Top 50 Albums of 2020

And here we have the second list.

The lockdown provided an excuse to be listening and exploring more music. There were many individual narratives (both organic and manufactured) that persisted this year: the post-humous albums for Mac Miller, Pop Smoke, Juice WRLD, and Chester Benington, the resurgence of disco collectively in pop, and country coming back in a big way with the most commercial success it’s seen in years but also a ton of great albums from the indie set. We also saw a ton of success both critically and commercially for international acts: from reggaeton superstars like Bad Bunny and ROSALIA, to K-Pop crossing over to English, to a handful of Japanese acts so garnered several acclaimed albums across a variety of genres (you’ll be seeing some of them in this very list!).

I listened to over 250 albums this year, discovering dozens of artists and becoming familiar with hundreds of genres, including ones I’d been hesitant to listen to like post-hardcore, screamo, industrial, and so much more. And despite being overloaded with music, more often than not, a ton of these albums were great discoveries: so much so that for a while I had actually 50 honorable mentions for this list! And unlike with singles, my opinions on albums doesn’t really change from day to day. So these rankings have mostly stuck throughout the year. Hopefully though, we can start to going back to what feels like normalcy, and artists are allowed to tour more and get more revenue in general. But for now, it’s time to celebrate the albums that stuck with me the most throughout last year: the ones that hit me emotionally the most, the ones that challenged musical conventions, and the ones that simply were the most fun to listen to.

Honorable Mentions:

Hey u x by BENEE

A bit basic in its themes of being the “shy, lonely, and uncool girl who’s looking to fit in but is too weird for the crowd”? Undoubtedly but man does BENEE have a lot of charm and character in doing so. If you liked or even loved ‘Supalonely’ I highly recommend you check out her debut. Again, it’s not uncharted ground for this sort of twee indie pop but it’s the sort of ‘underdog teen soap’ that’s less cloying and immature, and more endearing, thoughtful, and even cute. Give this one a listen, really overlooked album.

Eternal Atake by Lil Uzi Vert

(I’m looking at the original version of Eternal Atake, not including LUV Vs. the World 2)

Yes. It’s too long clocking on an hour that should’ve been cut down 10-15 minutes, Lil Uzi’s lyrics are meaningless fluff – if not questionable like on ‘Venetia’, and if you aren’t a fan of trap, I can’t pretend you’ll like or enjoy much of this. But at the same time, I’m not gonna deny how much fun I had listening to this album. As someone who’s still not a Lil Uzi fan, the fact I wound up really liking this album was the biggest surprise of the year. While the lyrics are nothing to care about, I thought Uzi upped up his game with more catchy flows, particularly on cuts like ‘You Better Move’ and ‘Lo Mein’ in the first third of the album, and I actually think the emotion in songs like ‘I’m Sorry’, ‘Celebration Station’, and ‘P2’ were effective. But what I really wound up loving was the futuristic and spacey theme of the instrumentals; they really help create an alien, out of this world atmosphere that really set this apart from other trap or even other Uzi projects. Again, it’s a very flawed album – I’m not gonna ignore that – but for a genre this mindless, this was really fun.

Cenizas by Nicholas Jaar

Of three projects Nicholas Jaar released this year, this was by far my favorite and the most captivating and intriguing one. There’s just something about the world the instrumentals paint: cold, brittle, dusty, isolated like on ‘Menysid’, ‘Mud’, ‘Faith Made of Silk’. It helps that there are lyrics for once that help enforce this rather bleak, haunted atmosphere but there’s still that brilliant use of quiet. It’s a project that says more while saying little. It’s abstract ambient that definitely does take a while to not only get into but to dissect, but if you have the time and patience and our willing to challenge yourself, I say go for it. It’s interesting and difficult art that once you’re able to decode, is a very rewarding experience.

SOUL LADY by YUKIKA

This album grew on me in a surprising way. It’s not like it’s an album that tackles complex themes or emotions, or that it’s doing anything revolutionary with the city pop sound. And yet, whether or not it’s just a fondness for the city pop aesthetic, I couldn’t help but come back to the sound of this album from time to time. The instrumentals are gorgeous and exuberant, and with the lyrics, it really does help create a vibe of falling in love with the city you find yourself entranced by. And it also really helps that Yukika Teramoto has shown herself to be a very charismatic singer: subtly soulful and pretty, that she fits right in with classic 70s pop soul lounge singers. Even with her contract ending, Yukika has stated that she’ll continue to release more city pop and whether the style can be interesting for more than one album, we’ll have to see. Until then though, I can see this album gaining a cult following for the years to come, and for good reason.

Man Alive! by King Krule

I mentioned cold, brittle environment when talking about Nicholas Jaar but if you want a more concrete, direct and more importantly, real look into a world that’s just as broken and selfish, look towards King Krule. Whether it’s the drugs or the poor conditions around addicts, it’s a slow wallow in misery and yet it never feels long or overly voyeuristic. Not just because the lyrics have enough biting detail in them but the jazz, rock, and moody psychedelic instrumentation help make it lighter than the subject matter and themes of this song. Not to mention, Archy Ivan Marshall really great deep baritone: reminiscent of Leonard Cohen, yet still expressive in showing both real nihilism and still having empathy for those in this situation. It’s a dark and heavy album that like with the instrumental and overall mindset, takes it’s time to burn. But once the flames and the smoke hit you, it’s a trippy, often times frightening time.

As God Intended by Apollo Brown and Che Noir

A really solid throwback to 90s boom-bap hip-hop, not just instrumentation wise with the record-scratching and the sample based production but with callbacks to Wu-Tang on ‘Money Orientated’. There’s even a tribute to all the classic 90s rappers who inspired Che Noir. And while most hip-hop heads will come for the production, Che’s storytelling and lyricism of both systemic racism and sexism throughout songs like ‘Money Orientated’, ‘Freedom’, ‘Daddy’s Girl’, and ‘The Apple’ show a lot of hunger and bite for a newcomer on the scene. If you’re craving for that old school sound from a young artist, highly recommend this.

Pink by RAY

It’s a rather simple shoegaze album but even if you don’t translate most of the lyrics from Japanese and even with it clocking at over an hour, this was a surprisingly pleasant and very pretty disocvery. This album is doing anything revolutionary in terms of the genre but the instrumentation behind cuts like ‘Everything About My Precious You’ and ‘The End of the World with You’, the dreamy mood of it all the songs just filled me with a lot of joy in a way other simple pop and rock just weren’t able to hit. It’s a great example of when you do the simple things good, even when you don’t stray too far, it can still make for incredible music.

Thunder in the Mountains by Dzö-Nga

Another great example of doing the simple things and really. There’s no shortage of great symphonic black metal out there and even black metal with pro-environmentalist themes, but between the great Native American angle in their lyrics and the absolutely gorgeous instrumentation, especially the way woodwinds are integrated, if you’re an outsider to this music, I say this is a good starting off point to get into more black metal.

What’s Tonight to Eternity by Cindy Lee (mild CW: themes of abuse)

So fair warning for the list: there are a handful of albums on this list that talk about abuse. And while this album isn’t as graphic or as explicit other albums I’ll talk about, it still is an interesting project. The eternity in the title refers to the time spent with a toxic partner, with them literally comparing it to hell with them including a skit of a woman dispelling Satan. This is an album that I have to be in a certain mood to listen to, as the overly reverbed vocals and liquid instrumentation can blend together after a while, but it still creates a slow, creeping and haunted atmosphere I admire, which makes the break of light at the end all the more satisfying.

Impenetrable Cerebral Fortress by Gulch

It’s by far the shortest album on this list, barely passing 15 minutes but my god are those few short minutes brutal. Blisteringly fast drum work, guttural vocals, and gory as hell lyrics, and while at time is can feel like overload, it’s still one hell of a violent, adrenaline rush of sound and power. Definitely not for the faint of heart but just for a roar of fury, it packs a big punch.

UNLOCKED_ by Denzel Curry and Kenny Beats

It’s got great production, great flows, amazing punchlines…but if I am being honest, it is really too short for it’s own good. It makes me craving for more music from these two but it also feels a bit underbaked. A couple more bangers on this would make this among the best of either men’s discography. But still as it is: as a collection of bangers from Denzel and Kenny, it’s really good.

Sanación by María José Llergo

Really good quiet and subtle Spanish art pop with a fusion of ambient and flamenco textures that on cuts like ‘El Hombre De Las Mil Lunas’ and ‘El Péndulo’ sound inspired. Translating the lyrics also reveals great poetry: linking her family’s history to the path she charts now and what exactly her destiny is. But the real star of the show is María José Llergo herself. Her voice is absolutely gorgeous, delicate and soft yet capable of powerful belting; if you like ROSALÍA voice, I highly suggest checking out this album. It’s less than a half hour long so it’s a quick listen if you want gorgeous Spanish music that both honors the past and moves forward towards the future.

