Editor's Pick: The best music of April 2020

April has passed and yet another fantastic month in music goes by. As such my headphones are now one with my anatomy (not useful for showering I must admit). But with slews of talent being thrust into my eardrums on the daily, what stood out? Well, in no particular order, let’s see…

The Strokes – The New Abnormal

The New Abnormal marks my first – and rather belated – venture into the historically rocky discography of US rockers The Strokes. With only the whispers of the band’s volatile standards and Jean-Michel Basquiat’s frenetic album art at hand, I hadn’t much in the way of expectations; essentially, I’d either love it or want to burn it. Fortunately, my lighter fluid remains untouched as The New Abnormal has rapidly grown on me like a surprisingly charming pimple (I’m awful at compliments), a simple affair culminating the joyful glamour of typical indie rock (Brooklyn Bridge to Chorus/Eternal Summer) and disconsolate ballads elevated by Julian Casablancas’ salient melodies. A good first impression to say the least.

Favourite Tracks: The Adults Are Talking, Eternal Summer, Not The Same Anymore, Ode To The Mets.

Rating: 8/10

Rina Sawayama – Sawayama

A pop record? Really? You okay Alex?

Not to fear, I’m still in safe keeping of all my marbles, but I will admit that listening to something that isn’t fixated on the ‘day in the life of Satan’ took some adapting to. It’s a truly fantastic debut from Japanese-British songwriter Rina Sawayama, a melting pot of genres in which the guises of pop, latin, arena rock and metal (yep) collide in holy matrimony upon which Rina delivers masterful displays of vocal control and precision. Some numbers may border on the sickly-sweet but these are ephemeral moments that’re soon forgiven upon the arrival of another streak of ingenuity; be it through provoking lyricism or another powerhouse chorus.

Favourite Tracks: Dynasty, XS, STFU, Chosen Family

Rating: 7.5/10

Psychonaut – Unfold the Godman

It’s something that must be heard to be believed. Breathtaking in its unapologetic ambition, capricious to its core and awe-inspiring in its power to evoke emotion; Unfold the Godman transcends your average listening experience. With nine tracks and at just over an hour in length there is a lot to digest here, far more so than this short review could ever do service for, with a dense, ever-shifting soundscape that employs soaring synthesisers, saxophones, throat-singing and haunting choir passages to flourish this atypical, existential post-metal odyssey.

I haven’t quite handed it the crown yet but ‘album of the year’ does seem likely for UTG, as besides the odd production gripe here and there (there are a few instances where percussion feels a little lost) my complaints are minimal. Those not well-versed with prog and metal will understandably give this one far more than 2m of social distancing whereas I will be going to Belgium to give Psychonaut a massive hug; sorry Boris.

Favourite Tracks: All of them?

Rating: 9/10

Drain – California Cursed

From the elaborate and extensive to the short and savage, California Cursed is a malicious morsel of an LP – at just over 20 minutes long – that flew the flag for hardcore-heads this April and took few prisoners in doing so. Aside from the minute long interlude, Hollister Daydreamer, providing well-needed respite, California Cursed is a true battery of the senses from end-to-end; a sort of HIIT session but with guitars and a few explosions. Short it may be, but Drain has evidently honed their craft for forging earworm riffs, cramming more memorable melodies and songwriting motifs in 22-minutes than most modern metal bands can in 50; “less is more” I believe the saying goes.

Favourite Tracks: Feel the Pressure, Hyper Vigilance, Army of One.

Rating: 8/10

Trivium – What the Dead Men Say

Having already given WTDMS almost 1,000 words of praise here, I’m going to avoid repeating myself and instead highlight what time has allowed me to discover. In the full packaged review, I ashamedly neglected to mention the record’s backbone; that being Paolo Gregoletto’s bass. Not only shining in tone with a thick, meaty twang but Gregoletto is just one of many imperative cogs layering the album’s soundscape with thunderous rumble. With time, what I knew were catchy choruses have grown infectiously so, making WTDMS one of 2020’s most accessible metal records. I’d still recommend approaching with your hard hat on but it would be criminal to deprive yourself of such dutiful musicianship; go on, treat yourself.

Favourite Tracks: Catastrophist, The Defiant, What The Dead Men Say, Amongst The Shadows And The Stones

Rating: 8.5/10

Honourable Mentions