{"id":7508,"date":"2021-01-04T10:14:05","date_gmt":"2021-01-04T15:14:05","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=7508"},"modified":"2022-11-13T13:03:18","modified_gmt":"2022-11-13T18:03:18","slug":"the-agit-reader-top-10-of-2020","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/the-agit-reader-top-10-of-2020\/","title":{"rendered":"The Agit Reader Top 10 of 2020"},"content":{"rendered":"

To put it bluntly, 2020 can suck it. There have been few years that have been so catastrophic to so many people as this past year. If the coronavirus pandemic and the hell that it wrought weren\u2019t enough, we also had to endure police brutality of an unprecedented level and the trashfire that occupied the White House and threatened to undermine our democratic process this past election season. (On a personal level, I also had my own personal Apollyon with which to cope, but that\u2019s another story.)<\/p>\n

And of course, as music fans, we\u2019ve had to endure a year without live music, a year without those adrenalized communal experiences that are capable of so much cathartic release. We could have used that release this past year more than ever. Fortunately, there was still music: new music and the thrill that comes with the discovery of something innovative. Below are those records that thrilled me and helped keep my head above water.<\/p>\n

 <\/p>\n

\"\"<\/a><\/h4>\n

#10
\nClose Lobsters
\nPost Neo Anti: Arte Povera in the Forest of Symbols
\nShelflife Records<\/h4>\n

Returning with their first album in more than 30 years (and eight years after they first regrouped for some shows), Scotland\u2019s Close Lobsters showed that the jangly pop that landed them on the legendary C86 cassette years ago had gathered very little dust in the interim. While the title\u2014a nod to end times, Charles Baudelaire, and being skint while recording\u2014is more than a mouthful, the record is more immediate, with each cut breezing by at a brisk pace. Like the band\u2019s past work, the album is at once effervescent, whipsmart, and catchy. It\u2019s at turns self-referential and wistful for days gone by, bittersweet and carefree. Of course, their timing couldn\u2019t have been worse as there was little they could do to promote the album, but theirs was a most welcome return nonetheless.<\/p>\n

 <\/p>\n

<\/h4>\n

\"Grimes,<\/a>#9
\nGrimes
\nMiss Anthropocene
\n4AD<\/h4>\n

Grimes may have ventured to the far end of the sanity spectrum with her hubby, Elon Musk, but (perhaps as a result of that eccentricity?) she still creates utterly beguiling music. Her latest comes off like the soundtrack of a not so distant, probably dystopian, future. Leadoff track \u201cSo Heavy I Fell Through the Earth,\u201d is a light-as-air pop song, at once androidal and touching, especially when Grimes coos, \u201cSo heavy I fell through the earth\u2026 \u2018Cause I\u2019m full of love from you.\u201d The record does have its human moments, however, even when expressing a mechanized action on the acoustically driven, Oasis-like \u201cDelete Forever.\u201d Elsewhere, Grimes seemingly melts into the notes of \u201cIDORU,\u201d as she sings, \u201cYou are the only one. Feels so numb.\u201d It\u2019s as if she\u2019s become one with the synthetics she\u2019s created, a metaphor in action of a future where we can escape this physical world.<\/p>\n

 <\/p>\n

\"Wire,<\/a>#8
\nWire
\nMind Hive
\nPink Flag Records<\/h4>\n

Like much of post-punk legend Wire\u2019s output of recent years, Mind Hive<\/i> is a seeming culmination of everything the band has done throughout its career\u2014the freneticism of their early records, the ambient pop the band released in the \u201980s, and the industrial-strength riffage of the albums made in the early \u201900s\u2014while also adding new elements. On \u201cCactused,\u201d vocalist\/guitarist Colin Newman pairs verses of half-sung vocals and jaunty guitar lines with the chorus\u2019 melodic hook to good effect. But with \u201cOff the Beach,\u201d the band sounds almost bucolic in its blend of chiming acoustic guitars and keyboard washes. However, it is when the aforementioned coalescing of Wire sounds happens that the record is most remarkable, as on \u201cPrimed and Ready,\u201d a jagged meshing of sandblasted guitars and synth shards that has one foot in the past and another clearly in the future. Newman expresses this juxtaposition lyrically on \u201cShadows\u201d when he sings, \u201cShadow of the future, shadow of the past,\u201d and this sentiment is emblematic of Mind Hive<\/i>, a record which shows what can happen when hindsight and innovation meet.<\/p>\n

