Top 50 Albums of 2020
Here are my 50 favorite albums of 2020, in order (roughly).
#50 Ariana Grande - positions // R&B-Pop
I like this album, okay? Leave me alone. Are all the tracks on the same level as thank u, next? No. Of course not. But damn me if this album isn’t a good time. Aside from a couple of dudes (the song with The Weeknd and obvious), I find that I enjoy the whole bedroom R&B vibe quite a bit, especially when Ariana leans into the funkiness, like in love language. Her lyricism is still painfully mediocre, and some of the autotune makes her sound like C-3PO, but the sensual, steamy energy this album emits cannot be understated. This pop album is a damn good time.
Favorite Tracks: shut up, 34+35, motive, my hair, love language, positions, pov
Least Favorite Track: off the table
#49 Action Bronson - Only For Dolphins // Sample-Based Hip-Hop
Bronson’s uninhibited boastfulness never ceases to make me smile. While a lot of rappers may come off as insecure and whiny when they brag (I’m talking to you, Nav), Bronson does it in such a lighthearted way that I can’t hold it against him–he’s a confident cook. I can respect that. If rappers were RPG characters, Bronson must’ve invested 90% of his points into charisma. However, as for everything else? Uh. Well… let’s just say this album is more of a dope vibe than a display of rap skill. The flows are so-so and the lyrics, while cute, aren’t the most captivating. I’ll give Bronson major props for his beat selection though, the sonic palette is a chef’s kiss (no pun intended), and the dolphin noises that play at the beginning and end of the album are hilarious.
Favorite Tracks: Capoeira, Latin Grammys, Splash, Sergio, Cliff Hanger
Least Favorite Track: Hard Target
#48 Natalia Lafourcade - Un canto por México, vol. 1 // Latin Folk
This album is like a healthy salad for the soul. The soft plucking guitars, Natalia’s tender and resonant voice, and the background mariachi accompaniment… it all comes together to create something beautiful. Even though the runtime is excessive, I feel like this is one of those records you can throw on shuffle in your room and just let wash over your soul. It’s one of those records I play when I just need a breather from life. And these days, the breathers come all too often. Natalia’s voice is angelic but human at the same time. And the mix makes it so that it’s almost as if her voice is talking directly into your ear. It’s not intrusive, though. It’s sweet. Despite overstaying its welcome slightly, this album is perfect for getting lost in.
Favorite Tracks: Mexicana Hermosa, Veracruz, Una Vida, Ya No Vivo por Vivir, Mi Religion, Sembrando Flores, Cucurrucucu Paloma
Least Favorite Track: N/A
#47 Chris Crack - Washed Rappers Ain’t Legends // Weird Rap
One thing you cannot say about Mr. Crack is that he lacks personality. With song titles like “Face Sitting and Frank Ocean,” how could this album be anything less than a 10? Well, in spite of the fact that Mr. Crack delivers his bars like a raving homeless guy tripped out on methamphetamine, the lyrics themselves aren’t that sticky. I mean, sure, they’re somewhat quotable, and the beats are a vibe and a half–but the album could use a stronger sense of direction. Nonetheless, this is the first Chris Crack album that I’ve ever enjoyed from front to back, so I’m excited to see what his next five albums in 2021 are gonna be like.
Favorite Tracks: All Cops Are Bitches, Mase in the Range Rover, Same Story Different Just Names, You Don’t Know Timmy Thick
Least Favorite Track: Face Sitting and Frank Ocean
#46 U.S. Girls - Heavy Light // Art Pop
Never has an album been so crackly, so lofi, but so grandiose at the same time. The songs on here feel grand and spectacular, but the way they’re recorded makes you feel like you’re hearing an old tape recorder that you’ve discovered in your attic. There’s a mystery here, but you’re too wrapped up in the eclectic melodies to pay much attention to it. That’s how I feel listening to U.S. Girls in general. All of her projects have a similar flair for the enigmatic, whether it be the sparse, noisy tracks off of her older records or the more flamboyant, lively songs off of her most recent couple of joints. Either way, when you listen to this album, you’re in for a strange but inviting experience.
Favorite Tracks: 4 American Dollars, Overtime, State House, And Yet It Moves, Denise Don’t Wait
Least Favorite Track: Red Ford Radio
#45 Tricot - 10 // Math Rock
The highs are so goddamn high. Tricot’s take on math rock is very welcome, because they manage to combine highly technical instrumentation with emotional potency. I can’t understand a single word uttered, but the melodies are so fun and so melancholy that I can’t help myself. But even though the highs are high… the lows are very low. I guess that’s just the universe at work. There are a few painfully tedious tracks on this album that really take me out of the momentum and leave my ears in limbo. Nonetheless, this is still a quirky, fun math rock album, and one that I would recommend to anybody who likes anime intro sequences.
Favorite Tracks: The song titles are in Japanese
Least Favorite Track: idk
#44 Moodie Black - Fuzz // Rap Metal
If you want an album that grinds your ears into dust, that pulverizes your brain into a pulp, that smothers your senses, that inspires amateur journalists to start their reviews with run-on sentences, then this album is for you. The industrial/’metal’ production on this thing is unforgiving–there is NEVER any respite. The overdrive is merciless, and I had to take a few breaks while listening to it because it was just so goddamn saturated. I swear to god my headphones were overheating a little too. If I were more into metal rap I feel like this would be higher, because the bars are dope, and the production is ridiculously hard. Unfortunately for Moodie I’m more of a soul lofi guy–nonetheless I can appreciate this project for what it is; rough sex with my eardrums.
