How does one introduce a best of list after a year like this, in way that doesn’t seem trite or corny? You don’t overdo it. Here are the top 50 records of 2020, handpicked by our current staff. We hope you enjoy and find something new.

50) Purity Ring – Womb

Purity Ring is one of those artists that released a debut album so instantly iconic that any follow up is inevitably going to pale in comparison, through no fault of their own. While Another Eternity had a bright, dreamlike quality, Womb is a return to the creepy, childlike compositions of Shrines. The music video for “Stardew” made me feel some kind of way, that I wasn’t sure if I enjoyed. However, it sticks with me. And that’s a good thing. Full album review here. –Ryan Getz

49) Broadside – Into the Raging Sea

Into The Raging Sea by Broadside is a rollercoaster of sentiments. The album takes time to burst into character, but when it does it releases a rush, a highly evocative tide of meaning. It is a significant record for the Richmond band and is their 3^rd release, a release that helps them mix with the big bands in a scene forever changing. Songs such as the rousing “Foolish Believer” and the soft crescendo “Burning At Both Ends,” make Into The Raging Sea a diverse compendium and one that marks them down as true contenders. [Editor’s note: full album review by Ray Cobra here] –Mark McConville

48) Lennon Stella – Three. Two. One.

Though she had very successful singles prior to this release, this album really established Lennon’s true departure from her innocent beginnings on Nashville. Her lyrical prowess shines particularly in “Much Too Much” and “Fear Of Being Alone,” and she carries on the current pop tradition of vocals that feel like whispers in your ear paired with production that is dynamic and clean as a whistle. The seamless transition to (year) “I Love You Always Forever” in “Save Us” is also just so satisfying and nostalgic.  -Monica Moser

47) Picturesque – Do You Feel O.K.?

Picturesque’s Do You Feel O.K experiments a bit between genres on this album; with hit songs such as “Pray” and “O.K” the band continues their post-hardcore efforts while also incorporating some new styles giving them a different edge than previously heard before. I’m very interested to see what they do next based off the album as a whole, with the last half of the album being my favorite personally. –Savannah Lee Rowley

46) Halsey – MANIC

Halsey’s MANIC took listeners on a rollercoaster of emotions from one song to the next as the singer takes on a variety of genres throughout the album. With hits such as “Without Me” and “You Should Be Sad,” it’s no wonder this album makes our top list for the year as she dominated the charts with heartbreak anthems. -Savannah Lee Rowley

45) Bring Me the Horizon – Post Human: Survival Horror

Bring Me The Horizon’s latest EP Post Human: Survival Horror is in my opinion, one of the best of the year for sure. The band have been known to experiment with different genres for the last few years, stepping away from their metal-core title while introducing more EDM into the mix than we heard from their last EP Music You Can Listen To…. From front to back, the album flows perfectly together with features from Yungblud on “Obey” and “The Butterflies in Your Chest” with Amy Lee from Evanescence.  –Savannah Lee Rowley

44) Vita and the Woolf – Anna Ohio

I’ve been keeping a close eye on Vita and the Woolf ever since I first discovered the group on Audiotree. This time around, things are less arena-rock and more synth pop, but that’s certainly not a bad thing. In fact, Anna Ohio feels consistently stronger than its predecessor, taking the best parts of the band’s sound and mixing in bigger chorus, tighter drums, and wilder dynamics. Thematically, it speaks deeply into the identity crisis of disillusionment—that moment when you realize authority figures sold you a bill of goods when it comes to how life might play out. But this is far from a dark record; instead, it feels like dancing in the rain. If you’re looking for an album that’s a bit different than others in this list, this is worth a fair listen. Full album review here. –Casey Gallenberger

43) Golden Vessel – Colt

Golden Vessel, AKA Max Byrne, songwriter/producer from Brisbane, Australia, has finally put out a full-length album. The reviews are in: cohesive, buttery, sensible. Albeit, I can’t say the album is perfect, considering what we were expecting from his previous releases. “That’s Us” stands out as a notably vibey track, as it bops through carefully composed melodies and jammy drum flavors. -Taylor Odishaw-Dyck

42) Bury Tomorrow – Cannibal

Bury Tomorrow lashes the scene with technical guitar trickery and screaming tension on their record Cannibal. Worthy of everlasting praise, the record is a successor to their wildly successful Black Flame LP. Not only does it pound the page with provocative lyricism, but it attacks the musical senses. From the start to its loud swansong, the record maximizes the sound, a sound multi-layered. This is metal in a rousing state. –Mark McConville

