Let’s face it: 2020 wasn’t the best year, but at least a lot of great music was released across a wide array of genres. These are the albums I enjoyed most from this year!
25. Starting Over – Chris Stapleton
Country
Chris Stapleton is a veteran of country music if anyone is. Having moved to Nashville, Tennessee early in his career, he subsequently earning writing credits on a number of hit songs recorded by pillars of the industry such as Kenny Chesney, George Strait, Luke Bryan, Brad Paisley… the list goes on. On Starting Over, Stapleton taps into his abundance of experience and offers up samples of every flavor of country, from blues stomps to soulful ballads to the stereotypical (if extraordinarily heartfelt) tune dedicated to the passing of his dog. Each track is rooted in Stapleton’s own powerful voice, which lends a since of stability to an otherwise diverse album.
24. Melee – Dogleg
Punk Rock
Dogleg’s debut album bridges many aspects of the various subgenres of punk–the catchiness of pop punk, the aggression of hardcore punk, the pent up angst of emo–and does so without sacrificing astute attention to melody. The band’s enormous and energetic sound belies the fact that the band records at the home of one of their members, Alex Stoitsiadis, who also produced the album. Stoitsiadis serves as the vocalist (and rhythm guitarist) and his raw voice is well complemented by the heavily distorted guitars and ferocious drumming supplied by the band.
23. We Are Sent Here By History – Shabaka and the Ancestors
Spiritual Jazz
Shabaka Hutchings is a member of a number of groups in the UK Jazz scene (also including Sons of Kemet and The Comet is Coming), none of which subscribe to traditional jazz concepts. Of course, eschewing typical musical composition is something that is often associated with jazz itself, and Hutchings certainly has been inspired by the avant-garde trappings of artists like Pharoah Sanders and Fela Kuti. We Are Sent Here By History sees him as bandleader of a new nonet, fulfilling the role of tenor saxophonist and clarinetist. The rest of the band avoids electronic instruments (with the exception of a Rhodes piano) for a distinctly “older” sound in keeping with the spiritual jazz and afrobeat music of their predecessors.
22. Fetch The Bolt Cutters – Fiona Apple
Art Pop
Fetch the Bolt Cutters is one of the most idiosyncratic releases not just of 2020 but in recent memory. The music forgoes typical songwriting to an extent that it’s difficult to point to any immediate influences; some comparisons have been drawn to Tom Waits because of the experimental instrumentation he would often employ. On Fiona Apple’s fifth album, this is manifested in what the artist describes as “percussion orchestras” that involve pianos, drum kits, and seemingly random objects seemingly randomly struck. Somehow, the artist manages to find structure among the pandemonium and uses the belligerent sound to highlight the confrontational themes that run through the songs.
21. Visions of Bodies Being Burned – clipping.
Industrial Hip Hop
“Unsettling” is the best way to describe Clipping’s music, and it’s obvious that their brutal aesthetic will not appeal to all listeners. Visions of Bodies Being Burned is the follow-up to the group’s highly acclaimed There Existed an Addiction to Blood (2019), both of which are inspired by slasher films and horrorcore. However, Clipping’s unique take on the genre does not glorify violence for the listener to revel in, but rather emphasizes the experiences of the victims for a more fearful and cinematic experience. This is accomplished in large part by excellent lyricism provided by Daveed Diggs (of Hamilton fame), but producers William Hutson and Jonathan Snipes are indispensable in their ability to create a dark, tense, and abrasive ambience.
20. Ohms – Deftones
Alternative Metal
Early in their career Deftones was branded as a nu-metal group, but listening to Ohms you’d never guess it. Their latest effort is heavy and raw, full of riffs churning with menace backed by powerful, thumping drums. Dynamics remain a major part of their repertoire, as the band ebbs and flows between tense quiet and explosive noise. The band’s flirtations with shoegaze are also apparent, as reverb and delay effects help to expand their sound to almost oppressive levels. It’s probably not an accident that reuniting with Terry Date, producer of fan favorites like Around the Fur and White Pony, has yielded one of the group’s most successful albums in years.
