PopMatters' 60 Best Albums of 2020

“I needed to change things in my personal life, but also in the way that I was working,” Jehnny Beth tells Apple Music of her debut solo LP. “It was exhilarating for me to begin from a clean slate, starting something new and feeling that fear of the unknown again.” Best known as the lead singer and co-writer for UK post-punk band Savages, Beth was repeatedly told that it was too much of a risk to branch out on her own and that she should build on what she had done before. She followed her instinct instead, relying on her own resources and several collaborators to bring her project to life, including British producers/audio engineers Flood and Atticus Ross and longtime creative partner Johnny Hostile. *TO LOVE IS TO LIVE* is a natural display of Beth’s experimental curiosity—unleashing unsettling synths and industrial percussive elements as she gets in touch with feelings of self-doubt and her sexuality. “It was an inner voice, something that was calling me to do this—otherwise, there’s the danger of losing myself completely,” Beth says. “I didn\'t want to be enslaved to one genre of music, and I didn\'t want to be one of those singers who are slaves to their dance.” Here, Beth walks us through the album, one song at a time. **I Am** “When I heard Atticus Ross’ production, I knew it was going to be the opener. With Savages, my voice was connected to the intensity of the guitars and the drums with that classic punk-rock band scenario. And he was creating the same intensity but with strings, and instruments that were different. I love that it creates a sense of suspense and wonder. When you finish the track, you\'re left with questions like \'What is coming next?\' The song was written by me and Johnny Hostile, and it was during the very early stages of exploration. During one of our lab experiments, we tried to pitch my voice in different styles and tonologies, and we found one that was really pitched down. There\'s a multiplicity of voices on the record. And I think the purpose is to unlock the forbidden thoughts and intimate thoughts that we believe are shameful. I think that we push them down. But as humans, we have contradictory thoughts—and we battle with the idea of identity and the idea of good and bad all the time. There is danger in trying to repress those hidden voices and not giving the space for them. So that\'s why it was important to open with that voice and not my voice.” **Innocence** “It was produced by Flood in his studio in London. He has this capacity of getting obsessed with details and muting all the important parts. You don\'t understand what he\'s listening to or why he\'s even listening to that. So I got frustrated, and he kicked me out of the studio and asked me to come back an hour later. And then I was very frustrated and angry. I came back and heard the mix, and then came this moment where I was hearing myself in a way that I had never heard myself before. It brought me to tears. I wrote the lyrics early on in the process of making the record; I placed it as the starting point of the journey—the same way a novelist would start with the shameful thoughts for his novel, and start from there to grow. Not trying to avoid it, but put it at the center—and I asked myself what is the thought that keeps you up at night that you never reveal to anyone. And it was the idea of lost innocence, in the sense of feeling isolated and not being able to connect with the rest of humanity. It\'s about the reality of living in busy cities as well. The more you close your eyes to people, the more walled up you become. You see the reality of a city which doesn\'t treat everybody equally or the same way, and the anger that it creates.” **Flower** “It\'s a classic scenario of distance being sexier than the touch, and celebrating female nudity in a hypnotic way. I was inspired by all the girls in Jumbo\'s, which is an LA pole-dancing club I go to when I\'m in LA. I really love the atmosphere of the club and how freeing it is, and how exciting and frightening it is at the same time. I love that tension. Hostile composed it for me, and when it was finished, I felt it wasn\'t for me. I wasn\'t sure, so I sent it to my friend Romy Madley Croft \[The xx vocalist/guitarist\], and she replied in capital letters that I have to have this song on the record and that it was great to hear me in a different context. I decided that I was going to check with myself if I was feeling uncomfortable. And if I was feeling uncomfortable, it was a good sign that I was going in the right direction.” **We Will Sin Together** “It’s an invitation to do bad things together and the realization that love is part of that. That there\'s no right or wrong; there\'s only in and out. If you decide to break a sweat and participate in life, you are going to make mistakes. So for me, it\'s what I call a post-romantic love song. It tries to reach beyond the ancestral codes of romanticism, because they too often generate frustration. Romy sang backing vocals on it. We were working on the song in LA and I asked her to sit behind the mic. I love her voice. I think it naturally carries a lot of emotion and never sounds fabricated, and it also suits the song perfectly. It\'s one of my favorite tracks of the record.” **A Place Above (feat. Cillian Murphy)** “I had written the texts and I wondered if \[Irish actor\] Cillian could read it. Because, again, I wanted this multiplicity of voices on the record. I knew he was a fan of Savages, and I was a fan of his; I think he has one of the best voices in modern cinema. He did it without hearing any music, which I think was great and perfect. I remember what Cillian wrote to me when he wrote the text. He said, ‘It\'s big stuff.’ And then he said, \'It should be done in a slow way, a quiet way.\' He made it personal, as if you were hearing someone\'s personal thoughts that you suddenly had access to. It’s a little bit like in *Wings of Desire* \[German film director Wim Wenders’ 1987 film\]. The angels have access to people\'s thoughts and minds, and they can hear their secret thoughts.” **I’m the Man** “What I wanted to say with this song is that the root of evil isn\'t just on the other side—it lives inside of each of us. It\'s implanted in our core by generations of parents or grandparents in society, and we must stay strong and aware to overcome the aggressive power to control us. It\'s about facing my own responsibility for the evil of this world. It\'s important for arts, in general, to show our own complexities to our faces. I wanted to portray the evil of this world and put it on me, wear the mask of people. Because it\'s impossible for me, as an artist, to draw a line between good and bad and just pretend that I\'m always standing on the right side of the fence. Sometimes it\'s about looking on the other side, trying to understand your own thoughts and your own darkness and your own violence.” **The Rooms** “It’s a resolution moment, kind of a resting in contrast to ‘I’m the Man.’ I wrote and recorded hours of piano and vocals on my own in the studio. It\'s a calm description of an orgy where women have all the power. It comes from a line by Francis Bacon, who said something like, ‘When I went into the rooms of pleasure, I didn\'t stay in the rooms where they celebrate acceptable modes of loving, I went into the rooms which are kept secret.’ It\'s a beautiful way to describe desire and exploration.” **Heroine** “I think ‘Heroine’ is a cry to be free. I have had quite a journey with this song, because it was originally called ‘Heroism.’ Because I wanted to talk about the idea of freedom and role models and the fact that freedom is, in fact, frightening. I was told I should play the heroine in ‘Heroine.’ I couldn\'t really step into the shoes of that big character that way, that was positive in a way. You need to be able to embody positive characters as much as you embody frightening and contradictory characters. So that was the realization for me. Sometimes you look for role models around, but you have to also be able to see what\'s within you. And for me to hold the people around me to get there, to take me there.” **How Could You (feat. Joe Talbot)** “One of my favorite songs about jealousy is ‘Why’d Ya Do It?’ by Marianne Faithfull from *Broken English*, and I always wanted to write something about jealousy. I\'ve had to work very hard to conquer jealousy in order to live, and it wasn\'t easy. I had to fight against all my conditioning and invent new rules for myself. I\'ve learned so much from the process, but it\'s something you constantly need to check yourself with. Because jealous people always think they\'re right. Which I think is my main problem with it; when I was jealous, I was tempted to think I was right, because jealousy makes you think that there isn\'t a greater pain than yours. I couldn\'t imagine a better person as Joe \[Talbot, IDLES vocalist\] to be a jealous man on this song. Because he knows, and he understands, what it means to take control of this human instinct. And he\'s been jealous. He\'s been a bad guy; he knows what it\'s like. When I discovered IDLES, I thought they were shining a light into what it means to be a man in a band. I knew Joe was going to write something brilliant about anger and jealousy, and he did.” **French Countryside** “I wrote it as if I was writing a soundtrack for *Call Me by Your Name*. That\'s what I had in mind: the summer, the countryside, and the promise of love. I wrote the lyrics much before that. I wrote them in a plane when I thought we were going to crash, and I was making a list of promises of what I would do better if I survived. And obviously when the plane landed safely, I forgot about my list of promises. When I revisited the idea I realized, oh god, we forget about the urgency of life. I was suddenly facing those ideas again, and I really wanted to make something before I go too. It contrasts so much with the rest of the record, but that\'s really on purpose.” **Human** “I knew I wanted to make a record that would give a sense of the journey, holding a narrative from start to finish. It was part of my early discussions with Atticus. I didn\'t want to make a collection of songs. I wanted the record to be a world you can live in. He had this idea of reintroducing the dark voice at that point with the same lyrics. And again, bringing in those orchestral strings, and that sort of drama and intensity and suspense. So we\'re going back to the beginning, but we\'ve evolved. The idea of the lyrics came to me when I was reading about people who go to digital rehab, because they\'ve lost the sense of self and connection to their life. It felt that it was interesting to finish the album by saying I used to be a human being and now I live in the web. Because I think we can relate to that more and more.”