41) Haim – Women in Music Pt. III

Women in Music Pt. III is LA pop rock at its finest. HAIM took more experimental liberties with this record and it paid off. Each song is unique, fun, dark and personal. I love music where the production and instrumentation is antithetical to the subject matter, which is particularly well executed in “I Know Alone.” “Gasoline” feels like a grittier callback to the melodic and vocal choices of Sheryl Crow, and “3am” has an infectious groove with R&B and funk influences. *chef’s kiss* –Monica Moser

40) Thao & The Get Down Stay Down – Temple

Thao Nguyen, after a stint hosting the popular Song Exploder podcast, returned to the studio for an inspired and emotionally vast album inspired by her marriage and the cultural difficulties of coming out to her Vietnamese family. From the fiery opener “Phenom” to the loving, lilting electronics of “Marrow,” Nguyen moves with a fearless intent through her kaleidoscopic art pop. –Cameron Carr

39) Brave Days – Work In Progress

This year has been full of surprises in so many ways. Musically, Brave Days was one of those surprises for me. The pop-punk genre can be a bit “iffy” as some acts tend to be either too punk or too pop. However, Brave Days presents a perfect blend of pop-punk goodness with thought provoking lyrics. Full album review here. –Phil Hawkins

38) Bearcubs – Early Hours

Bearcubs is the alias of Berlin-based producer Jack Ritchie, who rolled out his longest release to date: a sizzling 10-track LP Early Hours. The single “Overthinking” dazzles with its steel drum samples, possessing a tropical island energy when combined with the symbiotic tribal drumming. Don’t be surprised if you feel like you’re listened to James Blake B-sides when you put on Bearcubs; his vocal delivery and production style are severely reminiscent of the R&B JB. –Taylor Odishaw-Dyck

37) Emily A. Sprague – Hill, Flower, Fog

Recorded and released early in the pandemic when much of the U.S. remained under stay at home orders, Hill, Flower, Fog opens up to soothing and cleansing the anxiety that clouded, and continues to cloud, many. This ambient solo excursion from the bedroom folk Sprague usually makes as Florist could easily soundtrack a Hayao Miyazaki scene: dark, heavy green ground giving way to little floating characters of light, like flowers amidst the fog. -Cameron Carr

36) Weathered – Everything All At Once

Emo music is in a good place. Minneapolis band Weathered take it by the scruff of its neck, implementing their hooks and wonderful lyrics. Everything All At Once is a great instrumental album too, as the band plays distinctively. Their sound is a sad assessment of life, but this record is an all-rounder, one that has placed Weathered into the limelight. Songs such as “Chasing Me” and “Dark Joy” strike gold on this varied LP. -Mark McConville

In all honesty, I didn’t care for Weathered or their previous album. However, with the release of Everything All at Once, I am starting to change my tune. There is a lot of maturity in the songwriting, and the musicianship is on point. “Quick Tempered” is easily one of my top 3 songs for the year. Had this released earlier in the year, it may have been much higher on my list. It’s simply that good. Glad I gave them a second chance. -Phil Hawkins

35) Public Practice – Gentle Grip

Public Practice’s debut full-length makes post-punk as seen through disco lenses. The bass and drums lead the show with round, bouncing grooves but the lights stay dimmed and the experimental sounds of New York’s punk underground are happy to make their way onto the dancefloor. –Cameron Carr

34) Conan Gray – Kid Crow

I still can’t stop listening to this album. The production is infectious, and the lyrics are conversationally relatable. I think what I love most about Kid Krow is how tangibly youthful it is. Conan is the embodiment of the Gen Z sound, and I love how emotional his voice is—it’s intimate and playful and each song is an anecdote of navigating identity, relationships, and growing up.  -Monica Moser

33) RIZ LA VIE – Feed

RIZ LA VIE is a solo artist from New Jersey who has been releasing five-track EP’s since 2017, and is popping off after his 2020 release, Feed. “Nighttime in Atlanta” is an exceptional piece of art, composed in a Mac Miller type of vocal approach, RIZ moves through smooth instrumental production (guitars, trap drums, simple sub-bass) with captivating lyrics.  -Taylor Odishaw-Dyck