Favorite Tracks: feels, picket fence, jesus bound, no mames, ceiling fans, am i bad, instant meme minor purge
Least Favorite Track: look me in my face
#43 Lido Pimienta - Miss Colombia // Digital Cumbia
This album is otherworldly. I know I’ve thrown a lot of adjectives at you all throughout this countdown, but there’s no other word to describe Miss Colombia. The way it blends the kind of music I would’ve heard in my capoeira lessons (cumbia) with synthetic pop is unlike anything I’ve ever heard. Lido’s voice is powerful, punctuating the highly percussive and minimalistic production with potency. She still sounds soft though, like an angel descended from the moon, or something. And despite the digital, synthetic nature of the first half of the record, it’s abundantly clear that Lido seeks to represent Colombia’s indigenous musical style with grace. My only issue with the record is that it’s often too minimalistic for me. But any Spanish speakers will enjoy this album far more than I did.
Favorite Tracks: Eso Que Tu Haces, Nada, Te Queria, No Pude, Quiero Que Me Salves, Resisto Y Ya
Least Favorite Track: Para Transcribir (LUNA)
#42 Horse Lords - The Common Task // Math Rock
Here’s my obligatory snobby math rock pick for the year. Look at me, folks, I’m messing with an 18 minute long track. Please praise my genius. Anyway, this album is mesmerizing in just how detailed the instrumentation is. It sounds like it’s being played live, but on an array of alien instruments. Seriously, this album sounds like it’s coming from some alien soundboard. And these aliens must be sophisticated as hell, because every track has a remarkable degree of progression. Like I said, I enjoyed an 18 minute song. That doesn’t happen on accident. Each track is perfectly paced and has a natural buildup, climax, and denouement. The only reason this isn’t higher is because I’m not HUGE on some of the sonics. But if you’re into progressive rock with some wonkiness thrown in–you’ll dig this.
Favorite Tracks: There’s literally five songs
Least Favorite Track: N/A
#41 Miley Cyrus - Plastic Hearts // Pop Rock
Believe it or not, Miley’s voice actually suits the 80’s rock sound she’s trying to emulate, and it fits surprisingly well. The woman’s talking voice sounds like a 40 year old gas station attendant who’s spent the last 20 years chain smoking cigarettes, so yeah, I’d say she’s got the grunge needed to truly elevate pop rock–to rock pop. There are a couple of missteps–I’d say the slower songs like High compromise the rhythm of the album quite a bit. However, despite its occasional mistakes (which can be forgiven, because after all–it is the former Disney star we’re talking about here), Plastic Hearts is a whole lot more enjoyable than I ever thought it would be. I highly recommend this album to anyone who’s been enjoying the 80’s kick that’s been thrumming through the pop sphere right now. This album should be right up your alley.
Favorite Tracks: WTF Do I Know, Plastic Hearts, Angels Like You, Midnight Sky, Hate Me, Golden G String, Edge of Midnight
Least Favorite Track: High
#40 SAULT - Untitled (Rise) // Dance-Soul
Not only does this enigmatic band bring me to my feet with infectious dance grooves, not only do they blend soul, spoken word, funk, and dance effortlessly, but they also deliver two companion albums with much-needed messages. This album, for me, is a soundtrack to political revolt. But not in the way you might suspect. For one, it takes a tone of healing and repair as opposed to a more visceral “fuck the gov” (both approaches being valid), which lends it some danceability. Unlike its companion album (Black Is), Rise can be listened to on a surface level. Because it’s catchy and it’s groovy. Again, I have to give a lot of credit to the vocalist here, her voice is so unique. This is a really appropriate album for the year in general, and I’m glad we have it.
Favorite Tracks: Strong, Fearless, I Just Want to Dance, Street Fighter, Free, Uncomfortable, No Black Violins In London, Scary Times, Little Boy
Least Favorite Track: You Know It Ain’t
#39 Backxwash - God Has Nothing To Do With This Leave Him Out Of It // Rap Metal
There’s something highly unsettling about this album. Maybe it’s the anguished cries in the Ozzy Osbourne sample that plays in the opening moments. Maybe it’s the demonic, hellish beats. Maybe it’s the vitriolic bars that Backxwash spits (no pun intended). Whatever it is, it’s gripping. I found it difficult to become distracted while listening to this thing. Backxwash sounds like a witch, at work brewing evil potions and crafting voodoo dolls, chanting densely packed rhymeschemes and repetitive refrains. If you like your rap with an edge of black magic, you’ll like this record.
Favorite Tracks: God Has Nothing To Do With This Leave Him Out Of It, Black Magic, Black Sheep, Redemption
Least Favorite Track: Hell’s Interlude
#38 Declan McKenna - Zeros // Glam Rock
It’s overblown to bits but I don’t care. I have to admit I get a lot of satisfaction from hearing Declan McKenna melodramatically wail over energetic glam rock instrumentals. His vocals are infectiously boisterous. This album sounds like a night out doing crazy shit with a bunch of your friends. I had a friend who jumped off of a bridge for fun (It wasn’t high, don’t worry), and for some reason, this album reminds me of him. It knows how to have a good time, and it’s entertaining. Some of the tracks are mixed horrendously, but like I said, I can excuse it because the album is trying to put you into the crazy fun rocker vibe. And it does that pretty well.
Favorite Tracks: You Better Believe!!!, Be an Astronaut, Daniel You’re Still a Child, Emily, Twice Your Size, Eventually Darling
Least Favorite Track: Sagittarius A
#37 King Gizzard & The Lizard Wizard - K.G. // Psychedelic Rock
This album is its own little pocket universe. When I listen to it, the continuous flow of one track to the next transports me to another dimension. Like many Gizzard records before it, this one knows the universe it’s building and toes a consistent line throughout. Another touch of influence that I appreciate is the Middle Eastern flair that a few of the tracks on here have. It’s an odd addition to any Gizz record but it works in spades here, further amplifying the distinct world that the band crafts. The problem with the record lies not with its collective strength, but with its individual strength. Because the songs all sound connected, there are very few that truly stand out on their own. But the few that do are fantastic.