Les Amazones d’Afrique: Power "Women evolve and are not like before" – Les Amazones d’Afrique, Sister A creative force that embraces international voices; sweet, strong harmonies that summon the rights of women and girls; a meltdown of heritage and new gen talent… Les Amazones d’Afrique are back with Amazones Power, the sequel to their widely acclaimed 2017 debut album, Republique Amazone. The roots of this pan-African female “supergroup” date back to 2014, when three renowned Malian music stars and social change activists – Mamani Keita, Oumou Sangare and Mariam Doumba (also from legendary duo Amadou & Mariam) began a conversation about gender equality with Valerie Malot (head of the French booking/creative agency 3D Family). “What we found was that female repression in the continent and in the world, is something that touches every woman,” recalls Malot. “It’s not a question of colour or culture. It’s something generic. All women can relate to it.” Universal truths, and a united desire for equality, sparked the formation of Les Amazones: a collective named in homage to generations of courageous and proud warrior women (as well as ground-breaking 1960s female pop group, Les Amazones de Guinee). Les Amazones d’Afrique have also proved fearless in confronting undeniably difficult subjects that remain an issue not just across the African continent, but around the world; throughout the heady roots and electronic grooves of their second album, there are hard-hitting themes, as songs address misogyny and violence, sexual identity, forced marriage, and the barbaric practice of FGM (female genital mutilation, or “cutting”). Original member Keita continues her journey with Les Amazones on Amazones Power, bringing her gorgeously fiery vocals to several tracks, including Love (with its commanding sentiment translating as: “The woman deserves respect”), Smooth, Timbuktu and Dogon. The latest album also features the welcome return of Rokia Kone, aka “The Rose Of Bamako”, who brings glorious soul and wry detail to highlights such as the inspirational Queens (a call for solidarity with wives forced to bottle up the cruelty they endure from their new husbands and in-laws). This time, Les Amazones reach has also extended further, bringing in new voices and rising stars from across Africa, including Beninese vocalist Fafa Ruffino, whose versatile range connects the musical influence of her Ghanaian grandmother, gospel and soul genres, and cultural styles from Nigeria to Burkina Faso. Ruffino is clear about the appeal of joining Les Amazones: “The first thing was the concept,” she says. “I mean, asking different female singers to team up and fight for women’s rights, by using music as the ultimate force, is just amazing. I came running, ‘cause I felt like this was a duty call, and even more than that… “We come from different countries, yet we’re facing the same issues in our home towns. We need to show the world that there are no boundaries when it comes to standing for our rights… It felt like the universe put us together. We were fighting alone, and something pushed our energy to meet.” Les Amazones’ songs speak to siblings, parents, children and societies at large; they often draw deeply from personal experiences, as well as giving vital voice to those who are unfairly overlooked. As the youngest new member of the group, Guinean musician/dancer/artist Niariu, recently explained in an interview with Afropop: “We want to give a voice to women who are not being represented in the larger feminist movement in the West. We want to make the African story matter as part of it.” Niariu’s lilting refrain (“Together we must stand/ Together we must end this”) feature on the album’s invigoratingly funky opening track and lead single, Heavy. Elsewhere, the album’s brilliantly diverse, vivacious lead voices include Malian rap star Ami Yerewolo, Algerian singer Nacera Ouali Mesbah (whose work has included taking on traditionally male-dominated chaabi music; here, she delivers the incendiary Arabic-language lyrics of Rebels – “We want to live free, live in peace… The path is certainly long, but we will succeed”), and Ivory Coast chanteuse Kandy Guira, who brings fierceness and beauty to Sister. On the album’s mighty concluding track, Power, a collective of 16 multi-generational vocalists spanning Africa, Europe and Latin America herald a collaborative future where there is true equality. Les Amazones have always been inclusive in their spirit of empowerment, but for the first time here, their music also features young male vocalists – in this case, Douranne (Boy) Fall and Magueye Diouk (Jon Grace) from Paris-based outfit Nyoko Bokbae, whose expressions elevate the sound of 21st-century diaspora, and who team up with Niariu (and celebrate their own female elders) on Heavy. As Ruffino points out, this is a natural progression: “The new generations are rising against traditions, especially in Africa,” says Ruffino. “So, you have many young men in women’s right associations, going door to door to inform the youngest. So it’s completely fair to have them on board with us. Nyoko Bokbae are incredible; the messages they have are strong and energizing.” And Amazones Power is aptly named, of course: “Power means everything,” says Ruffino, emphatically. “We are all coming together to change the rules that have been established for centuries. Women are taking over the world, you know! With this album, we are breaking the code, by talking about violence against women and young girls, genital mutilation, forced marriage, gender equality. We want to make our sisters and mothers understand that it’s up to us what makes us happy and fulfilled.”