32) The Lawrence Arms – Skeleton Coast

Legendary band The Lawrence Arms naturally play their sound harshly on their LP Skeleton Coast. Although still guitar driven, it shows the band’s adept lyricism. On this album, stories are told, fables are burnt. It is one of their most complete albums to date, and this act has released a barrel load of songs over the years. It is truly The Lawrence Arms, and they’re a great punk band, period. -Mark McConville

31) Trulah – Prologue

This was another incredible find, and it’s one my friends haven’t certainly enjoyed as well. I’ve always been partial to jazzier vocals, and Trulah truly shines in this respect. Her backing band provides infectious horn hooks and tight grooves to help tie the tracks together. Her message is just as compelling, too—I’ve enjoyed reading notes behind the tracks on her website and seeing the thought process at work here. Trulah is certainly an overlooked artist, not just in the Christian realm, but the music world at large. She certainly holds her own against Adele or Lauren Daigle. Finish it off with top-notch lyrics, solid theology, and a heart for missions and Trulah is the kind of artist any Christian music connoisseur would enjoy. Full album review here. –Casey Gallenberger

30) Miley Cyrus – Plastic Hearts

Miley Cyrus latest album Plastic Hearts takes on a whole new sound compared to her previous works as she dives into this rock era, which I honestly believe is the perfect sound for her. Going from losing everything to finding herself again, this album is amazing from front to back and flows together perfectly with standout tracks being “Midnight Sky” and “Prisoner.” Full album review here. –Savannah Lee Rowley

29) Starflyer 59 – Miami

 I’ve been a fan of SF59 for a very long time and have yet to be disappointed by anything they have released. Their consistency is almost unparalleled (in my opinion). Miami is no different. It is beautifully crafted and a great follow up EP to last year’s Young in My Head. Despite how it may sound lyrically, I feel it shows no signs of Jason Martin and company slowing down. –Phil Hawkins

28) Vagabonds – Liminal Space

Probably my biggest musical surprise of the year was Vagabonds. With the release of Liminal Space they have become the band I tell everyone they need to check out. With strong elements that are reminiscent of Peter Gabriel (one of my personal favorites), Vagabonds truly stands out. Be sure to check out their latest standalone single “Colder Months” that just released. Full album review here. -Phil Hawkins

27) InMe – Jumpstart Hope

Essex band InMe has been around for many years tweaking their sound. The band, led by the gloriously talented Dave McPherson, proudly present their album Jumpstart Hope. As a record, it develops and the guitars tune well with those hard-hitting words. Over the years the band has aided the scene they find themselves in, and they’ve become catalysts. Jumpstart Hope is an underground album, there’s no doubting that, but one that many should listen to. It has scope and diversity in abundance. –Mark McConville 

26) Dominic Fike – What Could Possibly Go Wrong?

Dominic Fike is a Florida born-and-raised solo artist who is taking California by storm with his debut full-length album, What Could Possibly Go Wrong? after an alleged bidding war to secure his signature on a record deal. Columbia Records prevailed; the result? A solid, sound piece of art. Fike has admitted he didn’t have the time to perfect every track, but that he enjoyed the whole process and hopes he has put his best foot forward. –Taylor Odishaw-Dyck

25) Wrest – A World That Has Left You Unspoken

This is an emotive record. An EP boundless in creativity and sincerity, and it’s all from a Scottish act from Edinburgh, which can stake their claim as a band to watch with fixated eyes. Their new EP, A World That Has Left You Unspoken, has the power to change perceptions. Not only does it sound remarkable, but it is lyrically imaginative, pushing the boundaries of poetry and stellar songwriting. Frontman Stewart Douglas sings with elegance and then pushes his voice wholeheartedly and elevates it when he needs to. On this EP the band play out, securing their place as an outfit which can offer something new and experimental. Full album review here. -Mark McConville

24) Cloud Caverns – A Banner Year

I’ve been following Brandon since the latter days of Hotel of the Laughing Tree, and it’s been exciting to see him churn out release after release largely on his own. A Banner Year is truly his magnum opus to date, mixing a lot of the personal narrative found on Collective Memory with instrumental influence of Holy Gloom and the grit of Rivers Old and Lost. The end result doesn’t sound too much like any of these, though. It is far grander in its aspirations, sometimes opting for vast, looming arrangements that would have you forget this was largely a solo release. This is certainly a sleeper hit, so be sure to check it out; just maybe, the algorithms will hear our voices and help spread the word on our behalf. Full album review here. –Casey Gallenberger