Favorite Tracks: All of them (collectively)
Least Favorite Track: N/A
#36 Jean Dawson - Pixel Bath // Indie Rap
I think this album’s title is appropriate. I certainly feel like I’m being drowned in pixels while listening to it. That’s a compliment. I’m saying I feel immersed. Sure, my lungs won’t be able to handle it, but what’s a little pneumonia to enjoying a well-executed blend of indie rock, punk, and hip hop? Above all else, I’m curious to know more about Jean Dawson. This album came out of nowhere for me. It hits like a freight train and feels like an immersive video game. The pacing is airtight as well. It’s not just a constant stream of noise. There’s NUANCE. I’ve run into too many damn indie rap albums that throw nuance to the fucking wind. Not this one. For being such a ‘new artist’ Jean seems to know what he’s doing.
Favorite Tracks: Devilish, Triple Double, Shiner, Bruiseboy, 06 Burst, Starface, Policia, Power Freaks
Least Favorite Track: Poster Child
#35 HOWES3 - Moving Forward // Neo-Jazz
Smooth and eloquent, this is the kind of album to throw on when you’re in the mood to nod your head and think about job opportunities. This album feels shorter than it is, and it’s only 35 minutes. I think it’s because the soft-spoken, contagious jazz instrumentation isn’t dragged on. It’s brisk and doesn’t overstay its welcome. But don’t get it twisted. Unlike other lounge jazz variants, HOWES3 know how to keep the listener engaged. There’s plenty of high-energy, climactic hooks to go around. Not vocal hooks, maybe. But the aggressive keys and the snazzy synthetic horns do more than enough to get me into a mood and a half. With their razor sharp blend of jazz, hip hop, R&B, funk, and dance, HOWES3 has made one of the best instrumental albums I’ve heard all year.
Favorite Tracks: Intro, Moving Forward, Lucid, Avenue, Too Many Kicks,
Least Favorite Track: TBC
#34 Asher Roth - Flowers on the Weekend // Caucasian Rap
Contentment. That’s the word that I would use to describe this album. Asher gave up his chance to become a multi-millionaire pop rapper when he didn’t pursue the whole I Love College sound, but it sounds like he’s happy with that decision. The superstar life wasn’t for him. This sounds more like the soundtrack to a life spent outside the blinding lights of the city, in a small town, just keeping one’s mental health in check. It’s hard to deny how at peace Asher sounds throughout the album. It’s infectious. His lyrics might not be the most complex or interesting, but his casual charm and ear for funky but poppy hooks elevates this album considerably.
Favorite Tracks: Things Change, Flowers on the Weekend, Way More Fun, Spaceship, Back of the Class, Mommydog
Least Favorite Track: Still Got Some
#33 Annie - Dark Hearts // Dream Pop
I have to admit, this is one of the more conflicted picks on my list. On one hand… this is such a campy album that I struggle not to gawk at it. But at the same time… Annie creates such a vivid, dreamy atmosphere that I can’t NOT be impressed. So ultimately my enjoyment of the album supersedes my conflicted feelings about shadowy synthpop. This whole album is a bit of an enigma. It’s only 54 minutes but it feels like 2 hours. And again, I find myself confused about how much I enjoy it. I don’t mind longer songs, but at the same time… I don’t think this album is for everyone. I’ll leave it at that. There’s some post-apocalyptic dream pop, there’s a couple of vaguely Americana cuts, and plenty of 80’s sounding pop tunes, but one thing this album does resolutely well is create an aura.
Favorite Tracks: The Streets Where I Belong, Dark Hearts, Miracle Mile, American Cars, The Bomb, It’s Finally Over
Least Favorite Track: Corridors of Time
#32 ARTHUR - Hair of the Dog // Glitchy
What a bizarre album this is. 27 minutes of pure weirdness. It sounds like a bunch of children’s lullabies gone horribly wrong. I mean, sure, there’s one solid rap guest verse from Caleb Giles, but aside from that, Arthur is left to his own devices; those being his creepy yet endearing tenor and his instrumentals, which feature a medley of strange, wistful melodies and glitchy percussion. But like I said… there’s something delightful about the outlandishness of it all. I can’t describe it in words. You’re just going to have to listen to it for yourself. This is without a doubt the weirdest album I’ve heard all year. But it’s catchy!
Favorite Tracks: 8 Melodies, Feel Good, I Don’t Want To Talk To You, Something Sweet, William Penn, You Are Mine
Least Favorite Track: Simple Song
#31 HMLTD - West of Eden // Post-Punk
Picture this. You’re standing on the precipice of a once-vibrant civilization. Part of you is consumed by hysterical fury that you’re in this position to begin with, and the other part of you is relieved that it’s all over. West of Eden represents both ends of the spectrum. It celebrates the collapse of Western civilization and mourns its inevitability. All with the cutthroat efficiency of punk and with a lackadaisical hysteria that offsets the more aggressive moments. It’s a thrill from beginning to end, and I just wish there were fewer musical interludes. There’s a few songs that just kind of go nowhere, leaving the tracklist a bit scatterbrained. Nonetheless I am very much intrigued to see where this band goes from here.
Favorite Tracks: The West Is Dead, LOADED, To the Door, Mikey’s Song, 149, Where’s Joanna?, Death Drive, Blank Slate, War Is Looming
Least Favorite Track: Why?
#30 Boldy James & Real Bad Man - Real Bad Boldy // Old School Hip-Hop
Boldy has really never sounded bouncier. He’s dropped four albums this year, and this is without a doubt his most enjoyable, for me. It sounds like a classic boom bap album, and Boldy’s effortless, almost deadpan charisma elevates the record further. He sounds slick without trying, over these fast tempo beats (for Boldy, at least), which is something I thought was missing from Boldy’s other projects. Sure the dude can rap his ass off, but without a beat that grabs my attention his bars go in one ear and out the other. Real Bad Man gives Boldy a firm and delicious base on top of which he can spit his heart out. I really hope this isn’t the last time these two cross paths.