1000 gecs and The Tree of Clues by 100 gecs

The original 1000 gecs project was messy but admirable and respectable little project that showed the imagination and creativity of Dylan and Laura but occasionally felt to abrupt and weird for it’s own good. The remix album is an improvement across the board however; as not only are some of the original compositions improved upon, the artists they bring along help tighten the album and keep things focused. With great performances from the likes of GFOTY, Hannah Diamond, Dorian Electra, Charli XCX, and even Fall Out Boy of all artists, and with more hits than misses than the original album, I think this is truly a showcase not just for the gecs but the potential hyperpop genre can bring to the table when all elements come together.

Empty Country by Empty Country

There were a lot of good midwest, indie rock and folk albums that came out this year and like most great indie rock though, the writing is the true star of the show and the best part of the album. Joseph D’Agostino highlights the poor desperate suburban neighbourhood around him: people getting high of acid, the regular depression and self-doubt in his relationship with his wife, the details of the chaotic natural phenomena that happens around the midwest, and the horrible events that either happen around them or happen to them. From a tragic drunk driving accident that led to the death of D’Agostino’s grandmother to a woman having to make money by selling fake sunglasses to sell to people during a solar eclipse. It’s the latter story that shows why this album never comes across as misery porn: there’s a sense of honesty and empathy throughout that even in the selfish and despicable moments, there is a human touch. And this makes moments of brevity such as the birth of his daughter all the more effective, as D’Agostino feels like he’s given a chance to make things right. Truthfully the album isn’t doing anything new instrumentation wise but the storytelling and D’Agostino’s compassion is enough to pull through and make for a rather heavy and complex listen.

Warnings by I Break Horses

The last honorable mention on this list and yet another overlooked, underrated gem. A dreamy synthpop where coming to terms with a messy break-up but coming on the outside better and free of the toxicity. Despite many of the songs running long, it goes by well thanks to great vocals and great writing courtesy of Maria Lindén and a great psychedelic mood throughout. It’s an album to vibe to but once you dig into the lyrics, makes it worthier of coming back to. If you’re itching for new modern synth and shoegaze music similar to Chromatics or HEALTH, really recommend this album.

And now that we’ve gotten the honorable mentions out of the way, let’s finally dive in to the list proper!

50. 真っ黒 (Makkuro) by tricot

Math rock can get monotonous. It tends to have a similar problem with jazz sometimes, where even if the playing is solid and competent: if there’s not much uniqueness in the compositions or even distinct themes to really ground that takes advantage of the good melodies, than good background noise. That’s why it’s been refreshing to see math rock tricot not just have smart themes in their writing across both albums, but also have good hooks doing so. Going to the themes for a bit: it was actually surprising how dark the album gets: dealing with a lot of anxiety and existentialism as both an artist and a person. The desire to be your own fish in the sea in the limited time we have while still trying to remind yourself that sometimes it’s good to have some anxiety to figure your shit out. And yet all of it is exhausted energy  lynched pin by great guitarwork and some good hooks. If you’re looking for an entry point into math rock or even Japanese music as a whole, I recommend this album. Not for every one but maybe you can find something great amidst all the black.

49. Alfredo by Freddie Gibbs and The Alchemist

I mentioned this before but Freddie Gibbs can start to get formulaic when you follow him for even a little. A lot of good orchestic or symphonic samples, a lot of street hustle about the grind of dealing coke,  and a lot of sharp flows, it’s no wonder people compare him to Tupac. And yet you can’t deny how effortlessly fun this project is. Of course the beats are amazing as per usual from The Alchemist and Freddie Gibbs has a ton of natural charisma and humor, but all the guest stars shine as well, especially Conway and Tyler, and even beyond the fun bragging, the more sensitive and introspective side on cuts like ‘Babies & Fools’ they stil lshow how capable Freddie Gibbs is when he gets serious. But at the end of it all, it just an album you don’t have to think very hard about and just relax to: enjoy the bars, enjoy the music, and enjoy the food being offered.

48. May Our Chambers Be Full by Emma Ruth Rundle and Thou

Diving headfirst into a heavier genre of music now. I am not a sludge metal or doom metal fan at all; the aesthetic of it all just doesn’t appeal to me easily. And yet even with that bias, I was stunned going through and really dissecting this album. The brutality of the entire aesthetic of the album: the crushing, all-consuming atmosphere help painting that void of death and dust, and the bluntly nihilistic horror of it all, even compared to the metal I’d listened to this year, this felt overwhelming in the best way possible. And Emma Ruth Rundle is incredible on this album; cutting through all the heavy instrumentation and delivering a ghostly, haunted eulogy to the decay and tragedy of death and really the meaningless of all of existence that awaits us in the future. If there was a negative I’d put it’s that I think the screamed howls courtesy of the band Thou ironically don’t carry as much weight and don’t instill that fear as well as Rundle’s vocals but they’re playing more than makes up for any vocal issues I might have. And going by in less than an hour, it doesn’t drag nor does it go by too fast. It gets to the point and stares right at you, and like good horror, stays with you long after everything has gone silent.

47. Circles by Mac Miller

Even for non-fans of Mac Miller, I think most can agree that Mac Miller’s swansong was an achievement on most fronts. It’s so bittersweet he was never hear to see how well-received this follow-up would be but it should also be cherished how much thought and care was put in by his team to make this posthumous be as great as it is. And while it should be praised for how crisp and polished the production sounds, it’s Mac’s lyrics that really hit home. The themes of the process of recovering from addiction and depression, especially on cuts like ‘Circles’, ‘Good News’, ‘Everybody’, and ‘Trees’, they feel so raw and intimate that they cut and resonate deeply, whether or not it was due to his untimely passing (And yes, I did cry but it took until ‘Trees’ for it to happen). It’s just a beautifully respectful album and one I’m certain if he were alive and had a choice in the matter, one he would be glad he’d end his career on,

Rest in peace, Mac. Thank you for all you’ve given us and if you’re up there, you can finally see the sun. behind the clouds.

46. Windswept Adan by Ichiko Aoba

It’s hard to describe this album…at least in a unique way because everyone who’s listened – myself included – to it will echo the same praises. It’s beautiful, quiet, and serene ambient music. It’s a simple album and while ambient may seem like a simple genre in general, but the subtleties captured and presented; how clear the production and recordings are how much it puts into the mind the very peaceful natural beauty of the world. And of course the gorgeous orchestrations form the harp and other strings to the piano to Aoba’s delicate and quiet spoke word delivery: restrained and quiet, almost as if she’s saying poetry over beautiful landscapes. I will say the ability to find proper translations (and from what I’ve gathered, are not as complex as I expected for music this quiet and seemingly poetic) plus the length of the album does limit its replayability, at least for me. But that said, it’s still a beautiful experience and during a year where most of us could not go outside, an album that reminded us what’s waiting out there helped with that isolation.

45. Mystic Familiar by Dean Deacon

Like with most metal genres, I’m not a big fan of psychedelic genres although in this case, it’s more of a lack of background with the genre than an adverse dislike of the aesthetic. And yet even with that, I was surprised how much I enjoyed this album. I wanna try and keep as much of this album a secret because the transitions throughout and especially the progressions on ‘Sat by a Tree’, ‘My Friend’, and ‘Bumble Bee Crown King’, they need to be heard rather than read through transcriptions. They all help capture that feeling of heavenly euphoria; of reaching that sought after mystic familiar that as cheesy as it may be, I really can’t describe this album better (and without spoiling the best crescendos) than saying it’s magical. This is one you have to hear to really understand what I’m saying and even if you don’t find it as transcendent as I or so many others have, I still think it’ll make for a listening experience most albums in 2020 won’t give.

44. SAVAGE MODE II by 21 Savage and Metro Boomin

Hip-hop had itself a very good year, especially in the mainstream. I already mentioned Lil Uzi Vert but both of Pop Smoke’s albums this year were also great surprises, but Polo G, I got the appeal of acts like Lil Baby, Don Toliver, and the late Juice WRLD, and even if I didn’t love everything they put out, rappers like Megan Thee Stallion, Roddy Ricch, Don Toliver, and Jack Harlow showed a ton of promise, character, and versatility. Though if we want my favorite mainstream rap release, we go to 21 Savage and Metro. Both men have undoubtable improved by leaps and bound since the first Savage Mode tape, and now that 21 is a better rapper – with more dynamic flows and especially strong lyricist and writer for hooks, and Metro’s status as a one of the best producers in hip-hop means a bigger budget, he’s allowed more to play around with more elegant samples and turn them into hard bangers. Yeah, there’s still the occasional corny bar here and I’d say that outside of Young Nudy none of the guests really add anything, but when you’ve got catchy banger after catchy, plus the Morgan Freeman skits about street hustle that add to the awesomeness of it all, it’s just all around a great fun trap project, and one that’ll be held as one of the genre’s best for years to come.

43. After Hours by The Weeknd

Of the albums on this list, this will be the most flawed in my opinion. It runs long and can drag in spots, some of the songs have questionable production that I feel won’t age well, and in terms of themes and even a narrative, this is not at all new territory for The Weeknd. I can even say that objectively, there were “better constructed” albums I heard last year.