19 . 2017-2019 – Against All Logic
Industrial Techno
Nicolas Jaar had already established himself in the experimental electronic community when he debuted the Against All Logic project in 2018. His first album under the name, 2012-2017, brought a more accessible, funk oriented sound than his previous works; 2017-2019, on the other hand, maintains many of the deep house elements of its predecessor but forgoes the funk for a harsher sound utilizing heavily processed drums and metallic percussive elements. With Jaar’s capable hand at the helm, though, the product is an ingenious blend of chaos and rhythm.
18. NO DREAM – Jeff Rosenstock
Pop Punk
Jeff Rosenstock’s personal brand of power pop combines millennial dread with tongue-in-cheek lyricism and a reverence for 90’s punk music. A fun, uptempo, and raucous sound has long been his trademark, but No Dream kicks it up a notch with more speed and more overdrive. Even his singing seems more impassioned, often falling between exasperation and outrage while always remaining exciting.
17. Spirit World Field Guide – Aesop Rock
Abstract Hip Hop
Master wordsmith Aesop Rock was already an outsider to the rap game when he broke on the scene at the start of the millennium, and the decades of experience he’s accrued have only made him more idiosyncratic. His lyrical density outclasses every other rapper by a wide margin, something he has refused to compromise on over the course of his career. Spirit World Field Guide sees him taking his production to another level, with instrumentals taking inspiration from a diverse array of genres. The psychedelic sound forms the perfect complement to the artist’s perplexing and often incomprehensible lyrics.
16. Dreamland – Glass Animals
Indietronica
The third album from Glass Animals is mainly the brainchild of frontman Dave Bayley, who wrote and produced the work mostly on his own. While he spearheaded previous efforts from the group, Dreamland differs in that it features largely autobiographical lyrics. The sound is very summery and laced with nostalgia for his childhood in the 90’s, albeit often incorporating modern hip hop beats (evidence of Bayley’s recent collaborations with artists such as 6lack and Khalid).
15. Lianne la Havas – Lianne la Havas
Neo-Soul
Lianne La Havas made waves with her stellar r&b reimagining of Radiohead’s “Weird Fishes,” but it would be a mistake to allow that cover to overshadow her own songwriting on her self-titled third album. The lyrics are quite personal, as the singer’s sensual crooning vaguely narrates the stages of a relationship as it passes from infatuation to ending over the course of the album. Despite the tumultuous themes, the music rarely breaks from its cool and soothing sound. An eclectic array of influences, from Brazilian singer-songwriter Milton Nascimento to virtuoso bassist Jaco Pastorius, inspires a jazzy tone in the instrumentation, much of which was recorded live–“Sour Flower,” for instance, was recorded by the band and La Havas in a single take.
14. Im Wald – Paysage d’Hiver
Black Metal
Swiss multi-instrumentalist Wintherr has been releasing demos under the Paysage d’Hiver moniker since the late 90’s, but Im Wald constitutes his first full length studio LP. Clocking in at a total of 2 hours with most songs having a length of over ten minutes, it is an album of epic proportions. Sonically it can be described as opaque to a degree that eclipses essentially any other black metal release in history: the drums crash at a seemingly impossible tempo and the guitars are cloaked in such a wash of distortion that the chords become formless and blend in with one another. The vocals are alternately screamed, shouted, and growled (in German, no less) but are still barely audible beneath the maelstrom. What makes this album special, though, is its adherence to and execution of its concept. Im Wald translates to “In the forest” and that’s exactly the feeling this music is supposed to evoke. Just as depicted on the album art, it’s as though as the listener you’ve been transported deep into the heart of a dense forest in winter and you can’t find your way out. Instrumental to this effect are the interludes interspersed between the lengthier tracks, which offer reprieve from the blizzard-like black metal while maintaining a cold and empty atmosphere through sounds like wind whistling or boots trudging through snow.