 <\/p>\n

\"The<\/a>#7
\nThe Strokes
\nThe New Abnormal
\nRCA Records<\/h4>\n

Although the title of The Strokes\u2019 latest\u2014their first since 2013\u2014seems prophetic now, when it was released in April, the future was still uncertain. As we settled into our new abnormal, it was the record\u2019s aesthetic that seemed more fitting than anything. The Strokes have always had a talent for capturing a feeling of ennui, and here, the band\u2019s slack playing and inherent cool made for a tonic that went down very easy as the world was falling apart around us. There are also equal doses of reticence and resillience to be heard when Julian Casablancas sings, \u201cLife is too short, but I will live for you,\u201d like he is resigned to his fate, no matter how much suffering it may bring. He knows, in times like these, sometimes it makes sense to just say, \u201cFuck it.\u201d<\/p>\n

 <\/p>\n

\"Adulkt<\/a>#6
\nAdulkt Life
\nBook of Curses
\nWhat\u2019s Your Rupture?<\/h4>\n

With the band including members of Huggy Bear and Male Bonding, it was hard not to have high hopes for the debut album from Adulkt Life. Fortunately, the record\u2019s 10 songs didn\u2019t disappoint. Repeatedly tapping a vein of sharp-edged vitriol, Adulkt Life reveal that anger isn\u2019t just the purview of the young. Indeed, Chris Rowley (of Huggy Bear) seemingly has his dander up from the get-go. On leadoff \u201cCountry Pride,\u201d he intones,\u201cYou made a promise,\u201d while on \u201cJNR Showtime,\u201d he shouts\/asks, \u201cWhy would you let this shit carry on?\u201d From there the album never lets up, until the prophetic \u201cNew Curfew,\u201d where Rowley sings, \u201cI don\u2019t know what to feel when I hear sirens outside anymore.\u201d It\u2019s a fitting finale to a record that, put out in a time when there\u2019s so little joy (notice a theme here?), capably gives us some needed relief.<\/p>\n

 <\/p>\n

\"The<\/a>#5
\nThe Avalanches
\nWe Will Always Love You
\nAstralwerks<\/h4>\n

Although I found it emotionally wrenching at times to listen to The Avalanches\u2019 follow-up to 2016\u2019s Wildflower<\/i> and its odes to lost love, never did heartache sound so good. On We Will Always Love You<\/i>, the Australian band reveals a knack for combining yearning with pop melodies and electronic flourishes. Even on glistening pop gem \u201cThe Divine Chord,\u201d featuring MGMT and Johnny Marr, it\u2019s hard not to be equally enchanted and wistful when the refrain of \u201cI still remember you\u201d kicks in. With so many of us dealing with loss this year, this record felt like a soundtrack for the times.<\/p>\n

 <\/p>\n

\"Porridge<\/a>#4
\nPorridge Radio
\nEvery Bad
\nSecretly Canadian Records<\/h4>\n

Although released before the pandemic kicked in, when Dana Margolin sings, \u201cI\u2019m bored to death, let\u2019s argue,\u201d on the opening \u201cBorn Confused,\u201d it\u2019s hard not to construe that she was in the thick of a relationship strained by our new reality. Similarly, when she sings, \u201cPlease make me feel safe,\u201d on \u201cPop Song,\u201d it\u2019s impossible not to hear several meanings. Although relatively, fresh-faced Margolin and her cohorts sound like old pros on Every Bad<\/i> as they combine various strains of indie rock influence as varied as the Mekons, Raincoats, and PJ Harvey. It all comes together in 11 waves of glorious tumult that are smart and assured, while still disjointed in all the right places. That it now seems eerily prescient only makes it more fetching than it was at the beginning of the year, before everything went to hell.<\/p>\n