And yet, despite all the flaws, I kept coming back to this album time after time again. I’ve compared this album a lot with DAMN. in being the best version of an artist’s aesthetic being commercialized but I mean that as a positive. And not just because ‘Blinding Lights’, ‘Heartless’, and ‘In Your Eyes’ were some of the best hit songs of last year that show Abel evolving into a decade defining popstar. Like DAMN., it may not have the fresh rawness of the artist’s best work, but it still shows Abel growing as an artist in terms of balancing his poppier instincts with the alternative R&B he helped make famous. And with cuts like ‘Faith’, ‘Escape from LA’, ‘After Hours’, and one hell of a closer in ‘Until I Bleed Out’, bringing Illangelo back and calling back to his trilogy ways, I’ve said it before but it bears repeating: even with a decade under his belt and now a pop superstar, The Weeknd is still showing he’s got a ton of creativity and ambition in him, and that he’s more than deserving of being one of the defining artists of our generation.

42. PEACEFUL AS HELL by BLACK DRESSES

Whether solo or working together, none of Ada Rook and Devi McCallion’s work is music that’s easy to understand and like. In fact, for the longest time I thought I would never get behind their blend of industrial, metal, glitch, and electropop. And yet once I gave them the time and patience, it finally clicked. The demented energy in the fusion of noisy genres, Ada’s knack for sticky hooks and mantras, Devi’s monstrous and nihilistic writing, and yet at the core of it all, the honest and intimate themes of isolation, discrimination, depression, and companionship. Not the uplifting side regurgitated by pop stars, the real honest human touch that comes from real friends, online or otherwise. Again, this is not music that’s easy to get but if you’re willing to dive into hell, you’re gonna see some sparks along the way.

41. Draining Love Story by Sewerslvt (cw: themes of self-harm, suicide, depression)

Like with ambient and math rock, breakbeats are another genre that really need good and interesting themes to be more than good dance grooves. And yet, I was completely thrown off guard by how honest and brutal Sewerslvt went into detailing her depression and self-harm in her work. I don’t mean to be melodramatic with putting a content warning for this album, many of the samples used to provide context for the themes, once you decode them through the textured beats and synth work, are heartbreaking and at points, it can dive into going into the “too real” territory. It’s the type of reality about mental health I didn’t to hear in an electronic album, let alone in breakbeats! And yet while there moments of deep, black, despair, there also moments of beauty; when the beats and clouds clear up and we’re allowed to breathe for once. And there is a cathartic, therapeutic breath of air finishing this album; that even with the darkness in can wallow in, it’s not the end. The themes are very serious so if you’re hesitant about listening to this album, I understand. But as someone who’s experienced bouts of depression and suicidiation and knows many people who do, knowing this is out in the world and could potentially help people understand depression and suicidal tendencies, that it could help people understand each other, makes me I discovered this.

40. Melee by dogleg

This debut snuck on me in a big way because while it seems like dogleg doesn’t deviate too much from the midwest emo aesthetic at first glance, it’s all the great nuances that make this a great pop punk record. Great hooks and energy without sacrificing grit and texture in the instrumentation, coupled with a great sense of humor and populist energy. And while this doesn’t go as deep or cutting as other midwest emo or pop punk bands, the hot streak of ‘Prom Hell’, ‘Headfirst’, ‘Headlines’, and ‘Cannonball’ show capable the band is at storytelling. Overall, it’s a pretty short and sweet album that goes by in half an hour, if you’re looking for more great emo and pop punk to spend your time on, I highly suggest this.

39. What’s Your Pleasure by Jessie Ware

Okay, so I have a bit of mixed feelings on this album, if I’m being honest. On one hand, it is one of the best pop albums of last year. It’s well produced with instrumentation that modernizes disco in a way that feels like both a throwback and also an expansion, especially with simmering cuts like the title track on ‘Spotlight’. Jessie Ware also sounds great, and the writing is also very tasteful. A lot of dance party vibes to get lost to but there’s also a more intelligent side that cautions getting to lost in the dance floor. On the other hand…I think it’s a bit overrated?

DON’T GET ME WRONG: this is still a very good album…but if I’m being honest, it does run a bit too long, and the best song do come early on in the tracklist and because of that it can drag a bit, especially since I don’t think it ends strongly. But again, this is still a great pop record and if it gets people more interested in disco, not just the flashy party side but the sensual, intimate side of disco as well, that’s a great thing.

38. Eastern Medicine, Western Illness by Preservation

One of the most frustrating things to see in the hip-hop fandom over the past few years has been the masturbatorial like praise to hailing 90s and 2000s rap over the rise of trap and SoundCloud rap. Not only just because of the historical revisionism in ignoring how much of the rap that was popular back in the days was just as junk and basic, but also there’s this sense that what rappers like TuPac or Biggie or Nas or The Wu-Tang Clan did, it can never be done again which I think is wrong. There are a ton of great rappers, underground or even signed to labels – that. I’ve already mentioned that call back and pay tribute to the classic 90s sound while updating it and making it feel fresh. Che Noir and Freddie Gibbs on this list, but for another example, let’s turn to hip-hop producer: Preservation.

With the sample heavy sound of instrumentation, the fact there’s a posse of rappers across the album, and the Asian theme in the samples used and even in content in comparing the rise of opioids to gang hustle, the most obvious comparison is debut album of the Wu-Tang Clan: 36 Chambers. And it’s clear that was Wu-Tang was a big influence. But not only are there amazing showings from rappers like Quelle Chris, Mach-Hommy, billy woods, Ka, and a plethora of some of the best underground rappers right now, it stands alone as it’s own project because of how much talent is on display. I love the setting of Hong Kong and how much it’s built up as a city of sin to make commentary about western drug culture. It’s the closest thing we’ll get to an album that successfully calls back 36 Chambers (and is also better than the last few Wu-Tang albums). Whether or not you’re an old head stuck in the old ways of rap, I highly recommend this album for you. If you find something new or familiar, you’ll find something special.

37. Marlowe 2 by Marlowe

Y’know, for as complex and obtuse as some underground can get, it’s comforting to know. The use of b-movie samples L’Orange to create this dusty instrumental and the loose framing devise of Solemn Brigham as this “out of this world entity” make this a very fun album. And it’s Solemn Brigham who’s the star of this project: not precisely for his lyrics though he does have a great sense of humor and is a tight wordsmith, it’s his flow. The way he rides across beats, the flow changes from fast rapping to exaugurated, it’s all fun and manic. It’s an album that you really need to think hard about, like what the skits entail: you just have to marvel at L’Orange and Solemn doing their thing.

36. Shrines by Armand Hammer

It’s taken awhile for me to get used to billy woods’ style of nihilistic rap, off-kilter flow, and wonky beats but I think I’ve finally gotten the appeal and seen why many have held him up as one of the best underground rappers. And yet for as bleak as his material can seem, the album he dropped this year was more optimistic in it’s tone and all about finding hope and peace amidst a cruel environment. The album art says it all: a zoo built in a trap area meant to give people joy but falling apart. It’s an album of relapses but one that doesn’t stew in it’s own misery. billy woods’ poetry is on point as ever, as is the production production from Elucid, and a lot of the guest star really do shine, especially the singers like KeiyaA and FIELDED. That joy may be hard to cultivate and really stabilize in the dark world in billy woods’ mind…but that doesn’t mean it’s any less worth trying to cultivate.

35. Descendants of Cain by Ka

To conclude the unintentional row of streak of great underground rap albums…

Like with billy woods, Ka is not an easy rapper to really get but I oddly found it easier to get into his low, quiet, storytelling. There’s an rough age and maturity to his sound: both in his instrumentation and his content, and that wisdom is matched by his creativity and ambition. As the title suggests, this album revolves around the story of Cain and Abel and how that’s reflected in the rough world of sinners Ka grew up in. Whether it’s idolizing these sinners as saints, protecting your brother through crimes, even wanting old fashioned justice upon yourself for everything you’ve done, it’s a cruel, unforgiving world, made all the more bleak by Ka’s world weary and tired voice. And by the end, the only thing that gives him hope are is the love from the women around him: his wife, his mother, and his child. It’s not an album that’s really easy to enjoy but one that’s satisfying to dissect and really let simmer with you. And you couldn’t ask for a better adaptation on the story of Cain and Abel than that.

34. Jump Rope Gazers by The Beths

For as heavy as some of the albums I’ve talked about have gotten, sometimes a band really needs to win me over is charm and I don’t think I’ve heard a more charming band than The Beths. Both of The Beths’ albums have been full of blissful and youthful writing, a lot of summery guitar tones, and Elizabeth Stokes very earnest delivery but I actually think their sophomore effort was a step over their debut. And the reasons why are very simple: the writing might still be simple on first listen but there’s a sincere and honest core to songs like ‘Do You Want Me Now’, ‘Just Shy of Sure’, ‘Acrid’, and the title track not to mention stronger hooks and guitar tones that even though it doesn’t alter that much from the debut, still makes for a great pop album. And sure, it might seem basic but as I said, when there’s this much charm to the album, I can’t help but smile and enjoy gazing at it all.