13. Inner World – Dalai Lama
New Age
Amid one of the most chaotic and tumultuous years in recent memory, the 14th Dalai Lama released his debut album centralized around themes of peace and unification. While some songs feature traditional Buddhist mantras, others are simply musings by the Lama on modern life. However, the draw here is not just the words of the spiritual leader but the beautiful, calming ambient music that accompanies them. A standout instrumental is found on the track “Ama La,” to which sitar prodigy Anoushka Shankar lends her talents.
12. Microphones in 2020 – the Microphones
Indie Folk
This entry is a little bit different since Microphones in 2020 wasn’t released on major music streaming platforms, but also because the music is only one part of this art piece. Accompanying the album is a video of the same length, which mastermind Phil Elverum described as “not a music video… This is kind of a lyric video, but also a slideshow, a PowerPoint presentation, a flip book.” The project begins hypnotically with nearly 8 minutes of acoustic strumming as Elverum places photograph after photograph (this one a landscape, this one an empty road, this one includes himself) in the frame to introduce the concept. Then, he begins to sing-talk in a stream of consciousness manner about the history of his musical projects and their intersection with his life. Slowly the pictures start to make sense and reflect the words–punctuated by swells of percussion, additional vocals, and more distorted instruments. This goes on as one unbroken song for a mesmerizing 45 minutes.
11. songs – Adrianne Lenker
Indie Folk
Adrianne Lenker is quickly becoming one of the most prolific artists in indie music, having written two albums last year with her band Big Thief and another two this year as solo projects. Released concurrently with instrumentals (an album so sparse it may well be ambient), songs is an acoustic suite consisting of little more than a guitar and Lenker’s beautiful voice. The album was conceived in a similar way to Bon Iver’s now classic For Emma, Forever Ago–in the aftermath of a breakup the composer isolated herself in a cabin and poured her heart into her songwriting. The resulting music evokes a fragile sadness and intense sense of longing.
10. What’s Your Pleasure? – Jessie Ware
Dance-Pop
Jessie Ware was in rare form this year, with danceable, disco-inspired grooves filling her fourth album from cover to cover. While not the most energetic dance music, each song pulses with an infectious beat bolstered by Ware’s airy and seductive singing. The crisp production lends itself well to the sleek city pop sound, complete with funky bass lines and eighties-like synth runs. The album even manages to maintain a comfortably consistent tempo without sounding samey, adding to its value as a self-contained set for the dance floor.
9. Descendants of Cain – Ka
Abstract Hip Hop
A veteran firefighter pushing 50 is an unlikely identity for a rapper in 2020, but that didn’t stop Kaseem “Ka” Ryan from quietly releasing one of the most pensive and poetic albums of the year. With largely self-handled production, Ka builds a bleak sound that emphasizes the weight behind his lyrics using unorthodox instruments for hip hop such as strings and wah-wah guitars. The lyrics are indeed heavy: flowing as naturally with street slang as with heady biblical references, he weaves a personal history characterized by misfortune and violence. Still, the album ends on a positive note, with “I Love” expressing gratitude towards his wife, mother, and best friend.
8. Shore – Fleet Foxes
Indie Folk
Fleet Foxes really played to their strengths with their latest album–gorgeous vocal harmonies, complicated song structures, and an upbeat acoustic sound make this entry just as strong as any other in their catalogue. What sets Shore apart, though, is the abandonment of the quiet melancholy of past efforts such as Helplessness Blues for a more uplifting tone. Even in its most energetic moments the album cultivates a gentle atmosphere, and the more restrained songs strive for a feeling of calm rather than gloom.
7. After Hours – The Weeknd
Synthpop
The Weeknd’s After Hours represents one of the artist’s most successful efforts to date, with the album reaching no. 1 in the U.S. and the single “Blinding Lights” topping charts in 34 countries. A distinct 80’s influence does not prevent the music from sounding fresh, with immaculate production handled by longtime collaborator Illangelo, trap master Metro Boomin and pop veteran Max Martin. Overall the album has a ethereal and spacious sound, with booming bass and the singer’s trademark falsetto perfectly complementing the layers of synths that form the core of each song.
