. Brave Faces Everyone is an album that anyone (not only fans of underground punk music) can relate to and enjoy. It teaches us that it’s ok and you’re not alone if your life is not perfect all the time.

Favourite song: Kick

5. Lament by Touché Amoré

I was first drawn to Touché Amoré with their 2013 album, Is Survived By, then found myself completely floored by 2016’s Stage Four, and looked forward to Lament from the moment I heard the first released single ‘Limelight’ back in July. Touché Amoré have always been able to pull off a level of raw emotion and intensity that very few other bands can without being overly heavy or excessive. While Stage Four dealt with the devastating blow of Bolm losing his mother to cancer, Lament looks at life following such grief without putting any specific focus on it. There are lighter moments in more upbeat melodic songs like Reminders, but overall the tone remains poignant. The contrast between the powerful vocals of Jeremy Bolm and the almost clean instrumentation is captivating and engrosses you from the first song to the last. Touché Amoré recently uploaded their Lament record release live stream to Youtube and, while it’s no substitute for the real thing, it’s well worth the watch for anyone like me who has yet to witness the band perform live in person.

Favourite song: Exit Row

4. Death In Venice Beach by The Bombpops

I’ve been a fan of The Bombpops since their Red Scare days and absolutely loved their first two EPs, Like I Care and Stole The TV; so, naturally I had high expectations when they signed with Fat Wreck in 2016. Although I enjoyed their debut album, Fear Of Missing Out, I found it to be a bit “light” and never really fell in love with it. Since hearing the Death In Venice Beach lead singles Notre Dame and Double Arrows Down, my internal hype machine started working overtime and I put a lot of effort into trying to control my own expectations. Thankfully the release completely blew me away and has been one of my most played albums of the year. Poli van Dam and Jen Razavi seem to have perfected their dual vocal harmonies and the SoCal punk melodies that were made famous by many of their older Fat Wreck counterparts. The music is a little edgier, the themes and lyrics are a little darker this time around, making for an album that is just a joy to listen to from beginning to end.

Favourite song: Radio Silence

3. Sad In The City by Broadway Calls 

Sad In The City was exactly what I needed when it was released early in July during one of our strictest lockdown periods here in South Africa and only a few weeks after receiving the news of the postponement of Fest 19. Broadway Calls’ latest album was one of the few highlights during a very dark time. Sad In The City isn’t a massive departure from their trademark pop-punk sound but still stands out in their catalogue as sonically different and almost experimental at times. In my opinion, the production plays a big role here with some fuzzy guitars, driving bass, and thumping drums helping to set the album apart from the rest of the band’s catalogue. Song after song, this album proves that even after a 7-year break, Broadway Calls can still write great songs with plenty of big singalong choruses and dance-along melodies.

Favourite song: Went Dyin’

2. Resignation by After The Fall 

After The Fall have always played short, fast, and loud – but never compromising melody or technical proficiency. With Resignation, 13 minutes is all the band needs to blaze through 10 of the best songs of the skate punk and melodic hardcore variety. This album is short but what it lacks in length it makes up with catchy melodies, superb musicianship, and an energy that is hard to find anywhere else; all delivered at lightning speed. The lyrical topics touch on mental health, social issues, and politics, with the usual dose of introspection that After The Fall has always been so good at. My only complaint is that I don’t have the vinyl yet.

Favourite song: Absent Minded

1. Revolution Spring by The Suicide Machines

Who knew my favourite album of the year would be ska?! Revolution Spring is good. Really good. I’m not sure what kept The Suicide Machines off my radar for so long, but I was super late to the party and only really became a fan just before they broke up when they released their 2005 album War Profiteering Is Killing Us All, which was full of aggression towards the Bush administration, with just a touch of ska. Fast forward 15 years, the band has reunited and played some reunion shows, toured sporadically and, after being unhappy to be labelled as just another “nostalgia-act”, decided to unleash some new music into the world. What a gift it turned out to be. With the help of Roger Lima at the helm of the production desk, The Suicide Machines have managed to take their history of varied music styles and unite them to make an album with the best elements of ska, pop-punk, and hardcore to create one catchy, aggressive, energetic, and relevant package that has thrust The Suicide Machines to the top of my list.

Favourite Song: Play Caesar

Less Than Jake’s Silver linings was VERY CLOSE to making my list, but I’ve only been able to listen to it once since writing this and I just can’t justify bumping any of the bands and albums on the current list based on only one listen so far. Plus, two ska albums in my top ten would have looked suspicious.