Favorite Tracks: Light Bill, Thousand Pills, Failed Attempt, Little Vicious, Street Shit, Good Foot, Champion
Least Favorite Track: Real Bad Boldy
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#29 HAIM - Women In Music Pt. III // Soft Rock
This album hits different when you’re walking down a sunlit suburban street, awaiting summer vacation with your fingers crossed. The soft rock is catchy as hell while still being refreshingly organic. It sounds like the sisters Haim are playing this in a garage with the door open, and it gives the record an inviting presence. Like you’re talking to the girl next door about life. There are a few duds on the album, no doubt, and the lyrics are…middling, at best. But I can’t deny that songs like Don’t Wanna and 3 AM hit me like an especially powerful beam of sunshine. And I couldn’t ask for anything more suitable in a year like this one.
Favorite Tracks: The Steps, 3 AM, Don’t Wanna, Leaning On You, All That Ever Mattered
Least Favorite Track: I Know Alone
#28 Logic - No Pressure // East Coast Hip-Hop
If you told me in 2019 that not only was Logic going to retire–but that he would also drop the best album of his career–I probably would’ve stolen some of your silverware. But Logic really impressed me with this one. And I’m not even that big of an Under Pressure fan. I was altogether very mild on him. But the No I.D. production and classic backpack Kanye influence shines through, and Logic sounds like he’s discovered meditative clarity. He flows effortlessly over these smooth soulful beats, reflecting on his career and what it means to be at his level of fame. Oh, and there’s an entire song about shopping for diapers. Y’know. Dad stuff. This is the perfect album to go out on, and I’m glad Logic got his dues for it.
Favorite Tracks: No Pressure Intro, Open Mic, man i is, DadBod, Dark Place, A2Z, Amen
Least Favorite Track: Perfect
#27 Carly Rae Jepsen - Dedicated Side B // Synthpop
Ladies and gentlemen, here is the official Most Horny Album of 2020. It had some competition with the new Ariana Grande record, but ultimately I gave Carly the edge because she’s posing topless in the album cover. Interestingly enough, I found Side B to be a LOT more fun and smooth than Side A–I feel like this record leans more heavily into the 80’s summer synth vibe, which made this album feel more special and cohesive. I liked every track here, aside from Let’s Sort This Whole Thing Out (which is still decent), which sound like a cheap cell phone commercial. As a whole, Carly made a really fun album, and I have no doubt I’ll be having sex to the sound of this album for years to come (pun intended).
Favorite Tracks: This Love Isn’t Crazy, Window, Stay Away, This Is What They Say, Fake Mona Lisa, Now I Don’t Hate California After All
Least Favorite Track: N/A
#26 The Strokes - The New Abnormal // Indie Rock
It was only upon relistening to this album that I realized just how reminiscent it was of older Seattle bands I used to rock with. Stone Temple Pilots, Soundgarden, Pearl Jam. You name it. I haven’t listened to grunge in a minute, but this album took me back. And it made me realize just how badly I was missing the crushing, depressed sound. Don’t get me wrong, this isn’t an overtly depressing album. It just feels like it’s going through a tough time. This album is the friend of yours who you wanna hug–but you can’t. 9 fantastic rock tunes, and my only complaint is that a few of them go on for a bit too long, perhaps. Songs like Eternal Summer feel truly eternal, although I guess that was the point. Either way, this is a great album for sitting in your room and thinking about how shitty life can be sometimes.
Favorite Tracks: The Adults Are Talking, Selfless, Brooklyn Bridge to Chorus, Why Are Sundays So Depressing, Ode To The Mets
Least Favorite Track: N/A
#25 Nicole Mitchell & Lisa E. Harris - EarthSeed // Experimental Jazz
I listened to this on a whim because the cover captured my attention. The album is less a collection of songs than it is a extensive auditory experience, both unsettling and hypnotic in its nature. It’s easy to get lost in the puzzling array of sounds, the strange string sections and the primal vocals. The poetic verses read more like a flight of fancy than a grounded depiction of…well, anything. It’s easily the weirdest album I’ve heard all year, and it’s not one that I would just recommend to anybody.
Favorite Tracks: N/A
Least Favorite Tracks: N/A
#24 Nana - Save Yourself // Hardcore Hip-Hop
Dreamville…TDE… if you’re listening… SIGN THIS GUY. RIGHT NOW. I mean, he’s already got his Kendrick vibes down pat! His beat selection is eerily reminiscent of pre-TPAB Kendrick… and I’m not complaining. Nana matches the new wave of mainstream lyricism perfectly, and I have a good feeling about his career moving forward. This record is stellar. There’s no filler. There’s no wasted beat. The eerie, grim instrumentals are barren, leaving full responsibility to Nana. And he takes responsibility. He murders those beats in cold blood. But these aren’t just any tough guy tales. These are tales of vulnerability, of fear. Nana seems much more interested in expressing detailed scenarios rather than shallow boastfulness. And I respect that a lot.
Favorite Tracks: LA Times, King’s Blvd 2, On My Momma, Options, Out My Mind, Save Yourself
Least Favorite Track: N/A
#23 Jessie Ware - What’s Your Pleasure? // Disco
Remember how I said Carly Rae Jepsen had the horniest album of 2020? I take that back. Jessie Ware took that trophy, and is touting it proudly. She takes the summer aesthetic by the hips and forces it into the sweaty neon club atmosphere. Now, I’ve never been to a club, because I’m a glorified hermit–but I imagine that this album is representative of the clubbing experience. It’s HOT. It feels tightly packed, claustrophobic. This album invites you to get lost in the droning, catchy, reverberated percussion. It beckons you into a humid, multi-layered, lush synthy paradise. Overall, I admire how far Jessie leans into the 80’s disco aesthetic. She embraces it, cheese and all.