33. Royal Swan by Phoxjaw

Another great debut this year, this time a UK alternative metal and post-hardcore band. And while there are traces of atmospheric post-hardcore on this album, more of it is more focused on alternative metal ragers. Not to say that’s a bad thing as there are some great hooks like on ‘Teething’ and ‘Triple AAA’ but also some thoughtful and surprisingly political writing.  The anger towards trophy hunting on ‘You Don’t Drink A Unicorn’s Blood’, the blunt but still cutting take on the Trump’s administration’s take on environmental care on ‘An Owl Is A Cat With Wings’ to even some commentary on England’s own dark history regarding class discrimination on the closing title track. It’s a surprisingly smart record that even if you’re not down with the revolution in some of the lyric, still has enough power and hooks to kick ass.

32. When I Die, Will I Get Better? by Svalbard (mild cw: themes of abuse)

One of the genres I was really glad I got into this year was Screamo. The heaviness is obviously a big turn on for me but what I loved was the variety in sound I heard. We could have the industrial sound but we could also have a more thoughtful and atmospheric fusion with black metal which is what we got on this debut. The passionate and angry vocals from both our lead singers mixed with the atmospheric and occasionally beautiful black metal side. But what really struck me were the lyrics detailing trauma and abuse. Serena Cherry isn’t simply content to talk about her own struggles with abuse, she also looks to criticize how society treats victims like her: whether it the misogynistic attitude that puts the blame on her, as well as the commodification of stories like hers for clickbait articles that look for interesting stories without supporting those behind them. It’s smart feminist writing that’s can be both heavy and beautiful, often at the same time.

31. Miss Colombia by Lido Pimienta

Latin music had an amazing year in 2020, not only seeing some incredible commercial performance for the acts in reggaeton, but also a fair few Spanish acts garnering some critical acclaim like Bad Bunny, Natalie LaFourcade, Triángulo de Amor Bizarro, and Kali Uchis. Fitting then that one of my favorite Spanish albums of the year is a tribute to Latin culture as a whole. Lido Pimienta is a very proud of her Colombian heritage and she not only show it in the content of her music, particularly in an acoustic chant ‘Quiero que me salves’, but also in the instrumentation. The blend of Colomobian folk music with art pop and even electronic touches like on ‘No Pude’ made for some inspired music. If you’re looking for an entry point into Latin music, I say Lido Pimienta is a great doorway not into another language, but also in understanding a different culture and hopefully, different sorts of people.

30. It Was Divine by Alina Baraz

This is my favorite R&B album of the year…which might be a surprise on the surface. It does go a tad bit long, it’s not really innovating in terms of production, songwriting, or singing, you could make an argument there were better, more ambitious R&B projects released last year. And while you point and bring up countless other R&B acts, no other R&B album brought me so much joy as this one.

I’ve been following Alina Baraz for a few years now and seeing all her potential fully realized was great to her. She’s always had a beautiful sultry voice that’s airy without being too light and full of character and charisma that it doesn’t just feel like basic sensual temptation. It’s confident and sexy for the most part, traits I want to hear in my R&B. The production has also improved a ton since her breakout EP. While the album can drag in spots, it’s just brings a great contemporary vibe. It’s a great album to have in the background; to just sink the seductiveness of it all. I understand this is more a personal pick than other albums on this list, but I still feel this was slept on by too many people, even fans of R&B. And considering how much R&B was been blowing up this year in 2021, making a big comeback in the mainstream, I hope that Alina Baraz also gets more recognition, commercially and critically. An R&B singer this talented and with this much potential deserves a bigger audience.

29. Honeymoon by Beach Bunny

I could copy my thoughts of California Boy on My Best Songs List for this entry here because music this sweet, simple, and catchy doesn’t need much explanation. It’s a quick, fun pop rock album that goes by fast in under 30 minutes, with sticky hooks that’ll get stuck in your head for days, and yet dive in even a little and Lili Trifilio proves herself to be a fun and quirky writer. Full of youthful emo teenage angst, but like the best teen TV shows and movies, it’s just has a ton of spunk to it and charm you can’t help but relate. And for a debut act, an album this immediately catchy, poppy, and as I keep repeating, FUN, it’s a welcome edition to hear on the radio. It’s the type of rock music I’m sure Zoomers will love growing up on, just like how Millennials grew up on the pop punk emo of the 2000s, and I’m gonna join both camps in enjoying music this much of a dopamine boost.

28. Notre-Dame-des-Sept-Douleurs by Klô Pelgag

Travelling to France now for an art pop project that gained a bit of attention last year with a very classical sound and presentation, literally. There’s just a lot of beautiful orchestra arrangements, especially gorgeous moments are the strings on ‘J’aurai les cheveux longs’, À l’ombre des cyprès, the slowly building piano on ‘La fonte’, and the quiet horns on ‘Soleil’. The best moments on this album are the most quiet and atmospheric songs on the album – both instrumentally but also in the lyrics – but even when it gets more bombastic like on ‘Remora’ or ‘La maison jaune’, it’s still great. Especially with the heavy multitracking and reverb come in and make Chloé Pelletier-Gagnon voice more theatrical. It’s just a very…artistic album for a lack of a better word. It’s full of formal and tasteful poetry and music but is still nonetheless stunning to admire and dissect. Give this one a shot if you’re looking for pretty art pop to scratch an itch.

27. Spirit World Field Guide by Aesop Rock

I feel that this should go without saying but Aesop Rock does not make easy music. Even in recent years as he’s slowly embraced more catchy production and hooks, his labyrinthian wordplay – not just the large vocabulary and obtuse metaphors, but also video-game references, and detours like wanting to go skating – and off-kilter production can still take awhile to not only get used, but actually understand what he’s going on about, and the nearly hour long runtime doesn’t help. And it also doesn’t help either, at least for outsiders, that Aesop is sticking with an introverted backpacker for most of this project. Already paranoid from the first few songs from being stuck in isolation but also being stuck in his head. So much so that when we get to the Spirit World, the reactions are quite quaint. Sure there are odd creatures and places here or there, but there’s a more there’s also an enlightenment eh gets seeing the happier people. People who have less but are also more content with their lives. The spirit world in this case is mostly a metaphor, most of this being inspired by trips Aesop took to Peru. But it’s not all paradise though, Aesop still takes time to critique the effects colonialism has had in stunting more of the “spirit world” from growing and truly being discovered by more people. 

Now all of that was just my rather feeble attempt to understand the concept. Because even if I’m misinterpreted some elements of what the Spirit World actually is, or a few punchlines went over my head, I would still wholly recommend this album. As I said, Aesop Rock slowly embracing more catchy production and hooks is great plus to all of his recent projects, so the wonky, acid-tinged production all over the album brings a ton of levity to the runtime, as do the hooks; especially on Pizza Alley, Coveralls, Jumping Coffin, and Marble Cake. This is still a very dense project to get through but at least along the way, Aesop reminds us that we can be enigmatic and fun at the same time (and maybe a little high on acid).

26. We Will Always Love You by The Avalanches

The longest album on my list, clocking over at 71 minutes. But there’s just something touching about the way The Avalanches approach grief and distance – be that distance be physical, between two people in a relationship, or even losing friends to death, and using music to reach them. Sure, the use of samples is still great from: The Alan Parsons Project on ‘Interstellar Love’, Perry Farrell on ‘Oh the Sunn’, the Carpenters on ‘We Go On’, even the straight up dance track Music Makes Me So High is a fun detour into future funk sounds. But right from the opening skit ‘Ghost Story’, you can still there’s a lot of soul and love being given to those we can’t see or are drifting away from. There are moments of solemn introspection, particularly on ‘Take Care in Your Dreaming’, ‘Running Red Lights’ and ‘Reflecting Light’, but it’s more about the celebration of that love more than anything else, and how we’re able to still feel and communicate that love through the medium of music. And of course there are wonderful guest performances, with my favorites being Blood Orange, Rivers Cuomo, Pink Siifu, Sananda Maitreya, Denzel Curry, and Sampa the Great. Even short guest speakers like Karen O or Orono of Superorganism. It’s simply a whole and earnest project and even if it runs a bit long, was still one of the projects that stunned me last year. Definitely a late project to drop but still worthwhile checking out.

25. Expectations by Katie Pruitt

Country, being as it’s mostly been a Southern genre, has always been stereotyped as being rather conservative. And while yes, it’s a sad reality that many mainstream acts in country have had less than “forward thinking” positions, there’ve been more than a few acts to push more progressive agendas, especially in the independent scene. And one of the best breakout stars of this year was Katie Pruitt, a gay country singer who’s debut album was a great discovery this year. That said, I don’t want to just say Katie Pruitt and other acts like her are groundbreaking just because they’re openly LGBT. Because even without that subtext and background context, this is still a fantastic album on it’s own. Katie Pruitt is a great singer-songwriter, with an eye for cutting honest storytelling and a lot of passion. Whether it be in the love songs, to confronting the homophobia within her state of Georgia and within her family and still being able to be proud of her identity. And the production is great as well, she sounds great throughout the album as the mix gives her voice a lot of room to belt out like on the closing tracks. It’s not an innovative album as far as country releases in 2020, but it does mean that Katie’s voice and her writing – her fire, anger, and pride – are able to standout more. Even if you aren’t a fan of country music, I still highly recommend you seek this out just for the writing. It might even exceed your expectations.

