Release Radar: November 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 Ben Colen, Pitchfork, and Bas Bron (left to right)
Here are 5 of our favorite albums released during November 2020, with a highlight of the month’s standout singles. For more reviews of recent releases, check out our album review page.
Shiny Singles We Loved This Month:
“Lovely Day” by Noël Wells
The UT Austin alum and “Jill of All Trades” released a cover of the Bill Withers song “Lovely Day” on Nov. 17, transforming the funky soul hit into a glimmering dream fit for disco dancing in your bedroom.
“This Time Around” by Emperor Slow
The indie group from Los Angeles is setting a precedent for more psychedelic alt-rock to come with its November single “This Time Around.” Keep your ears open for a sonic surprise around the 3-minute mark that drives the song’s hypnotic tune into its tapered finale.
“No Games” by Noshows
Noshows’ latest release is the perfect pick me up to combat those long and dreary winter days. With an upbeat tempo and smooth, catchy vocals, “No Games” just might make you want to hit repeat after the last “doo-doo-doo.”
“Shameika Said” by Shameika (ft. Fiona Apple)
Former middle school peers Shameika Stepney and Fiona Apple share a full circle moment with their first collaboration, a funky rap track featuring Apple’s signature experimental stylings.
“nhs” by slowthai
In his latest single, the rapper who declared there’s nothing great about Britain and went to the 2019 Mercury Prize ceremony with a fake severed Boris Johnson head explores a more vulnerable side to his controversial persona. With its gloomy lo-fi production and heartfelt lyrics, “nhs” details slowthai’s struggles with mental health and disaffection with the world.
Spirit World Field Guide by Aesop Rock
Image courtesy of Rhymesayers Entertainment
Recognized as a hip hop wordsmith, Aesop Rock (Ian Matthias Bavitz) is best known for his clever wordplay and unconventional sound. Not your typical rapper, the Portland artist toes the line between indie beats and rap bars, artfully blending two seemingly incompatible genres. In his latest, Aesop Rock delivers a listening experience that accompanies his fans into the ether. Opener “Hello From The Spirit World” begins with an eerie marimba loop as Rock steers listeners through his guide “for anyone whose path may lead them to this unwavering otherness.” Jumping between ‘80s synth beats, classical composure, and heavy bass arrangements, Aesop Rock manages to meld and mold his flow with each track’s eccentric rhythm. “1 to 10” sees the artist drowsily raps existential lines like “I'm ready to be turned into soup / Or shot into space, or squashed into cubes” over a shrill piano medley reminiscent of a BBC period piece. “Pizza Alley” begins with light and airy instrumentation whose tambourines and trill horns transition into a deep bassline, all while Rock masterfully keeps up in tempo. “Kodokushi” layers interstellar synth keys, funky guitar strings, and heavy reverb samples together as Rock crafts his own twist on the titular phenomena: “I go proto-human, I'm so unruly / Architect of my Kodokushi.” Spirit World Field Guide takes a walk through the universe with listeners in hand, exploring the depths of the human experience across various genres and witty lyricism.
— Samantha Paradiso
Spontaneous Order by Fatima Yamaha
Image courtesy of Magnetron Music
After much speculation, a live set from 2015 revealed that the brain behind this elusive artist was none other than Bas Bron, the electronic producer from Amsterdam with an affinity for releasing music under various pseudonyms — Fatima Yamaha being one of them. Five years after this reveal, Bron dropped Spontaneous Order, a feel-good electronic album with unmistakable funky elements and that special ‘je ne sais quoi’ that sets European house artists apart from their American counterparts. The LP isn’t just fun tunes for your ears, it also elicits involuntary dancing with tracks like “Day We Met.” While enveloping futuristic synths with deep, chunky beats, Bron retains a bouncy lightness throughout this album that proves to be incredibly energizing. Topping out at around 45 minutes, it becomes almost impossible to enjoy this musical comeback without some trance-like head bobbing that is sure to make your day brighter.