Favorite Tracks: Spotlight, What’s Your Pleasure?, Ooh La La, Read My Lips, Mirage, The Kill
Least Favorite Track: N/A
#22 R.A.P. Ferreira - Purple Moonlight Pages // Jazz Rap
Soft-spoken and subtle, odds are you’re not going to understand a single thing Ferreira says here. And it’s not that his voice is unclear, no. In fact, Ferreira speaks with exceptional clarity. I can understand the WORDS, no doubt. But the lyrics? Hell fucking no. But ultimately, I don’t mind the mind-crunching pen-game. Maybe if the beats were horrible I would, but Kenny Segal, being the absolute GOAT that he is, makes sure that every track is jazzy and contemplative, to not only suit Ferreira’s philosophical musings, but to just be a really damn pleasant experience. Ferreira’s bars are almost like a good book. The more you read it, the more EUREKA moments you’re going to have. When I first listened to the album, I didn’t understand jack shit. But now I can catch a couple of zingers here and there. Even if they are the nerdiest zingers of all fucking time.
Favorite Tracks: GREENS, NONCIPHER, LAUNDRY, CYCLES, ABSOLUTES, NO STARVING ARTISTS, LEAVING HELL, DOLDRUMS, AN IDEA IS A WORK OF ART, GOLDEN SARDINE
Least Favorite Track: DECORUM
#21 Gorillaz - Song Machine, Season One: Strange Timez // Alternative
It’s hard to discuss this album as one cohesive project because… it really isn’t. It’s a collection of tracks made with an eclectic assortment of collaborators. I mean, you’ve got Elton John on the same track as 6LACK. That’s something to behold. Each song is almost like a completely different experience. Sure, there’s that smokey Gorillaz vibe that threads each song together, but there’s a monumental difference between Pac Man (which features effortlessly smooth ScHoolboy Q) and Desole (which sounds like a 50’s jam transposed into the year 2300). Overall I’m impressed with Damon’s level of ingenuity. Not everyone can put together Slaves and Slowthai and make it fantastic.
Favorite Tracks: The Valley of The Pagans, Pac-Man, Chalk Tablet Flowers, The Pink Phantom, Aries, Desole, Momentary Bliss
Least Favorite Track: Friday 13th
#20 Rina Sawayama - SAWAYAMA // Pop Rock
If there’s one thing that can be said about Rina Sawayama, it’s that she’s mastered the art of presentation. Like Megamind, I have no doubt that she could lay a city to waste and still be as charming as ever. Her range and intensity come through from the very beginning. There are very few moments where she allows the listener any respite from the ferocious bubbly passion that dominate her nu-metal imbued pop performances. And I wouldn’t have it any other way. This album provided a wildly contrasting excursion from the synth-dominated pop releases of 2020. I think I actually have to give this project most of the credit for changing my mind on pop music. Because not only does Rina know how to hit like a spaceship… she’s also not taking herself too seriously. And I love the duality. This is arguably the pop release of the year, no doubt it.
Favorite Tracks: Dynasty, XS, STFU!, Comme des Garcons, Akasaka Sad, Love Me 4 Me, Who’s Gonna Save U Now?, Chosen Family
Least Favorite Track: Fuck This World
#19 Poppy - I Disagree // Bubblegum Metal
You know you’re in for a ride when an album opens up with a metal riff followed by the most high-pitched chick in the world singing with a bubblegum timbre. And that’s exactly what I Disagree is. A concoction of synthetic, glossy pop, and demonic metal. As someone who’s not a metalhead, this album was extremely fun, because Poppy knows how to provide contrast to the oppressive aggression of the heavy electric guitars. There are equal moments of levity to balance out the moments of unfiltered acidity. Poppy screams out her frustration with the music industry with vitriol. All in all, the record feels cathartic in a sense, and on top of that it’s just a fun listen.
Favorite Tracks: Concrete, I Disagree, BLOODMONEY, Anything Like Me, Bite Your Teeth, Don’t Go Outside
Least Favorite Track: Nothing I Need
#18 IDLES - Ultra Mono // Post-Punk
Sure, the lyrics are corny as fuck. Sure, they’re about as deep as a celebrity tweet. And sure, I have no idea what the cover is saying. But come on. It’s so obvious these guys are having a ton of fun with these songs. The political messages aren’t leaving wounds or anything, but man, I can’t tell you how DELIGHTFULLY rambunctious this album is. If I were the kind of person who went to concerts, I would love to see it live, because the vocals are bombastic and playful, and it’s just a lot of fun to listen to. The songs aren’t just fun for thrashing your hair around, they’re pretty damn sticky too. I’ve sung the Model Village hook at least forty times by now. Or maybe it was forty-one. Who knows?
Favorite Tracks: War, Grounds, Mr. Motivator, Kill Them With Kindness, Model Village, Ne Touche Pas Moi, Reigns, Danke
Least Favorite Track: A Hymn
#17 Fiona Apple - Fetch the Bolt Cutters // Chamber Pop
For years, Fiona Apple wrote and sang about her internalized insecurities, thrust upon her by a patriarchal society. She wrote about gender roles, and about women’s place in said roles. Yet up until this album, I’d say her music was on the tamer side. Certainly not mainstream, but definitely not boundless in its expression. Fetch the Bolt Cutters is, similar to what its title suggests, the clipping of the chains. Its Fiona at her rawest, with some of the most eclectic instrumentation I’ve ever heard. The recording quality isn’t pitch perfect. In fact, it’s far from it. There are dog barks to be heard, odd rhythms, and Fiona singing like a beached dolphin in the first track. It’s a mess, in the best possible way. Your enjoyment of this album will probably come down to your enjoyment of the instrumental choices. But if you’re anything like me, the poignant and cutting lyricism will grip you from the get-go.
