Release Radar: October 2020
At the end of each month, Afterglow presents a staff-picked list of new albums that left an impression on our ears.
Written by Afterglow Staffers
Photos courtesy of Alicia Goku (left) and Damien Maloney (right)
Here are 10 of our favorite albums released during October 2020. For more reviews of recent releases, check out our album review page.
Dusk by mxmtoon
Image courtesy of Kobalt Music Group
Tik-Tok-making, Animal Crossing-playing, and ukulele-strumming mxmtoon has arrived with Dusk, a short 7-track EP that helps cement her musical footprint at the intersection of bedroom and lo-fi pop. Dusk is the musical and literal complement to Dawn, the EP the California artist released earlier this year. At first listen, opening track “bon iver” is reminiscent of mxmtoon’s musical origins — stripped-down vocals and simple ukulele strums. However, the song quickly broadens with a more modern instrumentation and sound. “bon iver” appears to match the modern pop tone that the previous EP Dawn took on, but other songs on Dusk show mxmtoon’s songwriting versatility and exploration of various genres. Songs such as “asking for a friend” and “myrtle ave.” remain rooted in lo-fi, while “first” evokes a more classic bedroom pop feel. “ok on your own” features a notable collaboration with Carly Rae Jepsen, as the two team up to power through the aftermath of a messy relationship with uncomplicated lyrics and simple guitar instrumentation. Overall, Dusk is an incredibly well-constructed effort from mxmtoon that pairs well with the singer’s previous releases — noteworthy achievements for the singer as she positions herself as one of the most innovative musicians and relatable internet icons of the digital age.
— Andrew Zhang
Support mxmtoon on Spotify
Phoenix: Flames Are Dew Upon My Skin by Eartheater
Image courtesy of PAN
It’s cuffing season, and Eartheater (Alexandra Drewchin) knows it. With its operatic flourishes, Phoenix: Flames Are Dew Upon My Skin provides the perfect soundtrack for every sad girl this winter. Drewchin conceived the project during an artist residency in Spain, which inspired her to combine baroque elements with her electronic sound. By pairing classical music with post-apocalyptic themes, the album challenges the idea that the genre is irrelevant. “Airborne Ashes” establishes the album’s solemn tone: a wall of violins accompanies Drewchin as she sings, “The only way out of this is through / Cross my heart and hope to die beyond hope.” Though string arrangements carry much of the production, the record also plays with experimental sounds, such as the woodpecker-like beats in “How to Fight.” The riveting “Below the Clavicle” marries the diverse elements of her sound masterfully, featuring a blend of harps, violins, and guitars. Drewchin has explained that the movement of lava through volcanoes inspired the track’s lyrics, which describe “when the meaning [of a situation] was still below the clavicle and hadn’t made it up to my head yet.” Similar geological motifs are central to the album, as she likens a burgeoning relationship to a volcano full of lava in “Volcano” and calls herself an “uncut diamond” in “Diamond in the Bedrock.” While battling her complicated relationships with others and herself, the singer-songwriter finds strength in the closing track, “Faith Consuming Hope.” “I’ve seen the phoenix rise out of our ashes,” she muses before challenging her declaration from the opening track: “Cross my heart and hope to die is to elope.” By combining sonic ideas from past and present, Drewchin explores the breakup cycle of desperation, acceptance, and renewal in her most realized project yet.
— C.S. Harper
Vibes In Los Angeles by Alicia Goku
Image courtesy of Alicia Goku
California-based rapper Alicia Goku’s latest album, Vibes In Los Angeles, lives up to its title, ‘cause it’s a huge vibe. The songs are short but sweet, with each tune full of catchy hooks and one liners that are perfect for lip-synching in the car or bumping with your girl crew (her crew is actually featured on the album cover). Goku’s talent doesn’t end with clever rap lyricism — she’s also a notable cannabis influencer on Instagram and Twitter. Verses throughout the album capture her love for the plant, heard on songs such as “Smoke Everyday” or “You Need Some Weed.” Perhaps one of the most alluring aspects of the album is Goku’s fearless conviction and unapologetic proclamation of her fierceness as a woman thriving in two subcultures dominated by men. Songs such as “Grown Ass Woman” and “Pay Pig” are anthems for women who don’t take sh-t from anyone and are simply too busy living their best lives to recognize the haters.
— Micaela Garza
Support Alicia Goku on Spotify
Visions of Bodies Being Burned by clipping.