23) Peel Dream Magazine – Agitprop Arena

This Brooklyn group bears eerie resemblance to both My Bloody Valentine and Stereolab, a mix of pummeling sound and intricate complexity that would seem barely compatible but becomes so obvious here. Peel Dream Magazine has capitalized on the swirling textures of both groups to make an album ripe with fuzzy guitars and lush organ sounds. –Cameron Carr

22) Former Ruins – Large Startling

This was a choice find for me, courtesy of Spotify recommendations. It’s also one that stands out particularly well in terms of its commentary on deconstruction and reconstruction of faith; it’s about perseverance in hope when no other fount will satisfy us. This is a lyric-rich release strewn with all sorts of gems and nuances (so much so that there’s an annotated booklet to break things down), and it’s certainly one fans of subtle wordplay will appreciate. “Post-cynical” is an appropriate description for this project—approaching topics of the Christian faith with humility, gentleness, and truth all the same time. Levi’s baritone is refreshing and earthy, reminiscent of The National. –Casey Gallenberger

21) Pablo Nouvelle – Obsolete

Pablo Nouvelle is a Swiss-based producer who composes instrumental sentient, club bangers, and his 2020 release Obsolete is no different. Track 5, “The Kármán Line” carries with it a vibe almost perfect for Schick Quattro commercials, and yet it goes to another level of intensity at the drops. An arpeggiated wobble synth unravels from an auto filter and exposes an invigorating parting of the seas at the breakdown. –Taylor Odishaw-Dyck

20) Neck Deep – All Distortions Are Intentional

Neck Deep has grown into a pop punk juggernaut. Since their start, the act has shared and showed their talents wholeheartedly. All Distortions Are Intentional is their landmark album, one that has been engineered professionally. It has that lyrical bite; it has that golden pop punk sound. Opening track “Sonderland” is one of the band’s most intelligent and diverse songs they’ve ever created. Delve in for your pop punk needs. –Mark McConville

19) Glowbug – Vampire Empire

Every now and then, an album comes along that makes me appreciate music in a new way. Moving Mountains helped me enjoy folk. Frontier Ruckus made me realize banjo can be used in more than just bluegrass. And Glowbug made me realize that chillwave, saxophone, and steel drums can all work well together. This is a release that is undeniably hard to classify, but rather than opt for some pretentious subgenre, Glowbug is best embraced for its esoteric nature. Even from early in the year, I had a feeling this release would be my favorite release this year due to how it successfully experiments with a cocktail of genres into something truly captivating. It’s equal parts summer soundtrack, equal parts music commentator’s heaven—basically, you’ll enjoy it as a casual listener, but there’s a lot to love here. -Casey Gallenberger

18) Bonelang – Saintmaker

Bonelang is one our list for the second year in a row, with their distinct meshing of hip hop, rock, and dream pop, with some psychedelic tendencies. Saintmaker is a concept album, fleshed out in a myriad of visuals. There’s a cinematic trilogy, a viral YouTube video, and a silly animation of thumbs. This band is here to give you “front row seats to the end of the world.” Full album review here. –Ryan Getz

17) Waxahatchee – Saint Cloud

After getting sober and reassessing, Waxahatchee’s Katie Crutchfield settled the lo-fi aesthetics and late night basement show vibes of her past releases in the twang of her Alabama home without losing any of the heart-wrenching vulnerability that makes her songwriting so special. The resulting album is full of empowered, enchanting anthems rooted in Crutchfield’s acoustic guitar but pulsing and shimmering with her new, Americana-inflected band. –Cameron Carr

16) Braille Face – Content

Braille Face is the solo project of Melbourne product Jordan Edmond White. In his 2020 EP Content, he tackles some heavy subjects, including mental health and medication, and navigates these tempestuous waters delicately. His vocal delivery on “Carryon” truly gives me chills, heavy-laden with delay and over-dubs, White captures his listeners with a sure sense of elevated escapism. –Taylor Odishaw-Dyck