Some of my favourite “other things” this year:

Livestreams from Mike Herrera, Booze Cruise and Dream Nails.

EP’s released by The Lippies, Braincoats and Strike Anywhere (it has 7 songs… it’s an EP).

Live albums released by Fuzigish, Dillinger Four and Slick Shoes.

Netflix originals The Queen’s Gambit and Unorthodox.

Youtube videos from Mikey and his uke, Goldfinger and BKXC (riding bike when I couldn’t).

This top ten was written by Brett Coomer.

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.

Marcus' Top Ten Albums of 2020

2020. What a time to barely be alive. It’s okay to say that this year sucked, while also recognizing that some good things still happened. Trump’s on his way out of the White House, I’ve managed to teach a classroom of six-year-olds (and a few online kids) to become better readers, and, against all odds, some great humans put out some kick ass records.

Before getting into some of my favorites of the year, I want to shout out Bandcamp who have worked better than most large platforms to support independent artists. Showing off your Spotify Wrapped is a cool way to hype your favorite bands (I posted mine on Twitter as well), but if the music is good, pay the artist. In a year when touring came to a screeching halt, supporting the artists you love should be a priority if you have the means.

Alright, let’s get to ’em.

10. Envier les vivants by Intenable 

(May 29th, Guerilla Asso)

I used to be one of those people who had to “know what the lyrics were” to be able to enjoy a song. My mind has since become enlightened, and though I may have ranked it higher if it was in English or Spanish, the indie-punk greatness of Envier les vivants by Intenable is obvious to me. I haven’t looked up any of the translations for their song titles, so in my head, I’m usually like “oh, this is that loud crashing song” or “this is that fists in the air banger” or “this is that fast song with the great riff”. Antho’s résumé (the guy who drums on the record, but is a multi-instrumentalist) is impressive, having played in Guerilla Poubelle, Quitters, Mauvise Pioche, and even Arms Aloft when they’ve toured Europe. Très bien if you ask me.

Tracks to check out: “Nuéesardentes”, “L’aube des vaincus”, and “Votre couleur, le noir.”

9. You or Someone You Know by Worriers

(March 6th, 6131 Records) 

After previewing the summery, power pop sound of “Big Feelings”, I knew I had to add this release to my watchlist. However, what stands out on You or Someone You Know aren’t just the occasional driving-with-the-windows-down vibes, but Lauren Denitzio’s introspective and personal lyrics, ranging from climate change to toxic relationships to LGBT issues. They’re not all happy sounds, however, as Worriers definitely live up to their name. The “worrying” expressed on the record isn’t the paralyzing, helpless kind, but the kind that recognizes the issues and fights like hell to fix them. It’s a blend of hope and worry that would be hard for any band to balance on one record, but they pull it off. The catchiest, most accessible songs on the record are the first three, although repeat listens have shown me that the back half of the record is just as great.

Tracks to check out: “End Of The World”, “PWR CPLE”, and “What Comes Next?”

8. Eruptions by The Special Bombs

(March 20th, SBÄM Records) 

Do you like The Bouncing Souls? Well, The Special Bombs love the Souls. If someone told me that Eruptions was the product of a Back To The Future-style process wherein four guys from Lower Bavaria used a DeLorean to travel back in time to snatch a demo tape of songs from New Jersey and used them to make a record of their own to release in 2020, I might be convinced that time travel was in fact possible. There’d be some plot holes, of course; namely, WHY DID THEY CHOOSE TO COME BACK TO 2020? But the rest would be somewhat plausible.

Tracks to check out: “Still Dreaming”, “Nothing In The World”, and “United”

7. Majorly – Don’t Boldly Go

(July 24th, Broken Camera Records)

What subgenre of punk is Majorly? Man, hell if I know. Majorly is mostly one dude (Chris Kaya, who, according to the bandcamp page, did the guitars, bass, drum programming, pianos, synths, melodica, omnichord, digital horn, and trombone on the record) that makes a bunch of noise. The noise is good, usually melodic, but doesn’t stick specifically to one sound. If there is a common thread with most of the songs, it’s that they’re all self-deprecating and easy (for me) to relate to. If you’re okay with your punk getting a little weird (I workshopped the phrase “weird bedroom punk”, but it didn’t test well), it’s well worth it to stretch just a little outside your comfort zone.