Image courtesy of Sub Pop
Horror movies always get sequels — why not horrorcore hip-hop albums too? Well, the members of clipping. follow up their spine-tingling October 2019 project There Existed an Addiction to Blood with another set of scary stories for 2020’s spooky season: Visions of Bodies Being Burned. Singer-songwriter and actor Daveed Diggs’ incredible technical abilities as a rapper are yet again nearly overshadowed by his equally impressive skill as a storyteller, vividly evoking everything from bloodthirsty slashers in “‘96 Neve Campbell” to pissed-off forest dwelling ghosts in “She Bad,” and every monster in between. Diggs’ unique flows run through increasingly elaborate plots and hopeless scenarios, racking up a huge body count of characters who never stood a chance. The vocals alone could send listeners into paranoia, but the experience isn’t complete without the prowess of clipping.’s production duo Jonathan Snipes and William Hutson. Whether they root their beats for a track in harsh noise, trap bangers, or EDM, the production is always visceral, atmospheric, and anxiety-inducing. Wonderfully executed samples, such as squeaky gates, terrified gasps, and killers banging on doors, pay homage to old horror movies. The sounds fit seamlessly into manic percussion, thunderous drums, and ominous bass, which help the instrumentals do some of the scaring all on their own. Diggs’ bars and Snipes and Hutson’s production are elevating each other better than ever before for clipping. — and that spells trouble in more ways than one.
— Adithya Srinivas
Moon Piano by Laaraji
Image courtesy of All Saints
American multi-instrumentalist Laraaji’s prowess on the piano is undeniable. His fingers roll across the keys with a confident ease, bringing to life the musical ideas that his most recent album Moon Piano offers. A strictly piano-based record, Laraaji plays for 38 easygoing minutes. His hands wander up and down the ivory keys, bringing a sweetness to his playing that allows the music to transcend from a lullaby into a more conceptual project. Production is minimal, but noticeable. The piano is almost chilly, recorded in a way that creates a cool atmosphere as its notes reverberate and echo. While direct storytelling in the album is limited, his music illustrates the emotion behind the notes. “Bathed in a Glow” feels comforting, gentle, and luminescent. “Stillness” feels like a gentle breeze as blades of grass tickle ankles. And “Trance Gaze,” in both of its parts, seems to lock the listener in with a hypnotic fixation. In his latest project, Laraaji proves that storytelling can transcend verbiage. With only 88 keys before him, Laraaji creates worlds, legends, and dynasties. Laraaji proves that a single instrument can strike the same chord as a band of musicians.
— Felix Kalvesmaki
Support Laraaji on Spotify
Sen Morimoto by Sen Morimoto
Image courtesy of Sooper Records
Since his 2018 debut Cannonball!, fans have been hungrily waiting for more from lo-fi-jazz mastermind Sen Morimoto. This month, the 88rising affiliate blessed the music world with not one, but two projects filled with woozy jazz-rap gems. His bigger release, sophomore album Sen Morimoto, starts off strong with the dreamlike “Love, Money Pt. 2.” In typical Morimoto fashion, his whispery flow caresses the bright saxophones as he sings the infectious chorus, “Love, what’s that mean to you? / Money, what’s that mean to you?” Many songs on the record bring a psychedelic twist to the multi-instrumentalist’s sound, as heard in the twangy guitars and wobbly keys in “Woof” and the hazy vocals in “Butterflies.” In “The Box,” guest rapper Joseph Chilliams adds fun pop culture references to Morimoto’s more contemplative lyrics: “I never hold two chains up like Luda’ / Tell me I’m the man of your dreams like Freddy Kruger.” The record also features some of the singer-songwriter’s strongest vocal performances, as he diverges from his usual soft purrs and opts for belting the first lines of “Wrecked.” Despite his experimentation in the album, the tracks never lose his signature playful, quirky touch. Apart from sonic embellishments like the video game-sounding synths in “Symbols, Tokens” and “Nothing Isn’t Very Cool,” he also injects his zany appeal into his lyrics. In the closing track, “Jupiter,” he ruminates about aging with a planetary metaphor: “Every boy I know went to Jupiter.” The Chicago jazz-rap darling outdoes himself with this record, experimenting uncharted sonic territory in his discography. By flexing his musical dynamism, Sen Morimoto creates a memorable collection of offbeat but oddly calming tracks.
— C.S. Harper
Snapshot by Juanita Stein
Image courtesy of Nude Music
Australian singer and guitarist Juanita Stein may be best known for her affiliation with the Howling Bells. On her own, she makes sun-beat indie rock fitting for a cruise through California. According to an interview with American Songwriter, Stein wrote and demoed all of the songs herself, finishing the record with a producer. When speaking on her inspiration for the project, Stein cited her father who passed in 2019; the album bleeds with memory and reverence for him. Title track “Snapshot” refers to how Stein had more than photos to remember her father by, she had, “all his music and his poetry and that’s what the song is referencing,” Stein said in the interview. But it’s more than a snapshot of her father — the snapshot is also of Stein herself. It’s about a daughter grieving her father, how a human being survives the significant loss of a person integral to the way they see the world. Snapshot is a record of grief in every sense of the word, but with it comes the power to overcome the hardest struggle our lives will face us with.