15) Tired Radio – Patterns

This is punk. Tired Radio came out of nowhere and has blessed the punk scene with Patterns. It’s a short album, a quick plunge into dark territories, but it’s a wonderful record. The riffs are pleasing; the lyrics tell us stories. They’re an underground act nipping at the skin of the summit of punk rock, and it’s great to see a band develop. If you’re into sad songs with rousing instrumentals, then Patterns is for you. –Mark McConville

14) The Bascinets – Social Music

This under-the-radar gem from Chicago indie rockers The Bascinets recalls the jangly indie pop heyday of C86, Flying Nun, or Sarah Records—it bears just as much similarity to more recent proponents of wiry and dreamy guitars like Beach Fossils, Real Estate, or Alvvays. It doesn’t hurt that vocalist/guitarist Nick Wellman has a wry, apathetic baritone perfect for delivering Pavement-like wit: “aren’t you tired of waiting on something to change in yourself? Hello, so is everybody else” (Torture). Full album review here. –Cameron Carr

13) Dua Lipa – Future Nostalgia

While Taylor Swift is ruling the pop consciousness with her indie direction (and double album) at the moment, undoubtedly the pop runner up of 2020 was Dua Lipa, who released Future Nostalgia early on in quarantine. It has all the ingredients of an essential pop album, and it tugs at yours truly’s heartstrings with sound that draws from the title. Plus, she just released a wildly popular NPR Tiny Desk (at home) session. Full review here. -Ryan Getz

12) The Midnight – Monsters

Electronic, but addictive. This duo balance subtle vocals with diverse trance like vibes. It’s different and conceptual, but highly pleasing. Monsters is their LP of truth, desire, and competence. -Mark McConville

There are so many reasons I love this band’s sound that it’s hard for me to know where to start. I’ll say that it’s a really fun album to sit back and soak up. There’s something oddly wholesome about Monsters. This band is one of many reasons a band fan group I’m in has nicknamed me “Vaporwave Bloke.” –Ryan Getz

Full album review by Ryan Getz here.

11) Joy Oladokun – in defense of my own happiness (vol. 1)

I’m at a loss of words for this album. Joy Oladokun is the artist of the year in my opinion: capturing helpless heartache with “Who Do I Turn To?,” the in-transit opener embodying the slog of the everyday “smoke,” the Peter Gabriel-reminiscent ballad “lost” and more. Her singles all year were the broken, beating heart of our country’s struggle and resilience in 2020. 

You can also read my full gush about this album here. -Monica Moser

10) Tigerwine – Nothing Is For You

Tigerwine is one of those bands that I had heard about repeatedly but had never paid much attention to. The release of Nothing is for You on Tooth & Nail Records really caught my attention as I’m a fan of the label. I am disappointed in myself for not taking the time for Tigerwine sooner. They could easily be classified in with bands such as My Epic and Valleyheart, but they still carry a unique sound to where they are not a copy of anyone else. Nothing is for You kind of slipped under the radar for most when it released not too long after everything got shut down. This is the one album that I am really looking forward to seeing translated in a live setting. [Editor’s note: full review by Ryan Getz here] –Phil Hawkins

9) Everything In Slow Motion – Influence

I’m in the minority. Laid Low was my favorite release up until this point, and I was hesitant for this album as a return to the band’s debut album. That surprisingly was not the case, and it’s a softer, more alternative listening experience. With that said, I’ve really struggled with this album on a lyrical level. The problems at spiritual themes of earlier works. I miss the startling and captivating truths. I miss the “say what you mean” nature of songs like “Bad Season.” I liked this album far more than I was expecting, but the lyrical hurdles are hard to move past. –Casey Gallenberger

This has been my most anticipated album for almost 2 years as there had been whispers of new material coming soon. Influence, while not what one would expect from EISM, still hits hard and continues to resound months after release. While the “screaming” seems to take more of a backseat there is no denying the passion in Shane’s voice as he takes a bit of a more melodic approach this time around. The craftsmanship of both the music and lyrics stands out as I can feel myself completely immersed with each listen. “Choke” is my favorite song of the year, as it creates an ethereal atmosphere from start to finish. -Phil Hawkins

8) Tame Impala – The Slow Rush

On Kevin Parker’s fourth album under the Tame Impala moniker, the psych-pop extraordinaire delves further into the electronic and R&B influences he’s made use of on an ever-increasing bill of pop collaborations. There’s still plenty of woozy psychedelia and festival-sized alt-rock (“Lost In Yesterday” rivals any previous Tame Impala hits), but there’s more breadth in the sonic experimentations Parker offers. –Cameron Carr

