I Don't Hear A Single Albums Of The Year 2020 : 11-20

It's been difficult to get these choices down to 100. I'm also not a believer in saying one album is better than another. Most of the time you are comparing Apples To Oranges. I'm not a List person, I just think what's the point.

However, for the last few years I have compiled annual Best Of 's because these posts seem so popular and the aim of this Blog is to get exposure (and Sales) for the artists. There is no meaning or judgement on an album that is Number 1, Number 100 or not on the list. Anything that I review on here, mention on Social Media or play on the Radio Show is as highly recommended.

I would also add that the Top 100 includes albums available as Download Only. To suggest that they are anything less than equal to a Physical release is grossly unfair, even more so in 2020 with all that has happened during the year. To qualify, an album has to be available for sale in any format.

For each album, I've posted a song from it and a link to where you can find further details on how to listen or buy the album. 

No 11 : Nick Frater - Fast & Loose    IDHAS Review

No 12 : Joe Giddings - Better From Here      IDHAS Review








No 13 : Silver Sun - Switzerland     IDHAS Review

 

No 14 : Sparks - A Steady Drip, Drip, Drip          IDHAS Review

      

No 15 : Greg Pope - Wishing On A Dark Star    IDHAS Review

No 16 : Mason Summit - Negative Space       IDHAS Review




  



No 17 : The Foreign Films - Ocean Moon     IDHAS Review

No 18 :  Mooner - The Alternate Universe of Love    IDHAS Review

No 19 : Kiwi Jr. - Football Money   IDHAS Review

          

No 20 : Parsonsfield - Happy Hour On The Floor         IDHAS Review

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Parsonsfield - Happy Hour On The Floor

On first listen, I was very confused. Boston's Parsonsfield were purveyors of a jaunty Alt Folk, so what was happening with all these synths and drum machines? I'd heard Till I Die before the album release and it is a cracking song. I just thought that the accompanying beats were an experimental one off.

The album revealed that this wasn't the exception but the rule. As someone who doesn't get that excited about processed sounds and having a particular aversion to drum machines, it took me a while to get into the album, but I'm glad I did. 

Previous followers have to ignore what has gone before and maybe even treat this album as by someone else. This is a fantastic Indie Pop affair and although there may be a few casualties fan wise, far more will come along to see the new building. 

Happy Hour On The Floor is a far more contemplative album, but the songs are splendidly written and the arrangements unusual, but enthralling. Till I Die is still wonderful with its Simon And Garfunkel fragile vocal, but there is much here to equal it. 

River Town is built around a kind of toy piano riff with a killer chorus and Oh My Man has an almost oriental theme and compares to Fleetwood Mac's Tusk era. Emery almost aches, but compare that to the synth pop of Now That You're Gone and they reveal that there's plenty of variety here. 

Reykjavik Connection is great mainstream pop and Paper Floor is a broody opener that threatens to break out but never does. Throughout the album, there is Dream Pop vibe. This isn't music that you can jig to, but you can certainly dance. The album is a brave move that deserves great applause. 

You can listen to and buy the album here.

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