— Felix Kalvesmaki
Support Juanita Stein on Spotify
Someone New by Helena Deland
Image courtesy of Luminello Recordings
Following the success of her 2018 track “Claudion” and recent collaboration with hip-hop star JPEGMAFIA, Helena Deland’s debut full-length record was highly anticipated. Her latest release Someone New brings the soft-spoken, lo-fi indie pop and indie folk that defined the Canadian’s series of Altogether Unaccompanied EPs which put her on the map — this time backed by much more full-bodied production. Mellow, downbeat, yet groovy guitars and bass lines drive the majority of this album, usually layered over equally lowkey kick drums and snares. While the formula is simple, Deland’s songwriting shines to make each track uniquely fun, especially through highlight cuts “Comfort, Edge” and lead single “Lylz.” Her lyrics are rife with emotion and vulnerability, ranging from discussions of gender to grappling with the concept of time itself, enough to leave any listener’s head swirling within their own thoughts. The project demonstrates Deland’s consistently stellar vocal performances, with her instantly recognizable, nearly-whispered voice demonstrating remarkable control and range from beginning to end. Don’t dismiss this album as ‘just another indie pop’ project — it’s indie pop perfected.
— Adithya Srinivas
B-Sides and Rarities by Sen Morimoto
Image courtesy of Kyle Nielsen
Sen Morimoto’s quieter release this month injects an experimental flair to his jazzy sound. Opening track “My First Ghost” evokes the supernatural, with glitchy synths and eerie vocalizations. In “Where The Blues Go," a colorful ensemble of drums, saxophones, and xylophones accompany Morimoto as he mumbles over a lo-fi beat. Despite these vibrant instances in the album’s production, most of its songs take a minimalist approach. Compared to Morimoto’s other releases, this record sounds more like a compilation of demos — but not necessarily in a negative sense. The record’s elementary instrumentation enhances the dreamlike serenity of his music, highlighting his velvety vocals and hypnotic flow in tracks like “The Fool.” As a self-released album, B-Sides and Rarities offers Morimoto more room for creative freedoms without the usual pressure from a label. The instrumental track “Music for Physical Therapy” explores different sonic textures, switching between funky and dreamy moods. In “U.Y.U.,” Morimoto plays with vocal layering and pitching to create a cosmic effect. He even goes avant-garde with his impression of God in “Of God”: a brief interlude of heavenly synth arpeggios. Though it might not accomplish much in terms of influence and musical innovation, this record gives listeners a glimpse into the Chicago musician’s work at his most raw, wandering beyond the typical boundaries of his music. B-Sides and Rarities is the ‘lofi beats to study/relax to’ project of Morimoto’s discography in a good way — it’s the perfect album to space out to.
— C.S. Harper
Agüita by Gabriel Garzón-Montano
Photo courtesy of Stones Throw
Three years after his last full-length project, Brooklyn native Gabriel Garzón-Montano returns to the music scene with his most diverse and highly experimental project to date. Teasing the album with his beguiling COLORS performance, Garzón-Montano is simultaneously coy and flirtatious, offering a small taste of his range in Agüita. If the R&B singer’s raspy falsetto sounds familiar, that’s because it is. In his 2015 mixtape If You’re Reading This It’s Too Late, Canadian rapper Drake sampled Garzón-Montano’s vocals from his 2014 EP opener, “6 8.” Six years later, the same haunting crooning can be heard on his latest project. Opening track “Tombs” begins with a rhythmic, three-key piano note, ascending in pitch as harrowing violin stringing precedes his whispery voice: “Hiding under plastic sheets / I ask you, ‘Baby, are you down with me?’” The song’s somber tone lightens, as angelic string arrangements and electric guitar riffs complement Garzón-Montano’s silky runs: “Why awaken from a gorgeous dream? / Tombs are rather comfortable / They met our needs / They do as we please.” The opener’s eerie and hypnotic ambiance transitions into a more upbeat rhythm, mixing jazzy percussion with playful harp plucking. “Muñeca” completely changes the album’s direction. Riddim and dembow in this reggaeton track set the tone for the rest of the unpredictable, genre-jumping project. Tracks “Fields,” “Moonless,” and “Bloom” highlight the artist’s incredible vocal range, featuring breathy, tenor singing with balladic styles and lowkey production. Completely contrasting the subtlety of these songs, Garzón-Montano comes at listeners with full force on tracks “Mira My Look” and “Agüita,” aiming for a more trap rap and reggaeton fusion, with the titular song’s beat reminiscent of Young Money’s horn arrangement in “Trophies.” Seemingly simple in title, Agüita is anything but; starting as a trickle, Garzón-Montano’s latest project cascades over listeners with intense genre exploration.
— Samantha Paradiso