6. Punisher – Phoebe Bridgers
Indie Folk
Punisher is for the most part a quiet and weary record, but a sinister undercurrent flows through what are already somber folk songs. Bridgers’ delicate voice and emotive lyricism are the focal point in every song, but hiding in the background something might be off–ghostly backing vocals, an out of place chord, or some unusual distortion–that adds even more tension to her sardonic singing. The languid midsection is bookended by two livelier tracks: “Kyoto,” a fun-sounding indie rock song that belies an intense animosity towards her estranged father, and “I Know The End,” an apocalyptic number whose self-effacing lyrics are mirrored by a cacophony of discordant horns and shouting from the various people who were featured on the album.
5. RTJ4 – Run The Jewels
Hardcore Hip Hop
Run The Jewels return as the standard bearers of contemporary protest music with another album of hard-hitting, fast-paced, in-your-face hip hop. El-P’s off the wall production is as boisterous as ever, providing a backdrop of unrivaled intensity to the duo’s most political album yet. The chemistry between he and Killer Mike has already made RTJ one of hip hop’s all time greatest two piece outfits, and this album only solidifies their consistency.
4. The Slow Rush – Tame Impala
Synthpop
The first album from Tame Impala since 2015, The Slow Rush builds on the dramatic shift in the band’s sound established with Currents. Gone are the guitar driven rock songs that launched Kevin Parker’s career, replaced by synth-forward grooves rooted in drums and bass (of course, it wouldn’t be Tame Impala without a generous dose of psychedelia, and that element is certainly retained). Parker, who writes, records, and produces all of the music himself, left behind one other aspect of his earlier albums: the dissociative malaise that was the central theme of Innerspeaker and Lonerism. 2020 finds him more confident in himself and his work and, while inner turmoil remains prevalent in his lyrics, the songs are more positive in tone than ever before.
3. We Will Always Love You – The Avalanches
Nu-Disco
The past two releases by The Avalanches have been album-oriented packages of good vibes dance music, and so it’s no surprise that their latest effort falls in the same vein. This time The Avalanches (currently consisting of Robbie Chater and Tony di Blasi) venture into space, with many of the songs making liberal use of cosmic imagery. Unlike the others, though, We Will Always Love You is not nearly as sample based and so deviates from the plunderphonics style of Since I Left You and Wildflower. Turnaround time was apparently more of a consideration for their third album, so instead of collecting thousands of samples, Chater and Di Blasi were more willing to provide their own instrumentation and relied on a veritable wealth of featured talent to augment their grooves. Make no mistake though–despite the guest list this is still very much an Avalanches project, with the album sounding remarkably cohesive as it meanders between bouncy synth beats, upbeat funk, and old-school house styles.
2. Purple Moonlight Pages – R.A.P. Ferreira
Jazz Rap
Rory Allen Philip Ferreira seems like one cool dude. He owns the only record store in Biddeford, Maine, out of which he operates his own record label, Ruby Yacht. He released three albums on this label under the stage name Milo (including 2015’s So The Flies Don’t Come), but Purple Moonlight Pages is the first under the initials “RAP”–fitting since he has cemented himself as one of the premier jazz rap emcees of today. On this album in particular, the jazzy beats Ferreira flits over are built not from samples but largely from live instrumentation provided by The Jefferson Park Boys (among whom is past collaborator and producer Kenny Segal). Whether backed by spaced-out Rhodes or energetic horns, the rapper maintains his cool throughout this relaxed but cerebral work of art.
1. The New Abnormal – The Strokes
Indie Rock
The Strokes returned to form with The New Abnormal, their first full-length release since 2013’s Comedown Machine. In some ways it is reminiscent of their first album–a collection of relatively straightforward rock songs backed by extremely solid songwriting and tight interplay between the instrumentalists. However, 20 years is a long time to spend making music together, and the growth of the band is undeniable: the riffs are spicier, the tones are more varied, and the lyrics are more mature. Still, the songs are rooted in a simplicity that has added to the band’s listenability since the start of their career.
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