24. No One Mourns the Wicked by Big Ghost Ltd & Conway The Machine

So I listened to a lot of the Griselda crew last year, as each of the members released one project. I’ve enjoyed Armani Caesar and Boldy James’ work, Benny has been consistently good, and I’ve even gotten the appeal Westside Gunn (even if I still find his voice annoying). But if I’m going to highlight the member of the group that’s impressed me the most and has grown to be my favorite, it was to be Conway. He’s just got a great deep bassy voice with a lot presence and in my opinion, he’s the most focused and tight rapper in the group. Griselda don’t really deviate from each other in terms of content – drug dealing, shooting, gang warfare, money, sex, and maybe the occasional attempt at a love song – but Conway consistently had great wordplay and personality to keep it interesting, even after 5+ albums of the same material. While he did release an album this year that was very good and might’ve been an honorable mention had I not had a rule of repeating artists for lists, I want to highlight the short project he released with producer Big Ghost Ltd.

One of the things I’ve found to love most of all about his work, is there’s grisly maturity here. It’s fitting this album starts out with a sample of the gangster movie Black Mass; it isn’t just the usual street hustling and crime, it’s a business empire at stake here. And while I said in the beginning still is true; there’s not much change to the Grisleda formula lyrically, but the production is what puts this above his album in my opinion. And right from the get go, with the sharp guitars punching through and the gun adlibs, it’s just a sharp brutal album, that even at 25 minutes, still packs more visceral energy than most trap albums released in the past 18 months! Like with Freddie Gibbs, if you’re sick of the coke-rap schtick then you probably won’t get something out of this album, but if you’re like me and want to see Griselda succeed, highly recommend this.

23. 2,020 Knives by Ada Rook (mild CW: themes of abuse, depression)

I’ve already praised Black Dresses on this list but I think something worth praising is that even on their solo work, Ada and Devi have shown to be as engaging. Devi’s nihilism and and harsh industrial sound was still as in your face on Girls Rituals, and Devi’s honest introspection and pop hooks were highlighted even more on her solo album, which I think was the best project either of the two released – solo or together. The subject matter on this album can make this a rather tough album to sit with, as it deals with a lot of trauma and depression, that still lingers even after Ada has found companionship and joy through the Internet and making music. And yet throughout, Ada still displays pop sensibilities that make the dark subject matter easier to digest. Still a more upbeat electronic style (or at least, upbeat in comparison to Black Dresses usual work), and with a lot of catchy hooks like ‘Black Cloud in the Sky’, it makes the album more repayable than I expected. It’s an album all about the painful process of fighting demons, that shows all the graphic memories that still sting but also how warm and comforting the other side is.

I hope nothing but the best for Ada, both as a musician and as a person and hopefully the knives we all experience are able to dull as the years go on.

22. Shore by Fleet Foxes

I’ve talked a lot about relaxing and atmospheric music this year but I don’t think any other album was as much a breath of fresh air – instrumentally and lyrically – more than this album. You can probably thank good timing perhaps that this was released during on especially turbulent year, but considering how much Robert Pecknold’s writing and how much of it focuses on the past few years of violence and chaos in society but more importantly a sense of unity amongst people, this would’ve been comforting had it been released in any of the past 5 year. The warm melodies just help create an atmosphere of calm and empty mind space, one that can easily be broken and disrupted – Pecknold is self-aware of that, but it’s also stable enough to really inspire action to take place. But it isn’t just the outward world Pecknold is reflecting on, as the past year of death close to him has also affected him personally. Like the previous album, this is also an album all about processing pain; coming to terms with it and finding content peace amongst the cruelty.

And it is just beautifully arranged and orchestrated folk music, even without the lyrics. A lot of the harmonies are just gorgeous to hear even after multiple listens, and the pacing of the album makes it’s length surprisingly breezy. You just get sucked into the peaceful atmosphere of it all. As I’ve said, good timing probably helped give this album a great reception but it is great folk music at the end of the day, and music that’s this calming and reassuring is what we need with the uncertain future we have.

21. The Avalanche by Owen

Even despite all the albums I’ve talked about discussing many depressing and morbid themes, very few of them I’d describe as defeating. For as graphic as some of them get, there’s still some hope, even a small flicker of it, by the end. And on the surface, that seemed to be true here as well. Mike Kinsella is still an amazingly descriptive and emotive singer in emo, still able to capture the world-weariness so easily. And I love the way KC Dalager is used here; not just role-playing as the partner calling out his behavior, but just as much a dark mirror of himself. And like with Fleet Foxes, there’s actually a surprising warmth. Of course, all the warm instrumentals are ironically around the cold nature of Kinsella’s self-destructive behavior, not to mention a family history of tragedy and self-inflicted pain. It’s all standard emo, with well descriptive poetry and writing and when we get to the end…there is no happy ending. There is no reconciliation or sign things will get better, there’s just a sigh of defeat that Kinsella knows he can’t escape this cruel cycle. And while usually I would roll my eyes and consider endings like this unnecessarily cynical and nihilistic for no other reason than to shock the audience, here there’s a sad reality here. It feels earned…which is the biggest tragedy of it all.

It’s one of the toughest albums I’ve heard last year. Even writing about it and reminding myself of the downer ending, it’s still a tough project to revisit. And yet, it’s still one of the albums that left a biggest impact on me. For as bleak of an ending as it is, the pained vocals and melodies soften the blow ever so slightly. Given the nature of the ending, it’s not an album I can easily recommend, especially with those who don’t have patience for the cynical tone of it all. But for those brave enough, prepare for one of the most heartbreaking albums of last year.

20. Punisher by Phoebe Bridgers

It was only a matter of time before I talked about this album.

Like with What’s Your Pleasure and After Hours, there’s little new I can add. As so many people have said, Phoebe Bridgers is one of the best songwriters right now. And while the writing is the star, Phoebe herself also deserves a ton of credit. Like with Mike Kinsella, she’s just a naturally emotive singer; capturing the pain, that for lesser artists, this album would feel like a slog. For her though, it remained captivating the entire album, even with multiple listens. And like with American Football, she’s also good at capturing atmosphere. Many have said it before: while this came out in the summer, this is a fall/autumn through and through: capturing the reflective, bittersweet aura of the season great.

I guess the only thing I can really explain is why it’s not higher, which is actually simple. While I do really like this album a ton, I find that I just don’t return to it as a whole project as much as other albums on this list. That’s not to say this isn’t a cohesive album, even my least favorite track ‘Garden Song’ is pretty good, just that I return and get more emotion towards individual moments and songs than the project as a whole. But again, when those moments are some of the strongest in alt music from last year – cuts like ‘This is the End’, ‘Chinese Satellite’, ‘Graceland Too,’ ‘Kyoto’, and ‘ICU’, any these among the best of last year – even nitpicks feel light weight. As I said, I reckon most of you have already heard about or have given this album multiple listens already, and maybe giving this couple more isn’t a bad idea.

19. Lamentations by American Aquarium

I’ve talked about politics a number of times on both of my lists and I think I’ve made it clear that I’m a rather left-leaning liberal when it comes to my ideology. That said, I hope that I don’t mean to just highlight art that I agree with morally on a base level or that reinforces my beliefs. In fact, the more an art is able to challenge my pre-existing beliefs and conceptions, there better. Case in point:

This is an album all about while this is an album that celebrates the South that avoids being overly patriotic and jingoistic. In fact, on ‘A Better South’, frontman BJ Barnham not only acknowledges the history of discrimination, he also calls out modern institutions and the boomer generation for still being backwards looking. Rather instead, Barnham wants to celebrate the hardworking values of the south. The rich history of agriculture that can still be lifegiving but even still, he avoids being patronizing of the subject. But what I love most especially is that Barnham isn’t a saint throughout all this. He has his own demons alcohol abuse, and especially in doubting his faithfulness and commitment to his partner when the shadow of his past failed relationships looms over him. Combine all that with rich, organic instrumentation that can both hit hard with the guitars but also be quietly and subtly powerful, and Barnham’s own clenched and reserved anger and passion throughout, it makes for one of the best country albums I heard last year. Absolutely recommended, and hopefully that Better South becomes a reality sooner rather than later.

18. Manger on McNichols by Boldy James and Sterling Toles

I’ve already talked quite a bit about Griselda so why don’t I talk about my favorite release from the group.

