Best Austin Albums of 2020
With the year-end approaching, a new White House administration preparing for the next four years and The Cosmic Clash staff puzzling over which Austin albums we like best from 2020, it’s time to introduce our list of top albums made by Austin artists in the past year. Like most local artists, the acts presented in this year-end review of our favorite records took the opportunity to make new music amid a global shut-down of the live music industry. And they made some incredible albums.
We’d like to remind readers artists are linked to their websites or Bandcamp pages so that fans can purchase music directly from these music makers, ensuring the largest possible share of revenue ends up in their pockets. And they need it without touring revenue, depressed merchandise sales and a limited ability to showcase their compositions without many places to perform. If you like a record, buy it for yourself, friends, family members and maybe even some of your enemies (if you’re into reconciliation). The gift of music is one that keeps giving long after you’ve purchased.
Austin-born and bred guitarists and songwriter, Jackie Venson perhaps best embodies the qualities we think of when considering great local artists. She’s adept at Blues guitar, writes thoughtful, pensive lyrics and sings well. All while flashing her trademark grin, looking as though she’s had her birthday, Christmas and New Year’s Eve all at the same time. There is true joy in her performances. In fact, Joy is the name of her celebrated previous album.
Venson loves making music, that much is clear. What is also clear is the virtuoso guitarist is adept at making a one woman show, hence the machine reference in the title of her most recent work, Vintage Machine which was released in November. Venson’s low-key but impressive guitar riffs punctuate and all electronic rhythm section triggered by her pre-programmed pedals, knobs and switches.. Venson’s musical performance on the recording is both futuristic and rooted in traditional Blues guitar. The fusion element reflects Venson’s musical influences adeptly. With her debut Austin City Limits TV show taping recently under her belt and a critically acclaimed record out, the sky is the limit for this gifted musician.
Before the apocalypse began, veteran Austin rockers, And You Will Know Us By the Trail of Dead released X: The Godless Void and Other Stories on Dine Alone Records (Toronto) in January. With a fresh, new lineup anchored by co-founders Conrad Keely and Jason Reece put out their best work in years. Recorded at Charles Godfrey’s Scary American Studio at Mosaic Sound Collective, the album is both in-step with past Trail of Dead albums while expanding on their intense, punk, art rock sound. Highlighted by dual drums alternately played by Reece and Keely and newest member, Ben Redman (Residual Kid, Army), keys by A.J. Vincent (Matt Gilmour Band) and new bassist, Alec Padron, the band is clicking on all cylinders after a six-year layoff from the studio.
Tracks, “All Who Wander” and title song, “Into the Godless Void” are standouts but really the entire album is worthy of multiple spins on the turntable. While the record garnered much critical acclaim, the lack of ability to tour the record along with it’s release early in the year perhaps kept it from a Grammy nomination. Yeah, it’s that good. Go grab it if you haven’t already.
In February, local pop act, Star Parks dropped a surprising, lush, new record, New Sounds of Late Capitalism on Austin’s Modern Outsider imprint. Lead singer and bandleader Andy Bianculli demonstrates a delicate, yet powerful vocal delivery amid mature, sophisticated songwriting meant to highlight his impressive singing ability. The man is truly gifted, lending a pleasurable listen to any music fan regardless of your favorite genre. Anyone with half an ear would readily agree Bianculli’s voice is a gift.
Modulated synths along with catchy guitar riffs underline Star Parks’ adroitly constructed songs. We’re partial to opening track, “Palm Sunday” with it’s 5 and half minute running time and hymnal devotion. Track 4, “Hobby Horse” might be our favorite tune on the record. Bianculli’s vocal reverb along with totemic drums take us to another world inhabited by harmonized vocal sections and this sort of dreamy countenance. It’s a sonically dense composition and we’re into it.
Neo-psychrockers, Holy Wave stepped a bit outside their normal with fifth studio effort, Interloper which was released mid-pandemic in July on LEVITATION’s Reverberation Appreciation Society label. The album finds the five-piece delving into more intricate, delicate songs than previously released. It’s almost as though the group was influenced by dreamier psych acts like the UK’s Spirtualized or Tame Impala’s synth-heavy 2020 release, The Slow Rush. Whatever may be the case, we’re here for the more laid-back, Floyd-like feel. Title track, Interloper puts a fine point on that approach, evoking shades of Comfortably Numb among other songs.