Favorite Tracks: I Want You To Love Me, Shameika, Fetch the Bolt Cutters, Under the Table, Relay, Newspaper, Ladies, Heavy Balloon, Cosmonauts, For Her, Drumset
Least Favorite Track: N/A
#16 Conway the Machine - From King to a GOD // East Coast Hip-Hop
My biggest critique of Griselda has always been the samey production. But what happens when you strip the repetitiveness away, and replace it with a polished, yet grimey soundscape? You get an ascension to godhood. Well, rap godhood. This album sees Conway realizing his artistic potential–I’m of the opinion that he’s the most skillful member of the Griselda bunch, and this album solidified it for me. The braggadocio is entertaining and charismatic. Despite the fact that I can’t relate to the direness of Conway’s upbringing, the heartfelt moments, like Forever Dropping Tears, move me, and I nearly cried listening to the track. I’m very much impressed with Conway’s progression as an artist, and the cohesion of this album makes it a standout in modern NY revival.
Favorite Tracks: From King, Dough and Damani, Juvenile Hell, Front Lines, Seen Everything But Jesus, Forever Dropping Tears
Least Favorite Track: Fear of God
#15 Mr. Muthafuckin’ eXquire - Confessions of a Sex Addict // Experimental Hip-Hop
I’m almost ashamed of how much this album resonates with me. The way eXquire portrays his addiction makes me uncomfortable, because it hits too damn close to home. I’ve never felt such an acute, searing shame before, not from music at least. Like Danny Brown, eXquire found a way to portray something that’s all too commonly discussed in hip hop (for Danny it was drug use, for eXquire it’s sex) and analyze it deeply. He reflects on his porn addiction, his addiction to using women, his inability to form meaningful relationships with women, and perhaps most gut-wrenching–the final track; Letter to My Unborn Child. I can barely listen to that one without my heart sinking to my stomach. This is an uncomfortable album, but I can’t pretend it didn’t help me better understand my own issues.
Favorite Tracks: Oya and the Dream, Erase My Browser History, WELLFUCKITTHENIMADOITANYWAY, AVA (Letter to my Unborn Child)
Least Favorite Track: N/A
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#14 Lianne La Havas - Lianne La Havas // Neo-Soul
What a beautiful album. This album is easily the most delicate, soulful thing I’ve heard all year. I guess I didn’t know how badly I needed some neo-soul in my life, but Lianne delivers in spades. The soft percussion creates a serene yet sensual atmosphere, and while I was listening to it in my bedroom I frequently lost myself dancing–despite the fact that my dancing abilities are comparable to that of a hairless tarantula. And of course, the lush, yet easygoing melodies brought me into a meditative lull. It was like being serenaded by an angel while tripping out on laughing gas. I swear that’s a good thing. Either way–I think all of us need a little bit of soul in our lives right now, and this album is the perfect fix for that.
Favorite Tracks: Bittersweet, Read My Mind, Can’t Fight, Weird Fishes, Please Don’t Make Me Cry, Seven Times
Least Favorite Track: Green Papaya
#13 Quelle Chris & Chris Keys - Innocent Country 2 // Jazz Rap
I guess that this album really does sound like a TV show, as indicated by the cover art and the intro and outro of the album. In contrast to the first season of Innocent Country, season 2 packs more of an emotional gutpunch. Quelle and the various features cover all sorts of topics, ranging from finding contentment, black entertainment, nostalgia, and relationships. It feels more like a large assortment of tracks than it does a cohesive narrative. An anthology series, if you will. Chris Keys comes through with some outstanding production, fully living up to his name… because the keys are awesome. The chord progressions are addictive. The vocal mixing could use some work, but Quelle sounds as focused as ever, and his scratchy, low-key voice never gets old. And the enormous guest list delivers as well–with Earl Sweatshirt giving us one of his best verses to date. In every aspect, this album delivers as a sequel to a quirky original.
Favorite Tracks: Outro/Honest, Living Happy, Sacred Safe, Bottle Black Power Buy the Business, Black Twitter, Sudden Death, Graphic Bleed Outs, Mirage, When You Fall…
Least Favorite Track: Ritual
#12 Sufjan Stevens - The Ascension // Indietronic
The Ascension presents an ethereal technoscape, one that at first didn’t interest me particularly. But with each subsequent listen, I grew fonder and fonder of each song. Every track comes together to create something special. The quiet passages only make the vibrant choral climaxes more powerful. The Ascension is one of those albums that I would describe as more of a holistic experience than a collection of tracks. Nothing wrong with either, I’m just saying that if you’re gonna throw this thing on–you’d be advised to listen all the way through. Because of its scope, there are a handful of tracks that go on for slightly longer than they should. But it’s still one of those albums that I would feel wrong putting on shuffle, or not listening to as a full experience. The record is biblical in its breadth, but even the Bible’s a mixed bag.
Favorite Tracks: Make Me an Offer I Cannot Refuse, Video Games, Tell Me You Love Me, Die Happy, Landslide, Sugar, America
Least Favorite Track: The Ascension
#11 21 Savage & Metro Boomin - Savage Mode II
I swear, with every consecutive listen, this album grows on me more and more. And I’ve listened to it twice. Let’s address the elephant in the room. The cover? I don’t want to hear a single fucking word about it. It’s gaudy and by god, it’s gorgeous. No other opinion is relevant. I’ve got a big soft spot in my heart for 21’s style, because his music helped me bond with a good friend of mine. So maybe I was fated to enjoy this thing, but hell, that’s just destiny at work. Metro’s simple, yet sinister and even slightly vintage beats create the perfect vibe for 21 to rap his ass off. And holy shit have his flows improved. No longer does he use the exact same flow for an entire verse. No sir. 21 frequently switches things up, as do the song topics…between love and the streets. But I’ll take it. Because these are just some hard ass songs, and they go perfectly with pretty much any mood I’m in. Here’s to a sequel that trumps the original.