7) Fleet Foxes – Shore

Fleet Foxes showcase their lyrical brilliance on Shore. They’re an indie band with textural music flying high. Shore balances great songwriting and tight instrumentals. It is one of those records that evokes memories and excels as a hopeful embrace. This band doesn’t need any introduction as they’ve been flying the indie flag for a while. –Mark McConville

6) Phoebe Bridgers – Punisher

Basically, there’s a reason for every kind of music listener to appreciate Punisher. Like sad music in general? Punisher. Like dark atmospheric music? Punisher. Enjoy heartfelt bare bones songwriting? Punisher. Like sad music that’s also kinda catchy? Punisher. Like creative quarantine albums? Punisher. Get it? Full album review here. –Ryan Getz

5) NEEDTOBREATHE – Out of Body

The heartbreaking announcement of the departure of Bo Rinehart earlier in the year was combated with the release of my favorite album from NEEDTOBREATHE since college. This album brought me a much needed comfort at a point in the year where it really started to feel like… will this pandemic ever be over? 

NEEDTOBREATHE never fails to emote in their music the kind of optimism that is real, impassioned but never once flirts with denial or artifice, and the title track is a perfect representation of the kind of love that is the very antithesis of ownership. [Editor’s note: full album review by Ryan Getz here] -Monica Moser

4) American Arson – A Line In the Sand

This is one band I’ve been following from the start, and there are a lot of personal moments mixed in: seeing them play in a mostly-unattentive Milwaukee bar and spontaneously running merch, catching this at Oasis in Illinois, listening to “Clear Eyes, Full Hearts, Still Lost” in the middle of the night on release and being devastated by the lyrics. The list goes on, but in short the band’s longevity has paralleled my own changing life.
Fans have been asking for a full album for a while. The four biographical EPs seemed to have summed up the wounds and subsequent healing, This time around, the perspective has shifted—the lyrics are still forward and hard-hitting, but the themes are even bigger in scale. Personal angst has retreated in favor of universal ache. Musically, it’s the most polished and heaviest release from the band to date. Arguably, it’s also the catchiest. There are plenty of highlight tracks here, and while a small few feel a bit rushed, it’s a solid release that sees the band at their best. Let’s hope touring resumes soon so we can catch these songs live. – Casey Gallenberger

3) Taylor Swift – folklore

Taylor finally secured the very coveted, sought-after #1 spot on my (Monica’s) top albums of the year list. She must be so excited! I love supporting rising indie artists. 

This album was not only the perfect album to release mid-way through an isolated year but the perfect album to release at this point in her career. I’ve loved her transformation into pop, but this took us back to what she’s best at: writing darn good songs in this comforting crux between realism and whimsy. 

To read my full-on gush about this album you can read my review of folklore here. -Monica Moser

2) The Weeknd – After Hours

The Weeknd’s fifth album After Hours took over the charts during the beginning of the pandemic, releasing the album against management’s original wishes, with popular hits such as “Blinding Lights” and “In Your Eyes.” The album has broke several global records throughout the year and definitely deserves a top album of the year spot. It’s personally been one of my most played albums of the year, and one I could never see myself getting tired of it. [Editor’s note: full review by Ryan Getz here] –Savannah Lee Rowley

1) Dens – Taming Tongues

I had a chance to hear Dens’ latest record right on release; a day later, I caught them at Facedown Fest to hear it live. This was nearly the last show I attended (I’ve seen a few cover bands), but it was certainly notable.
Admittedly, I haven’t played this album as much as I’d like to admit. My response is certainly a positive one, but I’ve found myself drifting further from rock as a whole lately, even though some of my other album picks here may imply otherwise. Even so, this is an album of substance over style. It’s an intricate concept album with a focus on the power of words. Its necessity is only amplified by the events that followed its release. In an age where the competing powers of social media soap boxes and government-endorsed censorship both run amok, it’s good to be centered on truth.
Musically, it’s the band’s most thorough work to date and sees them toying with hardcore and post-rock elements. The variety here certainly may result in some songs standing out more to specific listeners, but rest assured the album works well as a whole. [Editor’s note: Full album review by Ryan Getz here.] –Casey Gallenberger