Funny thing is is that ‘No One Mourns the Wicked’ was my favorite Griselda release for a while. I ended up loving Manger on McNichols more in the end. The usual Griselda mantra is here: a lot of mature business in dealing coke, street code, relationships with women, but I think there’s two things that puts this above the rest. The first is Boldy James himself. He can be a bit tricky to get used to with his low, matter-of-fact, at times emotionless delivery and a cool, calm, and collected demeanor, similar to 21 Savage or Ka. But like the latter, he’s got a great penchant for detail and storytelling. And he’s got more of a cynical and nihilistic edge to his music. Being more reflective and less openly triumphant allows him to explore more topics with a darker edge, including the story of how he was almost aborted as a baby The other factor that helped tip the scales was Sterling Toles production. It’s got a ton of great experimental moments, with uses of jazz, soul, even 80s R&B on ‘Birth of Bold’. And the way Boldy James rides the beats is also very impressive, with less conventional flows but there’s still a melodic flavor to everything. It’s just a really solid rap release, as I said the best thing Griselda did this year.

17. Palimpest by Lauren Bousfield

So when it comes to any writing about any art in general, I usually don’t like the phrase “x represented this year”. I think it’s cliche, can date the review and the album to that specific year, and doesn’t really spell out properly what makes an album great.

That said if I any album truly felt and reflected what it was like to live in a world of industrial chaos, a planet ravaged by climate change, an overreliance on military power and drones, corporate sloganeering and propaganda, and general corruption in government, a project that really captured the fear and anxiety that I and many felt in 2020, it’s this album. The barely audible vocals behind the crushing industrial aesthetic of this album, acting out as cries and rants against obvious present problems, still clinging onto hope, even for a single child. It’s a tricky album to listen to, not just because of the content, but also for the electronic production as a whole. It is one of the best examples of an “apocalyptic” album that really felt urgent, necessary, and pressured, one of the biggest surprises of last year. If you aren’t keen on industrial music, I can’t say you won’t get as much as I did but just for a listening experience you won’t get anywhere else, highly seek this out. Sometimes, the scariest messages are the most obvious.

16. KiCk i by Arca

Mami, quiere mequetrefe
Ella se lo merece
Mira cómo se crece

And now we have my favorite electronic album of last year, and explaining as to why is really cut and dry. The appeal is basically split into two parts: the first are beautiful, ethereal art pop ballads like Time, No Queda Nada, and especially Afterward with an absolutely gorgeous performance from Björk. They’re stunning, and they capture the euphoria Arca is going through as an open trans woman. And the second being the abrasive, deconstructed club, IDM bangers with Mequetrefe, Rip the Slit, La Chiqui with the late SOPHIE, KLK and Watch which actually sounds like a cut that would’ve been on SHYGIRL’s EP from last year. They hit are, are ridiculously catchy, and yet can still be just as insightful and forward thinking as the quieter ballads on this album. And while it’s easy to compare this to other trans individuals making abrasive, hyperpop music, like SOPHIE or Dorian Electra, the Latin flavor Arca incorporates helps her stand out more. Not just in using Spanish music elements in the compositions, but also in the lyrics: highlighting LGBT Spanish culture and the street language of the community, which is a nice touch when you consider how gendered Spanish is as a language. The album hints at the change that needs to be done and acts like Arca are helping us move towards a more accepting and understanding society towards trans issues.

15. Purple Moonlight Pages by R.A.P. Ferreira

I’ve listened to this album about 5-6 times now, I’ve gone through the lyrics and did my best to analyze them, look for themes…and if I’m being honest, I still don’t fully understand this album. The piecemeal fragments I am able to decipher: meanderings about the meaning of life, poetry, milo’s legacy as an underground rapper, various references to literature and black culture, it’s all fascinating in a labyrinthian kind of way. Hell, truthfully I could probably try and analyze one of the songs on this album for hours, let alone the full 16-17 tracks. And yet like with Boldy James’ album, it’s all held tightly with R.A.P. Ferreira’s literally poetic flows and rhyme schemes, and some great jazzy production courtesy of The Jefferson Park Boys. It is the type of album to listen to at underground clubs around other underground and unknown poets and creators, all there to just revel in the creation of something, even if they don’t understand everything around them.

While the enigmatic core of the album might turn or even annoy people, for me that just adds to it’s charm. A simple rap album full of abstract meandering poetry yet there’s still a sly and wise tint to it all. And of course, some great jazz along the way. Even if you get lost like I did, it’s some fantastic music to get lost to.

14. The Fallen Crimson by envy

I listened to quite a bit of metal albums this year, really getting used to the style of vocals and instrumentation of various metal acts and really learning to love the heaviness of the genre and the flair for the brutality and darkness in the lyrics. Of all the metal albums I listened to, this was by far my favorite, even if it took a while for this to really click.

A Japanese screamo band with showcasing some trulyguttural, primal howling and heavy almost blackgaze instrumentation, and the atmospheric post-hardcore side, with more calm clean singing and some beautiful instrumental passages. The post-hardcore side is easily worth highlighting as this really is some of the most prettiest and even soothing musical passages out of any music project last year, even outside of metal. And yet it was actually the lyrics of this album that truly won me over. The contrast between harmony and destruction isn’t just in the pacing of the album. Once I was finally able to find translations for all the lyrics, I found it to be the central theme. Being able to find and cherish the beauty of life and nature while destructive tendencies, anxieties, depression, and other forces are working against you. The wonderful contrast makes the harsher moments that much more crushing and the peaceful moments that much more euphoric. I can’t really recommend this album if you aren’t into metal and the language barrier might make things harder, but for those willing, I really hope you’re able to see the beauty amongst all the heavy crimson.

13. Daughter by Lydia Loveless

We listen to a lot of music about relationships not working, break-ups, and toxic behavior in general that we’ve gotten numb to it. We tend to forget that these emotions and experiences in real time are the furthest thing from being artistic. Splits are be draining, ugly, and painful for both side, and even then all that emotion and negativity, that social separation, can just feel magnified in the moment. And I don’t think any album in 2020 exemplified that more than Lydia Loveless’ Daughter.

It’s an album detailing her messy divorce and the messy process of it all. Coming to terms with the relationship not working out, the bitter, blind, and spiteful rage at her former partner, the loneliness that accompanies it, and even the fleeting moments of regret; cherishing the good memories and wanting to stay forever. It even leads to even sadder and uglier reflections; wondering what the point of love is, and what’ll be remembered of them when they’re gone. None of it is pretty, nor does it tilt into being overly somber melodrama. And Lydia doesn’t excuse herself from what is happening either, she frames herself as partly being to blame. And it is a draining album but like with Owen and Phoebe Bridgers, it’s also an extremely powerful album. It’s a human album, a side of humanity that’s damages everyone involved, but still a important one to recognize. I feel like this flew under the radar for far too many people, so for country fans and fans of singer-songwriters, please seek this album out. You won’t be disappointed, even if you will be heartbroken by the end.

12. maze by chelmico

‘ve been talking a lot about albums that are depressing, dive into deep themes, or are complex in general. So how bout we take a break and take about an album that’s just so damn fun?

chelmico was one of my favorite discoveries last year. A pair of Japanese rappers with insanely fast flows making fun as hell pop music with a ton of infectious wild energy and great dance grooves. That’s not to say there’s no substance to their music. Once you find translations, there’s actually a bit of clever subtext to the album. With a lot of the album being about the creation of artistic identity; pushing one’s limit to create something unique, the routine that occurs from touring endlessly, and simply dancing to the rhythm of your own beat. There’s actually a bit of tense anxiety to this record but what matters the most is that the music keeps you moving and dancing, and boy does this album ever. Some of the catchiest hooks of last year, and a ton of variety in the instrumental – including a disco-pop song, literally titled ‘Disco (Bad dance doesn’t matter)’ – It’s simply one of the albums I had the most fun listening to last year. If you simply need a record to turn your brain off and have fun, you’re gonna have a great time with this.

11. Lament by Touché Amoré

I mentioned how with Lydia Loveless, she tackled a part of the human experience that isn’t the most pleasant, but we nonetheless need to acknowledge and accept. Take those emotions except remove any person being at play because there’s truly no one to blame when losing a loved one to illness, particularly stage 4 cancer. Death will forever be a painful, cruel, and unfair part of our existence and one of the more interesting things about Touché Amoré’s album is that there’s a stubborn part that refuses to have any acceptance. Throughout the album, as Jeremy Bolm’s does his best to cope with the aftermath of the loss of his mother, even as he becomes invested in raising awareness about cancer, there’s still clearly a part of him still processing and refusing to believe his mother died. Not to mention all of this compounded by other tragedies all around him: his loved ones being screwed out of healthcare thanks to the government, the death of his two pet dogs, and his general depression throughout. And yet, through his pained screamed vocals, he’s still able to find some closure to it all, some hope and love in life worth living for. If my descriptions didn’t spur you into thinking this album was one of the most emotinally affecting and tearing listens, then I suggest you just listen to it yourself. Music like this – for better or for worse – can speak a multitude of complex emotions that words can’t.