Drew Daniel’s solo alias The Soft Pink Truth was originally fueled by a distinctly madcap energy. Without the elaborate conceptual frameworks of his duo Matmos, Baltimore-based Daniel was free to let his imagination run wild. His 2003 debut, *Do You Party?*, braided politics with pleasure in gonzo glitch techno; with *Do You Want New Wave or Do You Want the Soft Pink Truth?* and then *Why Do the Heathen Rage?*, he turned his idiosyncratic IDM to covers of punk rock and black metal. But *Shall We Go On Sinning So That Grace May Increase?* steps away from those audacious hijinks. Composed with a rich array of electronic and acoustic tones, and suffused in vintage Roland Space Echo, the album strikes a balance between ambient and classical minimalism; created in response to politically motivated feelings of sadness and anger, it is also a meditation on community and interdependency. Guest vocalists Colin Self, Angel Deradoorian, and Jana Hunter make up the album’s choral core; percussionist Sarah Hennies lays down flickering bell-tone rhythms, while John Berndt and Horse Lords’ Andrew Bernstein weave sinewy saxophone into the mix, and Daniel’s partner, M.C. Schmidt, lends spare, contemplative piano melodies. The result is a nine-part suite as affecting as it is ambitious, where devotional vocal harmonies spill into softly pulsing house rhythms, and shimmering abstractions alternate with songs as gentle as lullabies.

The Soft Pink Truth is Drew Daniel, one half of acclaimed electronic duo Matmos, Shakespearean scholar and a celebrated producer and sound artist. Daniel started the project as an outlet to explore visceral and sublime sounds that fall outside of Matmos’ purview, drawing on his vast knowledge of rave, black metal and crust punk obscurities while subverting and critiquing established genre expectations. On the new album Shall We Go On Sinning So That Grace May Increase? Daniel takes a bold and surprising new direction, exploring a hypnagogic and ecstatic space somewhere between deep dance music and classical minimalism as a means of psychic healing. Shall We Go On Sinning… began life as an emotional response to the creeping rise of fascism around the globe, creativity as a form of self-care, resulting in an album of music that expressed joy and gratitude. Daniel explains: “The election of Donald Trump made me feel very angry and sad, but I didn’t want to make “angry white guy” music in a purely reactive mode. I felt that I needed to make music through a different process, and to a different emotional outcome, to get past a private feeling of powerlessness by making musical connections with friends and people I admire, to make something that felt socially extended and affirming.” What began with Daniel quickly evolved into a promiscuous and communal undertaking. Vocals provided by the chorus of Colin Self, Angel Deradoorian and Jana Hunter form the foundation of most of the tracks, sometimes left naked and unchanged as with the ethereal opening line (“Shall”) or the sensuous R&B refrains on “We”, at other times shrouded in effects and morphed into new forms. Stately piano melodies written by Daniel’s partner M.C. Schmidt as well as Koye Berry alongside entrancing vibraphone and percussion patterns from Sarah Hennies push tracks toward ecstatic and melodic peaks, while rich saxophone textures played by Andrew Bernstein (Horse Lords) and John Berndt are used to add color and texture throughout. The album’s overall sound was in part shaped by Daniel hosting Mitchell Brown of GASP during Maryland Deathfest. Daniel borrowed Brown’s Roland Space Echo tape unit which he then used extensively throughout to give the album a flickering, ethereal quality. By moving beyond simple plunderphonic sampling and opening up a genuine dialogue with other musicians, Daniel left room in his compositions for moments of genuine surprise, capturing the freeform, communal energy of a DJ set or live improvisation session more than a recording project. Shall We Go On Sinning, a biblical quote from Paul the Apostle, was chosen by Daniel because it describes a question that he was applying both to his creative practice and how one should live in the world. The melodies, jubilance, and meditative nature of album provides a much-needed escape from the contemporary hell-scape. The process of creating Shall We Go On Sinning, in and of itself, is the Soft Pink Truth’s way of championing creativity and community over rage and nihilism.