Holy Wave’s fifth studio effort feels like a band coming into its own, shedding a more classic psych-rock bent for a newer, fresher direction. The group presents as capable, confident and unbowed on this record. While previous albums by the El Paso to Austin outfit tend to fit neatly into a more traditional idea of psych-rock, their latest disc leans toward the downbeat and experimental approach with occasional, delightful sonic outbursts. Sound effects, delays and reverb are used in a myriad of unorthodox ways. Snap up a copy of this album and get lost in a dreamy haze of delicious, aural ear candy.
Excerpt from March 30, 2020:
“Austin Latin funksters Brownout have returned with a full-length album of lush, original songs entitled Berlin Sessions. The record is the first collection of original tunes since Oozy (2012). The album’s moniker comes from capable producer, Steve Berlin (Los Lobos) who has also produced Brownout’s better known sister act, Grupo Fantasma. Released on March 6 on Fat Beats Records, the record is the first of the band’s original material to feature their Black Sabbath cover project, Brown Sabbath’s vocalist Alex Marrero. This is a set of tunes that demands multiple listens and finds Brownout pushing the boundaries of their already cutting-edge brand Latin-funk further into the uncharted territory of psychedelic, progressive and Latin rock for the talented Austin act.
Other favorites in the track listing include, Meters cover, “You’ve Got To Change” which leads with Sweet Lou’s congas and strong harmonies from Brownout’s horn section. Add in guest vocalist Anthony Farrell’s (The Greyhounds) soulful, rich delivery and you have another winner of a song. Stopschinski sweetens the deal with impressive, jammy keyboard parts. We also like “Hold Your Way” with it’s down tempo approach, Pink Foyd-like dreamy chorus punctuated by insane guitar riffs by Martinez.
Brownout’s Berlin Sessions is the type of quality recording that demands attentive, multiple listens to fully enjoy the masterful complexity of the record. Each listen reveals a little more that the previous. This is the mark of a great recording. Do yourself a favor and put headphones for this one so you don’t miss all the satisfying details while listening.”
If you haven’t worked out that we like psych-rock yet, the inclusion of Annabelle Chairlegs’ 2020 effort Gotta Be In Love will clear that right up. This female-powered, sonic palette of swirling, guitar-driven, psychedelic drone is one of our favorite records released in Austin this year. Lindsey Mackin’s tongue-in-cheek, quirky vocal delivery pairs perfectly with the layers of sound the band piles onto the recording. It’s an exhilarating listen that keeps music lovers coming back for more.
The record was released in September after several delays. The album was produced, engineered and mixed by Eric Wofford at Cacophony Recorders in Austin. This record leads off with a hit in ode to the pandemic, shut-in culture that spawned this year, “Outside.”
What comes after that is one great tune after another featuring a crack band in Derek Vaughn Nunez Strahan (bass, keys), Matt Schweinberg (guitar), Billy Wong (drums) and Makin (vocals, guitar, keys). Title track, “Gotta Be In Love” is a scorching number featuring a driving song vibes with an uptempo drum part. Our favorite track is Annabelle’s trademark tune, “Brainfreeze” with a hook so wicked we guarantee the melody will be stuck in your head for days. You’re welcome.
Excerpt from November 5, 2020:
“Have you ever listened to an album so dense in material you had to put it down for a second to process what your brain heard? Rich in texture and hard to define, Satalights debut full-length album, Little Star which drops this Saturday, November 7 on Timewheel Records is such an album. There is no doubt bandleader, guitarist and vocalist Alex Scott is both a talented performer and songwriter. We ‘re excited to share this eclectic and musically rich record record today…
This record was produced by Carter Greeves and Alex Scott with support from Charles Godfrey at Mosaic Sound Collective could just as easily be released as two EPs and a single… a down tempo, psych-rock meets shoegaze meets 90’s goth vibe song, “Boababs.” The song signals a change in tone on the record. The tune is nearly six minutes long, easing listeners out of the more frenetic, rock n roll pace of the first half of the album. The lush arrangement adds to the pleasurable vibes offered. It’s a thoughtfully arranged composition that shows off the band’s musical talent. The group’s, Garth Condit (bass) and Mark Romano (drums) get to demonstrate their broad musical talents on the track.