10. Set My Heart on Fire Immediately by Perfume Genius

If I’m being perfectly honest, I did not expect this album would end up as high as it did in the end. Not that I was lukewarm on the album when I first gave it multiple listens, because it still would’ve made this list regardless. Mike Hadreas is still a beautifully emotional and evocative performer and songwriter; something about the way he capture intimate sexual experience. It’s not merely the eroticism of the stories, it’s also the shy nervous euphoria – the moments of connection, not just the feeling of being lovestruck, but also the realization a potential bond could be formed, even if it doesn’t last that long or even that he was mistaken. All of the complexity is fully realized in song form.

And yet, something about the album just clicked with me on my last listen. Perhaps despite its length, I’d never realized how lively and dynamic the production moments were on this album. Not just the quiet reflections like ‘Jason’, but the great stab at shoegaze on ‘Describe’, more upbeat moments like ‘Without You’ and ‘On the Floor’, the touches of 80s synth on ‘Your Body Changes Everything’, and the touches of lively instrumentation throughout with harps, guitars, and perfectly timed percussion. All of it snuck up on me in a way I didn’t expect, I didn’t notice it but once I did I enjoyed the album even more than I had. I know length has been the common critique amongst people but I think it’s worth giving this album another listen if you haven’t already. Even for the beautiful piecemeal moments, Mike Handreas captures true love and sexuality more than any artist was able to in 2020 and I think that’s worth sampling immediately.

9. folklore by Taylor Swift

…did you really think I was gonna go this list WITHOUT mentioning Taylor Swift?

By now, folklore and its sister album evermore, have been thoroughly dissected by everyone: Taylor Swift stans, music critics, and even casual music fans. It’s already gone down as one of the biggest female albums – breaking records upon its release, there’ve been countless theories and interpretations shared about the meanings of the songs and the tracklist, and it’s practically reinvented Taylor Swift’s image from the bubblegum popstar she’d been for her entire career, into a “serious musician with indie cred”. And as much as I would like to nitpick and say that yes, both of her albums do run a tad long and there’s not much dynamics in the tracklist, or that Taylor Swift has always been a talented composer and songwriter; and that this album was simply more cohesive and consistent than her other releases, but sometimes it is just fun to go along with the consensus and say this is her best ever album, and one of the best singer-songwriter albums of last year. Sure, the album does run a bit long but when the runtime is filled with all time career highlights: ‘exile’, ‘august’, ‘betty’, ‘mirrorball’, ‘this is me trying’, even ‘cardigan’. The stripped back production from Aaron Desner and Jack Antonoff should also be praised, giving the room for Taylor’s vocals to sound great while also being well composed.

Even now, I’m still discovering new things to love about the album: the story-book sequencing of the album. I’ve also been rotating which songs I love, the great turns of phrase on all 17 songs, how unlike other previous album, folklore actually ends on a downbeat note, it’s just an album I really could talk for hours and hours. I’d recommend it but by now I think most have already listened to it a dozen or more so times…and I think I will to.

8. Reunions by Jason Isbell and the 400 Unit

For these final 9 entries (folklore – onward), I could make an argument for actually being the best album of last year, and with this being my easiest to explain because…it’s a Jason Isbell. He’s still a great writer as ever, being able to be populist yet still progressive in his politics and as heavy and at times on the nose but also honest in his demons and storytelling as well. From the opening of the album, asking what he’s actually done to help those who need help in society, being in the backseat and being supportive of his wife whom lost a friend to suicide, and of course the love songs like ‘Overseas’ and ‘Only Children’ – capturing the nightly vulnerability and anxiety. It’s not precisely new ground but it’s still compelling and engaging nonetheless, partly because Jason Isbell is a natural, down-to-earth performer. The mantra: “It gets easier, but it never gets easy” might go down as one of the subtly brilliant moments of music last year. 

But it’s not just the writing that’s fantastic, the music itself is also wonderful. Beyond the wonderfully expressive and pained vocals, the instrumentation and more alternative country/rock Americana direction is a great fit for the writing and allows Isbell to really belt out with the reverb. It’s simply a solid, smart country release that’s still bold, ambitious, and brave in it’s writing. Now that Jason Isbell is being more listened to by the AAA crowd, I hope he finally get a wider attention that he deserves.

7. Brave Faces Everyone by Spanish Love Songs

I guess the easy picks for this list continue.

Anyone who’s spent time on the internet looking for underground music has heard about this album. Dozens of internet reviewers have praised this album to no end, many of them putting it as their top album of the year. And while it was just short of making the Top 5, all the praise given is well deserved and this album absolutely meets the hype given. It’s fitting an album with a song called ‘Kick’ and with a title asking us to pretend to be brave feels like as brutal as it is. It’s not precisely a heavy album instrumentation wise, though the production does go hard in places and lead singer Dylan Slocum can absolutely howl his lungs off. Even if the lyrics were basic pop punk pablum, this would still be an enjoyable punk release. But as everyone, myself included, has highlighted so much, it’s the songwriting that tips this over the edge.

As I mentioned in my Best Songs list, there’s just devastating honesty in how in confronts modern societal issues. The effects of climate change worsening, a middling economy where it seems no one’s allowed to succeed, the perpetuation of all these problems from the younger generation’s apathy to everything. And yet, like with Jeremy Bolm, despite the tragedy of it all, whether or not it’s out of sheer dumb stubbornness, the band’s still gonna keep fighting. Hope is indeed a radical lifestyle and activism for righteous causes is living dangerously, and they’re still going to do it. Because doing good is the only thing that matters in the end. We’re all people beaten down by the world but we’re gonna put our brave faces on anyway and do make the most out of life.

It’s emotionally powerful and resonant punk music, and from an act that just debuted, for their first swing to be this much of a homerun, it shows brightly what the future of punk could be this decade.

6. RTJ4 by Run the Jewels

And speaking about heavily political music…

There was an interesting thought I saw the other day in a Discord server I’m in, that aside from straightforward songs about loving someone, political lyrics should be avoided when you’re starting to write music. Not for any concern of alienating people of differing views but more out of fear it might age or date the music, especially with any specific references to events. And I perfectly understand that mentality: after all, art can hit and be explosive in the moment but once all that adrenaline fades, will it still be worthy of revisiting.

So with all that said: not only is RTJ4 tragically still relevant and important as it was 6 months ago, just from a music standpoint, it still goes hard as hell and is easily the duos second best project after their acclaimed sophomore effort. As expected, Killer Mike and El-P deliver precise blows to the former administration’s policies: gentrification, caging immigrant children, police brutality, none of it is new…and both men know it. It’s not just about calling out the present problems, in all of their material, both emcees have been smart to realize how long-standing these prejudices in society are. And like the punk and post-hardcore music highlighted on this list, both men also know hope and activism are dangerous, most likely futile choices in life. But where’s the fun in giving in to nihlism? Fuck that, they say!

Like the music of Public Enemy and Rage Against the Machine, Run the Jewels makes the type of angry anthemic music that’ll be just as powerful 20 years from now as it was when it was first dropped in the midst of worldwide protesting against police brutality. Truly music that will never be forgotten and will always have a spot in society, truly a revolution and attitude that will never die, no matter how much those in charge will try to kill it.

5. Fetch the Bolt Cutters by Fiona Apple 

…do I need to say anything else?

Do I even HAVE to say something?

You all know what this album is: already it has gone down as one of the most critically acclaimed albums of all time. It’s appeared on dozens of lists for the best albums of the year, topping a good chunk of them. It’s even gone through the backlash phase of people “not thinking it’s that good”. And…maybe it isn’t all that good. I mean if I’m being honest, this isn’t even my second favorite Fiona Apple album. Surely months after all the critical hype has quieted down, it isn’t as good as it was when it first dropped?    

Well considering the high placement on this list, I think you know the answer to that. Fetch the Bolt Cutters more than lives up to the hype. But before we dive into the lyrics, I think it’s worth pointing out that the instrumentation and Fiona Apple herself are worth praising and are just as eye catching as the songwriting. Fiona really challenges her vocal timbre throughout: every remembers the odd Dolphin laughter of the opener, but the barking howls on song Heavy Balloon and the end of Cosmonauts, the self-harmonizing on ‘For Her’ as well as doing her own backing vocals for various songs, even the stewing venom in her voice on ‘Newspaper’ and ‘Rack of His’. All these tricks add some much need animation and even levity to the album, does the instrumentation. The piano and drum compositions are the standouts, but the ramshackle percussion striking throughout. It’s not as immediately memetic as some of the song on The Idler Wheel… (though ‘Cosmonauts’ and ‘Relay’

And then we have the extremely feminist lyrics calling the sexist system that hurts and traumatizes women in various ways. We obviously have. Being kicked down when told to shut up, unhealthy and unsatisfying married women, even women turning against each other for the sake of their men, being gaslit, becoming trophies, and many more shades of emotional abuse. It’s a viscous cycle of hurt people hurting others – as she says on ‘Relay’: “evil is a relay sport where the one who’s burned turns to pass the torch”.