Favorite Tracks: Glock In My Lap, Mr. Right Now, Rich N**ga Shit, Many Men, Snitches and Rats, No Opps Left Behind, RIP Luv, Said N Done
Least Favorite Track: N/A
#10 Your Old Droog - Dump YOD: Krutoy Edition // Jewish Rap
The yid in me rejoices at the fact that not only does Droog rap about being Jewish, he themes the entire album’s aesthetic around it as well. These are some of the weirdest beats I’ve heard in a minute. It sounds like polka blended in with rap, with a side dish of Polish convenience store music. And Droog makes it work, his flow impeccable as always. There are more quotables on this record than there are Jews in New York. I admire artists who have a clear vision and lean into it full-throttle. This is that. The track Matryoshka sounds like a mini-EP in of itself, with the beat switches every minute or so. It’s like a medley of Slavic Jewish pride. Droog celebrates his identity, playfully takes jabs at his naysayers, and sounds like a true mensch all the way through.
Favorite Tracks: Ukraine, New Religion, Matryoshka, Odessa, Malchiska Krutoy, Babushka III, Uzbekistan, Kyrgyztan
Least Favorite Track: N/A
#9 Freddie Gibbs & The Alchemist - Alfredo // Coke Rap
The Alchemist was once called a terrible chef by Action Bronson. I cannot attest to Alc’s skills in the kitchen, but if his beat cookups are of any indication, I want this man to prepare me some Italian-grade spaghetti every second day of the week. I have often criticized Alc’s style of production, but the elegant way he comes through on here perfectly sets the stage for Freddie’s grimy and glamorous bar festival. Dear lord, listen to his flow on 1985 and tell me he’s not one of the best to do it right now. He makes it sound effortless, too. I know that because I’ve tried to copy his flow on my own songs and I’ve yet to even come close. Nowhere is the holy matrimony of fanciful sample-flipping and bar-dropping more evident than on Something To Rap About, where Freddie employs Tyler for an enchanting tizzy about the ups and downs of being at their level. This is one of the most charismatic rap albums I’ve heard all year.
Favorite Tracks: 1985, God Is Perfect, Scottie Beam, Frank Lucas, Something to Rap About, Baby $hit, Babies & Fools, Skinny Suge
Least Favorite Track: N/A
#8 Sa-Roc - The Sharecropper’s Daughter // Conscious Hip-Hop
What an unexpected gem this album is. Straight out of the Rhymesayers labs, Sa-Roc feels like a woman genetically designed to be an emcee. And I mean that in the best way possible. This record is a masterclass in wordsmanship–the way Roc tears through the hypnotic, soulful instrumentals, the way she crafts a hook that keeps your attention if the bars themselves aren’t enough–my jaw was unhinged for quite a few moments on this tracklist. Her rhymes are dense, her flow is impeccable, and her voice has a raspy twang to it that infuses every verse with personality. She goes BAR TO BAR with BLACK THOUGHT and doesn’t sound fazed in the slightest. That’s what I call a top-tier emcee. Not only is Sa-Roc packing a lyrical shotgun–she’s got the ability to go in deep on systemic issues. She discusses her Virginian sharecropper family origins with poise and wisdom. There’s something very refreshing about her skill with the pen and her wit, and this album gives me goosebumps the whole way through.
Favorite Tracks: EmergencE, Gold Leaf, Rocwell’s America, Hand of God, Deliverance, Lay It Down, The Sharecropper’s Daughter, r(E)volution, Forever, Dark Horse
Least Favorite Track: Goddess Gang
#7 Run the Jewels - RTJ4 // Hardcore Hip-Hop
This album is ready to tear your fucking head up. Like it’s a ragdoll or something. El-P and Killer Mike mean business. In a year characterized by shitty government leadership, capitalist idiocy, and the oppressive boot of the blue-uniformed pigsty, RTJ4 came as a gritty anti-establishment nuclear bomb in June. And that’s what separates RTJ4 from its predecessors. Unlike previous showings–Mike and El have a razor-edged purpose. And that is to create the soundtrack to the revolution. Walking In The Snow features one of the most chilling rap verses I’ve heard in a long time. Killer Mike sounds like a king buried in gunpowder, spitting harsh truths about the cycle of black tragedy. If I had to characterize Mike and El, I’d say El is better at the cutting through the nitty-gritty details. Mike’s role is to give you the broad strokes. And make you understand a plight that’s been going on for centuries. And frankly? I’d advise you to hear it out.
Favorite Tracks: yankee and the brave, ooh la la, out of sight, holy calamafuck, goonies vs. ET, walking in the snow, never look back, a few words for the firing squad
Least Favorite Track: N/A
#6 Ka - Descendants of Cain // Abstract Hip-Hop
Somehow Ka manages to tie in the trials and tribulations of his upbringing to a religious tale as old as time. The sins of the father perpetuate the struggle between brothers. That’s the general message of the album–that black-on-black crime is comparable to the story of Cain and Abel. Using such an ancient metaphor demonstrates an understanding of legacy and environment. There’s also a clever double entendre here. Not only is Ka’s societal conflict a descendant of ‘Cain’ (the brother who turned on his brother), his society is a descendant of ‘caine. The crack epidemic that destroyed families and tore apart neighborhoods. Without the need for drums, Ka’s measured voice successfully keeps the rhythm, and my attention. It helps that the production is ornate and detailed. Ka’s stories are heartfelt, pessimistic, and bleak. I choked up a bit in the final track, where Ka pens a letter of gratitude to his mother, who put up with his misguided youth. It’s just a fantastic rap record overall.