[TAO 01] Matthew Shipp : piano This album was among the most acclaimed music releases of 2020. What was most certainly clear to us from jump, and then affirmed by countless others writing with intelligence & passion is that this recording of one human massaging 88 keys pressing pads that strike metal string & cable toward resonance within a wooden chamber was a revelation anew from one of the most distinctly gifted artists who has ever laid hands on the instrument. Further honing a singular cosmic musical language, Matthew Shipp begins celebrating his landmark 60th year with this new solo piano recording. The Piano Equation is also the inaugural release from TAO Forms, a new label founded by drummer-improviser-composer – and longtime Shipp collaborator – Whit Dickey. Over more than half of his lifespan, Shipp has built up an unparalleled body of work and a wholly original musical language that only becomes more hyper-focused and distinctive with the passage of time. Shipp’s abstract eloquence is on vivid display throughout The Piano Equation, which presents him alone at the piano, brilliantly solving his higher-order musical mathematics, approaching each new unknown from unexpected vantage points as in some form of cubist algebra. Shipp builds his solo music in a cellular fashion, formed like the building blocks of human life out of disparate elements that combine and evolve in novel and fascinating forms. “There are billions of different human beings on the planet, all constituted with the same genetic material but all completely different,” he says. “All of these pieces can be generated with a different mother/father idea and the basic cellular material can unfold in billions of ways.” Stride, swing and the avant-garde collide like so many elemental particles, the aftereffects radiating outward in increasingly complex and intricate formations. The scientific, the personal, the political and the fantastic co-exist throughout Shipp’s work, melding in the radical vocabulary that the pianist employs on the album, which speaks with its own alien yet familiar logic. Fragments of melody coalesce and transform, dissolve or shatter into kaleidoscopic reveries. While some may have used the arrival of such a landmark occasion as their 60th anniversary of arrival here to look backwards, Shipp will spend the year continuing to move resolutely forward, further evolving a voice that is as intimately personal as it is cosmically adventurous. * Full art & notes included as PDF booklet with Digital Album.