 <\/p>\n

\"Riki,<\/a>#3
\nRiki
\nRiki
\nDais Records<\/h4>\n

The self-titled debut full-length by Riki, the name under which visual artist Niff Nawor makes music, may hearken back to the synthesized sounds of the early \u201980s, but Nawor shows that when done right such aesthetics are truly timeless. She veers between confectionary pop, as on the leadoff \u201cStrohmann,\u201d and darker sounds of a Depeche mode before closing out with the vaguely danceable, New Order\u2013esque \u201cMonumental.\u201d But at every point throughout this wondrous album she hits her touchstones while also leaving her mark. This is a classic for the end times.<\/p>\n

 <\/p>\n

\"Run<\/a>#2
\nRun the Jewels
\nRTJ4
\nJewel Runners\/BMG<\/h4>\n

Run the Jewels have made some good records, but with their fourth, Killer Mike and El-P delivered a masterstroke. RTJ4<\/i> is a blitzkrieg of knockin\u2019 beats, samples (including Gang of Four!), and spitfire lyrics that make reference to the kind of true hip-hop of which RTJ are without a doubt the heir apparents. Plus, they managed to be topical without sounding preachy, as on \u201cWalking in Snow,\u201d where Mike makes reference to Eric Garner, and with \u201cJU$T\u201d and its refrain of \u201cLook at all these slave masters posing on your dollars!\u201d The hat trick is that with \u201cOoh La La,\u201d they also dropped the kind of joint that would have been ubiquitous everywhere you went if only we were actually able to go anywhere this past year.<\/p>\n

 <\/p>\n

\"Sweeping<\/a>#1
\nSweeping Promises
\nHunger for a Way Out
\nFeel It Records<\/h4>\n

A record that may have flown under your radar, the debut album from Boston\u2019s Sweeping Promises is not to be missed. Hunger for a Way Out<\/i> bristles with the herky-jerky energy of post-punk luminaries like the Slits, Girls at Our Best, and Young Marble Giants, while remaining distinct and fresh-faced. Underpinning each of the record\u2019s 10 songs are the pop traces that make the album so damn irresistible, while singer Lira Mondal also imbues each with a certain amount of wistfulness, breathing into each syllable with sadness or restlessness as it\u2019s needed. Amazingly enough, the record was made using just one mic, but the band seemingly used its limitations to its advantage, with Mondal\u2019s bass criss-crossing paths with Caufield Schnug\u2019s wiry guitar and strategically placed synth squiggle accents. There were few things able to get me excited this year; this was one of them.<\/p>\n","protected":false},"excerpt":{"rendered":"

To put it bluntly, 2020 can suck it. There have been few years that have been so catastrophic to so many people as this past year. If the coronavirus pandemic and the hell that it wrought weren\u2019t enough, we also had to endure police brutality of an unprecedented level and the trashfire that occupied the […]<\/p>\n","protected":false},"author":17,"featured_media":7521,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2479],"tags":[2448,2452,2451,733,1514,2453,2454,988,2455,1897,2375,2553,1228],"class_list":["post-7508","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-best-of-the-year","tag-adulkt-life","tag-best-albums","tag-best-of-2020","tag-close-lobsters","tag-grimes","tag-porridge-radio","tag-riki","tag-run-the-jewels","tag-sweeping-promises","tag-the-avalanches","tag-the-strokes","tag-top-10","tag-wire"],"yoast_head":"\nThe Agit Reader Top 10 of 2020 - The Agit Reader<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/agitreader.com\/wp2\/the-agit-reader-top-10-of-2020\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Agit Reader Top 10 of 2020 - The Agit Reader\" \/>\n<meta property=\"og:description\" content=\"To put it bluntly, 2020 can suck it. 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