Like with folklore, I could honestly go on and on about this album and its writing, all the little idiosyncrasies and lyrical moments, I could talk all day but you don’t need me to sing its praises. It’s been showered in praise by nearly everyone that if you haven’t taken a peak, even a little, I honestly don’t know what to say to.

4. Take a Chance on Rock ‘n’ Roll by Couch Slut (massive cw: explicit mentions of rape and sexual assault)

Of all the albums I was going to talk about for this list, this is the one I’ve been thinking the most about what to write about. Based on the content warning I just gave, I think you know why.

Few albums last year really got under my skin, really unnerved me as this half hour of heavy, screaming agony. The heavy crushing instrumentation and production throughout, truly a rushing wall of sound stopping just before every song ends to punch with an even more cacophonous sound. I could talk about the vocals from Megan Osztrosits and how raw, and righteously angry she sounds. I could even talk about the extremely painful lyrics that stuck with me when I first read them, I literally couldn’t listen to any other music that night because the details were just so horrifying.

I could go into more detail…but the truth of it all is that none of that praise matters or is going to alleviate the subject matter of this album. There’s no clever wordplay or turns of phrases to dissect, it’s all pure pain. This album is here to remind us rape is bulls**t and that it is an unforgiveable thing to happen in an unsympathetic world. There is no silver lining from an event as horrible as it is, no recovery arc for Megan, at least not now. There might be the slightest bit of venomous catharsis in calling rapists as well as cops not believing victims “selfish, idiot pigs” but catharsis doesn’t bring closure. She still gets no palpable justice for all of this and there is no growth as a person from all of this. All the more evident by an absolutely closing track.

It’s an album I’m scared to even recommend even lightly because of how explicit the subjects. It is art but it’s the furthest thing from entertainment is little to be entertained especially when it seems like so little of it seems performative or has any sense of artifice. I’m still left shaken even now as to if I like the album beyond the blunt emotion of it all.

If nothing else, no piece of media: music or otherwise, has shaken me to the core, has terrified me as much as this album. Take from that what you will.

3. SAWAYAMA by Rina Sawayama

So for the longest time, I was so sure this was going to be my top album for 2020. As I was finalizing this list, I started second guessing myself as to why. After all, it was just a pop debut with solid pop songs. Sure it was well-produced, well performed, and well written, but it was just pop. It wasn’t all that good, right?

Well one last listen re-affirmed why this is not only one of the best albums of last year, but one of the best pop albums I’ve ever listened to. Make no mistake: this may seem like the typical pop project but especially for her debut album, this is a bold project that immediately establishes Rina as one of the most exciting and interesting acts in music right now. What I love most about her music is the same reason as to why I love about Carly Rae Jepsen’s music so much: simple fun upbeat pop music but isn’t basic and is the farthest thing from being brainless.

It’s actually impressive how despite the bubblegum aesthetic of it all, Rina was able to slide in commentary about commercialism, toxic friendships, cultural appropriation of Japanese culture, depression, systemic societal trauma within the family, even the interlude talks about the human impact on the environment. And all of this with impressive poptimism: not only in that Rina has buckets of natural charisma and unique personality as a vocalist, but also in paying tribute to pop music. The way she uses the pop music imagery of the 2000s – with the obvious Britney Spears and Christine Aguillera influence, but also the touches of nu-metal on STFU! and Akasaka Sad, the way Who’s Gonna Save You actually sounds like a live concert, how Chosen Family and Tokyo Love Hotel sound strikingly similar to old karaoke waiting music, and all of this with some of the catchiest hooks of the year. This album is simply a dopamine rush to listen to, and fascinating to dissect aka the best type of dance pop that should be in the mainstream right now. 

There are a ton of acts right now shaping to be decade defining for pop and I can hope that Rina is up there with acts getting hits right now. With her imagination and creativity, I can only imagine how good pop music in the 2020s is gonna sound like.

2. Shape & Destroy by Ruston Kelly

The reason this album is quite is actually because of very personal reasons which I shall get into in a little bit. Rest assured though, even if I didn’t have a personal connection with this album, this would still be in my top 10 albums of this year.

I had heard good things about Ruston Kelly heading into this album but I wasn’t expecting it would hit this hard. Like with Spanish Love Songs, Jason Isbell, and Touche Amore, it’s an album all about confronting past demons and still being able to keep your head afloat. The aftermath of his divorce from Kacey Musgraves looms heavy amidst seasonal bouts of depression and alcohol abuse. Ruston’s immediately rasp not only sells the pain, but never to the point of being overly somber or melodramatic. It feels human, earned but above all else humble in its presentation. And for a country release, it’s amazingly atmospheric: there’s an damp, cold cavernous aura to the songs, so much so that he even finds a way to make trap snares work! Trap snares in a country song and it’s good! And it works because it fits the suffocated and trapped feeling of being in a cage of your own design. Even as the first song tries to be upbeat and wild, Ruston comes down – barely clinging on to hope even as the desire to give up seems so tempting. Which makes all the moments of brevity, of light and especially the closer “Hallelujah”, feel even more victorious. That the light was achieved in the end.

But I think I should get to why this was my second favorite album of last year and that comes with personal baggage of strap in. 2020 was obviously a shit year but personally throughout the year, it felt like I was making progress. I had made a ton of friends through classes, forums, and even playing games. I had learned I was on the spectrum and read up on proper social techniques and etiquette. I had a fixed schedule where I was exercising and reading books regularly. I had even gotten more confident with my self-image.

Yet towards the end of the year, before Christmas Eve in fact, something suddenly felt off. I suddenly started doubting myself, wondering what I was doing with my life and what I would do with it. Suddenly after a year of progress, I felt like I had fallen back to square one for no reason. I felt worthless. And so, as I started to fall back into my depression, while listening through my back catalog for the year-end lists, this album clicked with me like no other album did. Hearing someone say “I’m still alive” and “It’s almost over, brighter days will come”, that out of the rubble and destruction around you, even if it’s by your design, you can still make something out of it. I suddenly felt like someone understood part of my pain. 

Now obviously that’s my personal experience and you may not have the same experience I do. That said this is still an incredible touching, moving album, with a lot of soul, heart, and empathy put into it, and hands down, one of the best country albums I’ve ever heard. And while I don’t think every country album needs to be this, it really shows the potential the genre has: that an album this moving can come from a medium typically mocked as being corny and old-fashioned. For an album to be this resonant is an achievement all it’s own, regardless of genre. It simply is great music you need to hear.

1. Visions of Bodies Being Burned by clipping.

And it wasn’t going to be anything else.

There is A LOT to talk about when it comes to this album, I don’t even know where to begin.

I could talk about how the album lovingly pays tribute to horror movies like Scream, The Blair Witch Project, Candyman, Texas Chainsaw Massacre, as well as other horror cliches like poltergeists, Ouija boards, even the madness of C’thulu is used. But clipping. aren’t simply using the iconography of classic horror movies. Like good sequels and adaptations, they building upon the base of them; really dissecting and using the tropes to (pun intended) ghoulish effect, especially when guest stars like Ho99o9 and Cam & China play great frightening side characters to the sotries. And speaking of horror elements, I could talk about how gore is utilized in the album: there’s obviously fun exploitation to be had in reveling in the violence but it isn’t all mindless slaughter and carnage. Like good horror, they’re still a human element at the core of it all which makes all the terror even more frightening.

And building on top of that, I could talk about the furious politics interlaced throughout. Daveed Diggs’ agenda was pronounced on There Existed an Addiction to Blood but here, it’s even more stark. With the victims of racist murders haunting not just their killers but society as well, how their names will forever be echoed as a dark stain against American culture and history. And of course, I could talk about the mind-blowing production William Hutson and Jonathan Snipes. From sampling creepy sounds like floorboard creeks, rusty hooks, old lights rattling, even sampling real EMP audio of ghosts and playing ambient nature sounds of a haunted park for the final track.But it’s far from an over-the-top spectacle: like the lyrics, there’s texture to the production. The alien-like synths, some of the loudest percussion beats this year, it’s al devilish fun to listen to. And of course, Daveed Diggs still being able to ride the beats inhumanely. I can even talk about how despite the harshness of the content and aesthetic of the music is, this is perhaps clipping.’s catchiest album to date, with some amazing hooks on ‘Pain Everyday’, ‘Enlacing’, ‘Say the Name’, and ‘Looking Like Meat’.

More than all of that, the reason this is by far my favorite album of 2020 is that out of every album released last year, this project truly felt like a vision was fully realized and without compromised. It’s a love letter to the medium while also being wholly original, creative, and boundary pushing for hip-hop. And yet even now, I still feel like there’s still parts of this album I’ve yet to discover and be in awe of. 

Even if you are not a fan of experimental hip-hop, even if you don’t like horrorcore or even if you don’t care for horror in general, I implore you seek this album out. Just for an experience you won’t ever forget, I think this deserves your ears and your attention.

It’s the best album of 2020 by a country mile and I reckon in 10 years when we look upon the 2020s in terms of music, I’m still going to be marking out on this album as one of the best ever. Truly, this is as a landmark and accomplishment in music.