Newness and Strangeness This album was made from January 2015 to December 2019, starting as a collection of vague ideas that eventually turned into songs. I wanted to make something that was different from my previous records, and I struggled to figure out how to do that. I realized that because the way I listened to music had changed, I had to change the way I wrote music, as well. I was listening less and less to albums and more and more to individual songs, songs from all over the place, every few days finding a new one that seemed to have a special energy. I thought that if I could make an album full of songs that had a special energy, each one unique and different in its vision, then that would be a good thing. Andrew, Ethan, Seth and I started going into the studio to record songs that had more finished structures and jam on ideas that didn’t. Then I would mess with the recordings until I could see my way to a song. Most of the time on this album was spent shuttling between my house and Andrew’s, who did a lot of the mixing on this. He comes from an EDM school of mixing, so we built up sample-heavy beat-driven songs that could work to both of our strengths. Each track is the result of an intense battle to bring out its natural colors and transform it into a complete work. The songs contain elements of EDM, hip hop, futurism, doo-wop, soul, and of course rock and roll. But underneath all these things I think these may be folk songs, because they can be played and sung in many different ways, and they’re about things that are important to a lot of people: anger with society, sickness, loneliness, love...the way this album plays out is just our own interpretation of the tracks, with Andrew, Ethan and I forming a sort of choir of contrasting natures. I think my main hope for the world of music is that it will continue to grow by taking from the past, with a consciousness of what still works now. Exciting moments in music always form at a crossroads - a new genre emerges from the pieces of existing ones, an artist strips down a forgotten structure and makes something alien and novel. If there is a new genre emergent in our times, it has not yet been named and identified, but its threads come from new ways of listening to all types of music, of new methods of creating music at an unprecedented level of affordability and personal freedom, of new audiences rising up through the internet to embrace works that would otherwise be lost, and above all from the people whose love of music drives them to create it in the best form they possibly can. Hopefully it will remain nameless for some time, so it can be experienced with that same newness and strangeness that accompanies any and all meaningful encounters with music. "Yea but what's with the mask?" Bob Dylan said, “if someone’s wearing a mask, he’s gonna tell you the truth...if he’s not wearing a mask, it’s highly unlikely.” He never actually wore a mask onstage so I don’t know why he said that. But I decided to start wearing a mask for a couple of reasons. One, I still get nervous being onstage with everybody looking at me. If everyone is looking at the mask instead, then it feels like we’re all looking at the same thing, and that is more honest to me. Two, music should be about enjoying yourself, especially live music, and I think of this costume as a way to remind myself and everyone else to have some fun with it. I don’t think it changes anything else about the songs or how you feel about them to be able to drop it for a second and have fun with it. If you can’t do that then you’re in a bad place... The character comes from another project Andrew and I have been working on called 1 TRAIT DANGER. This is something Andrew started doing on tour¬—recording ideas for his own songs as they came to him, and forcibly enlisting everyone else to participate. It appealed to me because it was nothing like Car Seat Headrest, and the ideas cracked me up. Before we knew it we had two albums released, a video game that was almost impossible to beat, and a growing number of people who seemed to be enjoying it all. It’s been a great outlet for weird and untenable musical experiments, and the live performances have been a blast. I play a character called TRAIT, and we’ve been working out the backstory as we go. I think he spent a lot of time in classified government facilities before getting into the music business. This is the kind of stuff that kept us going while we were working on MADLO. We were in our own little world and free to try any idea we wanted. A lot of the ideas for 1 Trait bled over to the Car Seat tracks, and vice versa. You just can’t make music without first creating your own environment around it...sound’s always gotta travel through something. This time it was a mask. —trait

Mackenzie Scott’s Southern roots have clearly emerged over the course of her four LPs. The 29-year-old songwriter from Macon, Georgia, has become a force, blending a homespun charm with a penetratingly critical inward gaze. Her latest LP is no different. “The album is about pursuit and desire, and the sort of emotions that arise whenever someone is pursuing something that they want,” she tells Apple Music. Scott uses her TORRES project as a cathartic sounding board, dissecting her choices and the impact they have on herself and the ones she loves. Here Scott peels back the layers of *Silver Tongue*, song by song. **Good Scare** “Well, it seemed like a good single to choose for the same reason that it is a good album opener. I mean, it was a song born out of fear. Fear was the primary motivator―fear of being left. And it was my way of writing a song about how I really wanted someone to stay. But I also wanted them to know that I wasn\'t going to trap them into staying. I thought it seemed like a fun song to lead with.” **Last Forest** “‘Last Forest’ is really centered around that sort of magic feeling that you don\'t get