…Finally, Satalights wind up with a clearly, deeply personal ode to Scott’s mother, “Rolita Bonita” which both evokes the Spanish language ballads and traditional folks songs made famous by the likes of Mexican vocal giants Vincente Fernandez and Juan Gabriel but tempered with the indie rock influence of Satalights.”
Excerpt from August 21, 2020:
“We’re thrilled to premiere the band’s exceptional third release, Knock Out (Pecan Crazy Records) today at The Cosmic Clash. The album is a follow-up to one of our top Austin albums of 2019, What’s A Woman To Do. That record not only landed on our year-end list, several other respected local outlets (Austin Chronicle, we’re looking at you) also included Kay Odyssey’s fantastic sophomore effort on their own best of list…
The album leads off with the track “Dancing in the Rain.” The song feels like the band picked up exactly where their previous record left-off. Hazy, jingly guitar riffs introduce the tune while Boswell’s fluttering vocals deliver her lines amid prototypical Kay Odyssey harmonies. Listening feels like easing into an album that sways from this core sound, to a heftier, garage rock vibe that delves into punk then recedes to more ethereal pieces such as track seven, “Run” which features some nifty keyboard work by Ms. Burrito and gorgeous vocal harmonies.
Music fans can purchase a high-quality digital version of Knock Out by visiting K.O.’s Bandcamp page or by heading to your preferred music platform (iTunes, Spotify, etc). A limited edition cassette (for all you audiophiles) can be purchased directly from Pecan Crazy Records.”
Excerpt from October 27, 2020:
“It is possible the only problem with this Will Courtney album is the length. Six songs hardly feel like enough. Perhaps the saddest part of the vast changes in the music business is the fall of albums as a collection of songs rather than the trend of artist releasing nothing but singles. In this case, what we’re talking about here is technically an EP that dropped in September, but you’ll see what I mean as we get into this record, entitled, At Home with Will Courtney and the Wild Bunch. The reason for the “At Home” bit is the entire record was recorded remotely from each player’s home as the pandemic provided additional challenges to recording artists…
Even with only six tracks on this record, Courtney delivers a soulful, country rock collection of well-crafted, warmly woven songs. At times, Courtney’s vocals are reminiscent of Jeff Tweedy, but less Wilco and more his time with Uncle Tupelo. Other songs he pushes deeper into his register to record the song with a lower, more gruff edge to his voice. The entire record can be streamed here.
At Home is a special project, recorded literally at home during the summer of 2020 while all members of the band were separately under quarantine. Courtney pays homage to a collection of songwriters that have influenced him like Neil Young as well as Townes Van Zandt and even psych rock pioneer Roky Erickson, offering these six new tunes and band’s take on those musical influences.
Landing on our Best Austin Albums list for the third consecutive year, The Bright Light Social Hour have proven themselves more than relevant in the Austin music scene after a nearly five years hiatus between their second album and the pair of records that make up the Jude series, written for deceased manager Alex O’Brien who was lost to severe bipolar disorder and ultimately suicide. His passing devastated a talented group of musicians who were on their way to stardom before death and uncertainty derailed their plans.
Thankfully, the surviving members, Jack O’Brien (bass, vocals), Curtis Roush (guitar, vocals), Edward Brailiff (keys, guitar) and Joe Mirasol (drums) regrouped with the help of mental health NPO SIMS Foundation who got TBLSH the help they needed to navigate grief and suffering amid all this. The results are something special. The third studio effort to appear on Austin’s Modern Outsider Records, this album is more uptempo than Vol I, exhibiting an electronic dance element hinted at but not fully realized in the first volume.
Our favorite track, “Enough” features a slamming, disco-tinged beat shaded in Afrobeat rhythms that get your feet moving almost immediately. We’ll let y’all sort through the rest of the tracklisting because, quite frankly we’ve blathered on long enough.
Please find below other records we liked this year but couldn’t fit in the story. They’re just as worthy a listen as any of the above and we promise to write more about them later. For now, buy music directly from artists whenever possible, be a nice person and have a Happy New Year.
Other Austin albums we love:
White Denim – World As A Waiting Room
The Sour Notes – More Is the Pity
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