Tracks to check out: “Fairgrounds”, “The Midnight Sitcoms”, and “Mary Banilow”

6. Teenage Halloween by Teenage Halloween

(September 18th, Don Giovanni Records)

It came out in September, but I didn’t really give it a chance until it got closer to Halloween, which I blame on my subconscious not allowing me to recognize anything Halloween-related until the middle of October. Anyways, what Teenage Halloween do so well is 1) showcase lead singer Luke Henderiks’ vocals (not gravelly by any stretch, but more like a fine sandpaper), b) keep every song interesting, changing up tempos and instruments so that nothing sounds too samey, and thirdly, have lyrics that mix angst with awkwardness. And really, doesn’t that sound like a teenage Halloween? Despite being decades removed from my teenage years and months past Halloween, I’ve still spent a ton of time jamming to Teenage Halloween.

Tracks to check out: “Holes”, “Clarity”, “Racehorse”

5. Colapso Tropical by Mondo Beta

(March 13th, self-released)

I am a huge fan of everything that John Reis has ever been involved in (Rocket from the Crypt, Hot Snakes, The Night Marchers, etc.), and Mondo Beta are on record saying that their goal is to sound as much like Hot Snakes as possible. While I’m all for bands putting their own personal signature on a genre, I can also appreciate Mondo Beta’s hero worship here, because it just rips, and if you’re gonna blatantly rip off a band, I think they chose wisely. Hot Snakes were supposed to release a record in 2020, but it seems that plans changed due to COVID. These eleven tracks of post-hardcore enespañol are more than enough to hold me over until then.

Tracks to check out: “No me caes bien”, “Que alguien me pare”, and “Colapso tropical”

4. I was almost an astronaut once by Dabblin’

(March 7th, Bus Stop Press) 

The Internet has failed me. If there was any justice in the world I’d know way more about Dabblin’, this amazing French band that I randomly found on a Bandcamp comp. But they’re not on Spotify, Apple Music, or any of the social media platforms. Whoever these mystery men and women are, they put out a great record of folky, poppy punk that just feels like it needs to be experienced live (sigh). I was able to order the cassette from Bus Stop Press, well worth the postage from across the Atlantic. Anyways, I know not all of the bands on this list are geared towards the CPRW demographic per se, but I think y’all would really like Dabblin’.

Tracks to check out: “All of the small things (Not a Blink 182 cover)”, “Two truths and a lie”, and “Building furniture from the boards protecting the windows of banks”

3. In Transit by Quaker Wedding

(June 19th, Salinas Records)

One of the songs I listened to the most this summer was “Jilted Lover”, the lead single off of In Transit. You know how sometimes you listen to a song too much and get burnt out on it? Well, it never happened with that song, because it is just so damn good. Like most bands on this list, Quaker Wedding dropped a banger of a debut in 2020, and In Transit is great start to finish. A mix of Jawbreaker and Face to Face, Quaker Wedding know what it’s like to fuck things up and feel like shit about it. I’m not sure what drives a listener (like myself) to listen to music that expresses those ideas, but I guess it’s cheaper than therapy?

Tracks to check out: “Jilted Lover”, “Sinking Ship”, and “Aching”

2. Made To Rust by Dumb Luck

(October 14th, Secret Pennies Records) 

This was a late-ish entry to the running list that I kept during the year, and it feels weird to place it this high, when most of the others I’ve been able to sit with for a lot longer. But man, Made to Rust is really good. The production quality makes it seem a bit like a live recording, which is of lesser fidelity, but… I don’t know, like a good live recording? I feel like Dumb Luck have got a few songs that could’ve been from Sink Or Swim-era The Gaslight Anthem, but nobody is singing about girls named Maria. Probably less references to the radio as well. Anyways, they’re from Corvalis, Oregon, but there’s definitely some Midwest punk influences in Made To Rust.

Tracks to check out: “Over It”, “Lazarus”, and “Salinas”

1. Skeleton Coast by The Lawrence Arms

(July 17th, Epitaph Chords)

As referenced earlier, the majority of the records on this list were debut albums (seven out of the ten, to be precise). However, the number one spot belongs to a band that was formed in 1999, a few years before I even graduated from high school. The Lawrence Arms just do what they do, and I love it. After more than two decades, they churned out 14 songs that are right up there with Oh! Calcutta! as their best stuff. Dueling vocals, soaring choruses, gritty howls, etc. Shoot it all into my veins, this record was my comfort food this year.

Tracks to check out: “Pigeons And Spies”, “Don’t Look At Me”, and “Under Paris”

If you’ve made it this far, thanks for reading and checking out CPRW. In the words of the immortal Joe Strummer, “Without people, you’re nothing.” I’ve loved writing, podcasting, and messaging with this great group of humans this year, and I’m looking forward to better times, great tunes, and the return of live music in 2021.

