Release Radar: September 2020
At the end of each month, Afterglow presents a staff-picked list of new albums that left an impression on our ears.
Written by Afterglow Staffers
Photos courtesy of Alex “Grizz” Loucas, City Slang, and DIY Mag
Here are six of our favorite albums released during September 2020. For more reviews of recent releases, check out our album review page.
LES PLUS BEAUX MATINS BY PETIT PRINCE
Image courtesy of Pain Surprises
Elliot Diener, better known by his alias “Petit Prince,” released his debut album to all streaming platforms on Sept. 4. The Frenchman has been recording music since 2015 under the label he co-founded, Pain Surprises, and has been credited for overseeing the production of most releases under the label. Well-equipped with knowledge from over 10 years of conservatory school and producing music for others, Petit Prince decided to focus on his own art: creating a thoughtful, dreamy, and psychedelic French delicacy that is Les Plus Beaux Matins. It’s an album filled with decries of love and tenderness that can be heard on singles “Chien Chinois” and “Endors-toi,” but it is also a peek into the mind of a man who suffers from the anxieties of living, finding peace and solace in “the most beautiful mornings,” his album title’s English translation. Diener has yet to break out into the mainstream English-speaking world, but with such glorious psychedelic sounds reminiscent of artists like Pond and Tame Impala, it seems like only a matter of time before the world warmly embraces the musician and his “allure d'éternel enfant malicieux” that landed him his reverent nickname, ‘le Petit Prince.’
— Micaela Garza
Support Petit Prince on Spotify.
SPILLIGION BY SPILLAGE VILLAGE
Image courtesy of SinceThe80s
Set in the confessional spirits of one of the world’s most isolating time periods, the members of musical collective Spillage Village show no boundaries on their latest album, Spilligion. Expansive beyond any measurable range, the “Second Coming of Spillage Village” challenges the conventional boundaries of rap. With spiritual allusions to a higher power, Spilligion navigates the unresolved feelings brought on by 2020’s tragedies. The intro skit, “Spill Vill,” sets the tone of the whole album, as feelings of uncertainty for the future prompt listeners to cross examine their beliefs (“Always askin’ everybody, ‘What would Jesus do?’ / A lot of folks believe anything you tell em’ if it sounds good enough / Arguin’ ‘bout it would only divide us to be conquered”). “Ea’alah'' asks for prayers of good fortune with a sense of melodic apprehension challenged by Johnny Venus’ sharp lyricism. Venus roots his verse in his disgust with the injustice highlighted by the pandemic: “I ain’t a doctor, I don’t know, but I know rich folks dyin’ too / And I know they gon’ get their treatment first / If it’s the end of days / I pray for power.” Moving between pessimistic lines detailing social injustice and the fight for equality with lyrics highlighting Black excellence, “Mecca'' pays tribute to the African continent as a source of wealth and beauty. The song is a symbol of admiration: “So come and follow me to the land / ‘Call her Mother Earth’ / Spread the love all ‘round the world.” Unafraid to cross the line, Spilligion leaves us wondering: If this really is the “End of Daze,'' what will it take to save us all?
— Camryn Garza
Support Spillage Village on Spotify.
THREAD BY SALLY ANNE MORGAN
Image courtesy of Thrill Jockey Records
In her debut album, Thread, Sally Anne Morgan takes listeners on a trip to the dense forests of the Appalachian Mountains. Morgan crafts a breathtaking brand of folk on Thread that revels in the nature of the Southeast. The North Carolina native scatters covers and originals across the album’s tracklist, intermingling traditional portrayals of rural life with her own experiences in nine evocative songs. The album kicks off with an upbeat banjo, which beautifully accompanies Morgan's angelic soprano vocals in her rendition of the folk classic, “Polly on the Shore.” Throughout the record, the singer uses similar bluegrass and folk instruments to elevate the simplicity and joy of farm life. The standout track “Garden Song” begins with a fiddle that carries the melody as Morgan sings about the vegetables she grows in her garden. Despite its primarily acoustic production, Thread contains multiple instances that balance its traditional sound with modern sonic elements. For example, "Thread Song" and album closer "Annachie Gordon" feature electric guitar flourishes that keep the music interesting and fresh without sacrificing its authenticity. By embracing the simple beauty of Appalachian folk in a modern context, Morgan revitalizes the genre and transports listeners to her pastoral world.