very often in a lifetime, whenever you meet somebody and you feel like you\'ve known them forever. Sometimes it doesn\'t happen at all for some people, and some people experience it multiple times in a lifetime. This song captures the moment that that last happened to me.” **Dressing America** “‘Dressing America’ started as way more of a straight-up rock song before the strummy guitar sound was on it. It came about in a sort of more backwards way—the beat was the thing that came first. The lyrics, the melody, and the sort of sparkly New Wave-y stuff was added later. It didn\'t feel cohesive with the rest of the songs that I had already written for the album and what it needed. It needed to be grounded a bit more, which is why I gave it a guitar strum and the pedal steel as well. I thought about throwing it out altogether, but I came back very quickly and decided that it wasn\'t probably a smart move to throw out what could be the pop hit of the record.” **Records of Your Tenderness** “This one is about the artifacts that are left over after a relationship. When someone is not in your life anymore, you sort of just hold on to those things and keep them around. Or if it\'s more of a temporary separation and you\'re sort of like longing, and you have their ashes in the ashtray and their scent on your clothes. It\'s just kind of about these things, these objects through which we see people that we love and that we long for. It\'s also kind of a nod to *Transparent Things*, the title of Nabokov\'s novel. It’s a nod to the famous line \'These transparent things, through which the past shines.\' It\'s about how these inanimate objects hold meaning and attach themselves to us, or rather how we attach the people that we love to items.“ **Two of Everything** “This was essentially an apology that I wrote in advance to a person whose girlfriend I was pursuing, who I eventually ended up with. It was my attempt at apologizing in advance. It\'s not that I needed permission to feel okay. It was more that I\'m better in writing than I am in any other way, so to put words down onto paper and then to sing them is my strongest form of communication. And I wanted to communicate something really specific, which was that I was sorry for the pain that I was about to cause.” **Good Grief** “‘Good Grief’ is more of a nod to my Southern upbringing than anything. I\'m not sure how familiar you are with the Southernisms, but one of them is \"good grief!\" When you think about it for the first time, I was kind of like, what is good grief? Grief is not good. Grief is awful, grief hurts, and grief is miserable. I took the whole idea and went further with it and thought about this sort of way that sadness is fetishized in our culture. It’s the way that it\'s portrayed in films and television. Often sadness is really glamorized, and I just hate that. I think it\'s really irritating, and depression is not fun, and loss is not fun. I just wanted to take aim at that idea.” **A Few Blue Flowers** “This one has a pretty straightforward title. It\'s also a reference to \'Records of Your Tenderness\'—it\'s very self-referential in that way. A handful of blue flowers was one of the aforementioned artifacts that I was left with in this particular relationship that I was pursuing. It’s pretty straightforward: It’s just an item from a relationship I now hold on to.” **Gracious Day** “I released a demo version of that song \[in 2019\]. It was a just a guitar and my voice, and I added a little bit of sparkle in the studio, but I didn\'t want to touch it too much. I felt like, as a grounding mechanism, that I needed at least one of those tracks on the album that left a little breathing room. It doesn’t have any percussion, and I wanted something that was just beautiful and simple. There\'s not a whole lot of that on the rest of the album.” **Silver Tongue** “The album is about pursuit and desire, and the sort of emotions that arise whenever someone is pursuing something that they want. There\'s a lot of ugliness to it. There\'s a lot of darkness to it as well. I thought that the final song on the record sort of encapsulated all of those feelings. Not just in the lyrics, but sonically as well. I feel like it really captures the dark and the light and that whole spectrum of emotion that comes before on the album.”

A staple on the Chicago DIY scene for the better part of a decade, Nnamdi Ogbonnaya can’t be contained: He’s drummed and played bass in more bands than you can count, raps when the mood strikes, and releases tripped-out avant-pop under his own name in the meantime. A testament to his wild ambitions, *BRAT* is all over the place but elegant still; cacophonies of horns and strings and delirious melodies fade into existential meditations, the mood switching from raucous house party to bummed-out comedown in a single track. One moment NNAMDÏ‘s feeling himself (chamber-trap stunting anthem “Price Went Up”), the next he’s sick of everything (“Everyone I Loved”).

Written, Produced & Recorded by NNAMDÏ Released by Sooper Records

From thrilling affairs that dissolve into sweaty desperation (Night Chancers) to the absurd bloggers, fruitlessly clinging to the fag ends of the fashion set (Sleep People), via soiled real life (Slum Lord) social media – enabled stalkers (I’m not Your Dog) and new day, sleep – deprived optimism (Daylight), the record’s finely drawn vignettes, are all based on the corners of world Dury has visited. Baxter says “Night Chancers is about being caught out in your attempt at being free”, it’s about someone leaving a hotel room at three in the morning. You’re in a posh room with big Roman taps and all that, but after they go suddenly all you can hear is the taps dripping, and all you can see the debris of the night is around you. Then suddenly a massive party erupts, in the room next door. This happened to me and all I Could hear was the night chancer, the hotel ravers”.