This top ten was written by Marcus Pond.

Album Review: Skeleton Coast by The Lawrence Arms (by Marcus Pond)

I first became aware of The Lawrence Arms after buying the 2002 Warped Tour sampler. It was a double disc affair and a great memento of my first and only Warped Tour experience, but I’ll admit that there wasn’t much about the song “Navigating the Windward Passage” that stuck out to me, other than that the singer’s voice (Brendan Kelly) seemed too raspy and grating for me to really enjoy. I didn’t skip it every time, though, but I mostly forgot about them outside of that tune, and didn’t really give them another listen until they released Oh! Calcutta! in 2006.

At the time, I was enrolled in a Christian university that I didn’t like, in a small town that I left as often as I could, and was struggling to endure the seemingly year-long winter weather that few southern California kids would’ve put up with. It was in this condition that Oh! Calcutta! (hailed by many as the Arms’ best work to date) wormed its way into my ears and my heart, and I worked backwards into their catalogue, also falling in love with Apathy and Exhaustion. The self-loathing and melancholy mixed with punk rock anger, delivered by different and at times dueling vocalists really resonated with me.

Since 2006, the band had released just one other record (2014’s Metropole, their first release on Epitaph) and what was essentially a “greatest hits” compilation (2018’s We Are The Champions of the World), so it wouldn’t have been a stretch to assume that the days of putting out new music under The Lawrence Arms banner had passed. But with Skeleton Coast, the boys from Chicago show that, even with all three members being in their 40s, they’ve still got it.

The singles leading up to Skeleton Coast were “Last Last Words” and “PTA” (which stands for Planes Trains and Automobiles), and are great samplers of what TLA offers. On “Last Last Words”, Chris McCaughan croons mournfully as soothing power chords soar. His lyrics, usually a bit more wistfully poetic than Kelly’s, paint the bittersweet finality of the impression that’s left behind when we leave this world; “Hang me in the halls of obscurity / Behind the velvet ropes / In a distant gallery”.

“PTA”, on the other hand, is a song fronted by Kelly, and opens up with pounding drums and a raucous verbal assault. Like “Last Last Words”, it centers on death, but is approached uh, differently, more nihilistic (“Don’t worry baby it’s nigh / The end of our time / The brush on your thigh / The feeling of toiling and loving / Only to watch it all die”) and carnal (“Dusty and lonesome and craving a glance / That starts in your heart then shoots into your pants”).

McCaughan and Kelly are the yin and yang of The Lawrence Arms, balancing each other out, both in vocal delivery and lyricism. It’s that balance that keeps this and most of their records fresh to my ears, as the songs seem perfectly sequenced to keep your attention from start to finish. Never too romantic, depressing, or angry, they find the sweet spot and lead the journey.

Kelly described the record on the “Road To The Skeleton Coast” podcast (which began earlier in the year and detailed much of Kelly’s discography with The Lawrence Arms, as well as other bands, leading up to and including Skeleton Coast) as a type of concept album about an outpost at the end of the world. Recorded in El Paso, Texas, which is on the edge of the country and essentially on the edge of nowhere, it has a bit of a post-apocalyptic vibe to it – as if releasing music during a global pandemic needed to be even more ominous.

Some of my internet music buddies seemed quick to point out that they prefer the “Chris” songs (I have a soft spot for Four One Five Two, the debut LP from McCaughan’s solo vehicle by the name of Sundowner), but something about most of the “Brendan” songs just really appeal to me this time around. “Pigeons and Spies” is probably my favorite song (and will probably end up on my own personal “best of TLA” playlist on Spotify), and has some of the best lyrics. On it, Kelly spits out a handful of oddly specific metaphors involving dinosaurs and pigeons, before proclaiming “I’m tired / And you’re tired too / I want to make big changes but I’m not in the mood”. When they get to the bridge, it’s as triumphant as the Arms are on the record, and it’s about drinking before 9:00.

“Dead Man’s Coat”, “Ghostwriter”, and “Under Paris” (all Chris songs) are also highlights on the record, which clocks in at 35 minutes. Only one of the 14 tracks goes past the three minute mark, so buckle up – the tracks are as unrelenting as the year it was released.

RIYL: anything that Brendan Kelly has done, the Red Scare Industries catalogue, LaGrecia, and Arby’s.

Stream and download Skeleton Coast on Bandcamp.

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This review was written by Marcus Pond.