— C.S. Harper
ZEROS BY DECLAN MCKENNA
Image courtesy of The Guardian
Declan McKenna, known for capturing the essence of international politics and a broken humanity through perceptive songwriting on tracks such as “Isombard” and “Brazil,” released his sophomore album Zeros Sept. 4 after delaying it due to complications of COVID-19. Zeros comes three years after the release of McKenna’s debut album, What Do You Think About The Car. Drastically changing his indie-rock sound, the British sensation maturely portrays his perspective of a dystopian society through psychedelic riffs and subtle, yet complex, lyrical styles. Inspired by multiple ‘80s and ‘90s icons, the album’s use of powerful rhythmic distortion and strong backbeats positively reflects against the intergalactic aesthetic. Many tracks explore a wide array of socioeconomic dilemmas by using dark overtones and fun rhythms, as heard in “The Key to Life on Earth.” The track nods to David Bowie’s “Ashes to Ashes” in the first few seconds and emphasizes the mind of an “outsider” throughout the song. Other tracks focus on lyrically capturing the emotions and aspirations of a younger generation, as depicted in the tracks “Eventually, Darling” and “Emily.” McKenna expertly creates different visions that fathom his own state of mind, proving that he is capable of genuinely expanding his mindset to enlighten the people while creating a new musical fusion for himself.
— Keylee Paz
Support Declan McKenna on Spotify.
ALL THOUGHTS FLY BY ANNA VON HAUSSWOLFF
Image courtesy of Southern Lord
After two years of silence, Swedish avant-garde goth queen Anna von Hausswolff has returned with her fifth studio album, All Thoughts Fly. Recorded in a church in Gothenburg, the record signifies a departure from her vocal projects, as it is solely instrumental. A collection of pipe organ compositions, All Thoughts Fly was inspired by Sacro Bosco, a medieval Italian "garden of monsters." Like Sacro Bosco, the album balances the beautiful and the grotesque throughout its 43-minute runtime. Despite the absence of von Hausswolff's signature operatic vocals, every second of All Thoughts Fly is drenched in her usual vampiric extravagance. In trademark von Hausswolff fashion, the record's titular track offers a 12-minute musical epic that feels like a simultaneous existential crisis and ascent into heaven. Another standout, "Persefone," has a more solemn tone — it sounds fit for a funeral ceremony. Though organs are typically associated with this eulogy-like sound, von Hausswolff takes advantage of their wide sonic range to evoke a variety of emotions, creating arrangements that vary from somber to heavenly. With its bright call-and-response lines, the opening track "Theatre of Nature" sounds like a church hymn, while the dark tones in "Sacro Bosco" feel like a descent into a spiritual abyss. By creating an entire album with a single instrument, von Hausswolff finds emotional complexity in a single medium. The simple, but enrapturing, beauty of All Thoughts Fly makes it the perfect album for listeners to unwind and slip into reverie.
— C.S. Harper
TOO NUMB TO KNOW BY PROFLIGATE
Image courtesy of Wharf Cat Records
For over a decade, indie electronic veteran Noah Anthony has been perfecting his industrial techno sound. Starting out in the electronic DIY scene in 2009, Anthony later transitioned to his darkwave project Profligate in 2014. Too Numb to Know, the Philadelphia-based musician’s third solo album under this moniker, finds him venturing out of his sonic comfort zone as he injects a pop twist into its electronic production. As described in the Wharf Cat label website, the album delivers “dark pop gems” that combine ‘80s new wave influences with experimental pop. Equipped with an array of synths and drums, Anthony’s production ranges from aggressively unorthodox to soft and ethereal. The explosive “We Can Punish” experiments with gritty bass and distortion, while the ballad “A Little Rain” is more acoustic with its mellow guitars and soft percussion. To accompany these diverse sonic textures, Anthony’s lyrics deal with themes of growth, identity, and change. Too Numb to Know carries an ominous tone as the singer navigates his insecurities. In the coldwave song “Hang Up,” Anthony advises his younger self to trust himself during adversity: “Hang up / Trust in dysfunction.” Accompanied by haunting female vocals in the eerie closing track “A Stranger,” he laments, “I feel like a stranger.” Through sonic experimentation and raw lyrics, Anthony conveys a heartfelt story of finding oneself in times of turmoil. In doing so, not only does he create a relevant narrative for many listeners, but he also creates his most realized project yet.
— C.S. Harper