— Micaela Garza
Lamentations by William Basinski
Image courtesy of Temporary Residence
Just a year after releasing the acclaimed On Time Out of Time, Texas’ own William Basinski is back with his newest project, Lamentations. Best known for his four-volume 9/11 elegy, The Disintegration Loops, the ambient legend has been creating music from tape loops since the late 1970s. His latest album delves deep into his archives, consolidating decades-old tapes into a haunting collection of tracks. A departure from his meditative, spacey sound, the loops in the record transform “operatic tragedy into abyssal beauty.” Lamentations creates eerie soundscapes out of its looped melodies: the opener, “For Whom the Bell Tolls,” is a brooding track with gloomy, pulsating synths. While many songs are similarly repetitive — some to the point where they become monotonous — Basinski adds different dimensions to several tracks. The production on “O, My Daughter, O, My Sorrow” starts out as a eulogic wall of synths, then transitions into a vocal sample of Serbian singer Radmila Dimic that grows louder as the track goes on. The composer flips a cheerful Balkan folk song into something that sounds much darker, creating a tonal dichotomy that persists throughout the album. He juxtaposes other operatic vocals with electronic production in tracks like “Please, This Shit Has Got to Stop” and “All These Too, I, I Love” to create an anachronistic sound. Just as Basinski created The Disintegration Loops to reflect on the 9/11 crisis at the time of its release, Lamentations feels like a rumination on the COVID-19 era. Whether intentional or not, the dark instrumentals and vintage samples of the project recreate the experience of feeling nostalgic for a simpler time before the pandemic. While not as innovative as some of his previous work, Lamentations offers cathartic ambience for listeners today.
– C.S. Harper
Impulse Voices by Plini
Image courtesy of Plini
In the weeks leading up to the Australian prog-rock guitarist’s second album, another artist delivered some of Plini’s older music to the world via MTV broadcast — entirely without his knowledge. In fact, he wasn’t even credited for his work, and the producer of the performance shamelessly admitted to committing plagiarism by way of ‘inspiration.’ Doja Cat has since apologized to Plini via DM, but the controversy definitely increased the hype for Impulse Voices. Musical mishaps aside, the Steve Vai-endorsed virtuoso delivered a beautiful collection of instrumental songs that span a diverse range of genres. Plini seamlessly moves from djent on “Papellilo,” to jazz on “Pan,” and rounds it all out with a touch of dream pop on “The Glass Bead Game.” The Aussie’s signature light-handedness makes his guitar sound like an extension of his body and soul. Combined with the breathtaking production work of Simon Grove, these songs don’t need vocals to be compelling. The melodic vibrations of the strings are his voice – and he has so much to say.
— Micaela Garza
No Better Time by Kacey Johansing
Image courtesy of Kacey Johansing
Not quite a household name just yet, Kacey Johansing has quietly become an indie veteran. Since the 2011 release of her debut record, Many Seasons, she has been cultivating her distinctive folk rock sound over the past nine years. Her fourth studio album, No Better Time, brings some of the most memorable tracks of her career. Opening track “Make Love” sets the tone with crisp electric guitar riffs that caress Johansing’s angelic vocals as she sings the hypnotic hook, “Make love / Make love.” Many songs are similarly magical, featuring minimalistic instrumentals that highlight her beautiful vocal performances and lyrics. In standout track “Puzzle,” mellow guitars and sleigh bells envelop her reverb-heavy vocals as she reminisces about a failed relationship: “It all falls apart.” Despite its simple indie rock sound, the record is far from formulaic. The singer-songwriter switches things up with syncopated rhythms and synths on “All of Me,” as well as a disco-funk sound in “I Try.” “Not Only One” closes the album on a meditative tone, as Johansing reflects on her love life over an intricate blend of violins and piano chords: “The love that didn’t last / Seemed so certain that it passed.” With its powerhouse vocals, evocative lyrics, and cozy melodies with a retro flair, No Better Time is one of the most enjoyable listens of the month.
— C.S. Harper