Favorite Tracks: Every Now and Then, Unto the Dust, My Brother’s Keeper, Solitude of Enoch, The Eye of a Needle, Land of Nod, I Love (Mimi, Moms, Kev)
Least Favorite Track: N/A
#5 Serengeti & Kenny Segal - Ajai // Abstract Hip-Hop
I’ve never heard a more utterly bizarre rap album in my life. Gun to my head, I won’t be able to think of anything that tops what is essentially a corporate character portrait. The more that I read about Serengeti the rapper, the more intrigued I become. I don’t think there’s anybody who surpasses him as an enigma. This album centers around the streams of consciousness of a man named Ajai hyper-obsessed with the collection and resale of fashionable sneakers. Serengeti acts as Ajai’s inner thoughts, talking him through issues with the wife, with work, and with shoe drops. All of this is delivered over gloriously mundane Kenny Segal production. That’s a compliment. Because what Serengeti raps about isn’t fascinating in the slightest. In fact, I’d say this is one of the most boring rap albums I’ve ever listened to. So I guess you’re wondering why I love it so much. Well, it’s precisely for that reason. The character of Ajai is not interesting. At all. And that’s the point. Serengeti is mocking fashion culture, workplace culture, and suburban culture. It’s one of the most brilliant albums I’ve heard because it demonstrates such an acute level of character design.
Favorite Tracks: Don’t Wear That Suit Ajai, Summary, Ajai’s Cool Stuff, Romantic Paris, Ajai Finale, Check Kenny, Elaine, Jueles Trunk, Collab, Exhausted, Odouls x Portillos x Kools
Least Favorite Track: Kennys Ad
#4 Laura Marling - Song For Our Daughter // Singer-Songwriter
For me at least, this album was a grower, not a shower. It took a long time for each track to resonate with me. Laura’s voice is mellow. So mellow that you might mistake it for another element of the instrumentation. But it carries with it a timbre that’s both tongue-in-cheek and deeply melancholy. The recording is intimate. I feel like I’m being told a story before a fireplace. The writing is never so bleak that I feel depressed, but it is tinged with a deep sadness–like on the song Hope We Meet Again. I’ve said goodbye to a lot of friends, and the sentiment that Laura describes rings true to me. I feel like I should be grateful I was given the chance to get to know this record. I don’t mean to be sycophantic, but I promise you that this album’s qualities aren’t the kind that pop at you. The album is more like someone you meet on the road. You share some time together, you listen to each other’s stories. But eventually you have to say goodbye, and only afterwards can you understand the stranger.
Favorite Tracks: Alexandra, Held Down, Strange Girl, Only the Strong, Blow by Blow, Song for Our Daughter, Fortune, Hope We Meet Again, For You
Least Favorite Track: N/A
#3 Open Mike Eagle - Anime, Trauma and Divorce // Alternative Hip-Hop
In a year full of despondence, limbo, and philosophical reckoning, it becomes more important than ever to process your emotions with care. But as Open Mike Eagle asks, rather bluntly…well, what the fuck is self-care? This whole album is full of quips that’ll leave you laughing… but then make you ask “is he okay?” Like when Mike talks about a Black Mirror episode ending his marriage. I giggle… but the man just got divorced. That’s fucking rough. That’s the charm of this album, though. Mike isn’t going down the route of self-pity. He’s making light of his various traumas and issues with razor-edged wit. They might have power over him, but he acknowledges them. That’s sometimes what you need to do. It all comes to a glorious conclusion in the final track, which features Mike and his son performing his son’s song live. At the end of the day, even though he lost his Comedy Central gig and his marriage, he’s still got his son. We’ve all got something that keeps us grounded. Who’s your proverbial son? Who’s your proverbial Joestar?
Favorite Tracks: Death Parade, Headass, Sweatpants Spiderman, Bucciarati, Asa’s Bop, The Edge of New Clothes, Everything Ends Last Year, The Black Mirror Episode, Wtf is Self Care, I’m a Joestar,
Least Favorite Track: N/A
#2 Blue & Exile - MIles // Conscious Hip-Hop
In a year where my soul craved spiritual enlightenment to liberate me from the drudgery and boredom of life, in a year where we all realized just how monotonous everything is, in a year where I lost my virginity again, this album came through and gave me a straight shot of serotonin into my soul. At 20 tracks and over an hour and a half of runtime, Miles demands your attention–but it does so gently. The terrific, sample-based production sends me into an eargasm. Blu covers a plethora of topics, ranging from black pride to utopia, from fulfillment to veganism. This is the closest thing I’ve seen to a perfect conscious rap album. In the late 2000’s, Blu & Exile blessed us with a classic. And unlike the Avatar, when the world needed them most, when the world wanted something that eased the existential pain, when the world wanted rap that encapsulated all of our greatest fears and our greatest desires–they didn’t vanish. They came back in even greater form. There’s certainly an argument for that. God bless the album that made me cry from happiness.
Favorite Tracks: Blue, When the Gods Meet, True & Livin’, The Feeling, Music Is My Everything, Blue As I Can Be, Miles Away, Roots of Blue, African Dream, Requiem of Blue, The American Dream, Dear Lord, To The Fall But Not Forgotten, The End
Least Favorite Track: N/A
#1 Mac Miller - Circles // Neo-Soul
Sometimes death in and of itself isn’t the tragedy. To me, at least, the tragedy comes from the resulting fallout. In a sense, our world is largely comprised of pain. The cynical view of the world states that happiness is merely respite from the existential pain that is LIFE. So through that lens, death is catharsis for the soul. The reason there are so many people who willingly choose death over life is because of the appeal of death. The appeal of finality, and eternal silence.
The true tragedy of death is the lost potential. The potential for change. The potential for action. The potential for expression. All of these things are lost to death.
I did not sob uncontrollably listening to this album because I was a passionate fan of Mac Miller’s. If I’m being honest I only found out who he was two years ago. No, I wept because Mac was robbed of potential. And to contrast my feelings of bitterness and resentment for our awful, awful world… Mac seems relieved.
He seems CONTENT.
And to me, that’s the most beautiful thing about this album. It’s so light. Despite the tragic circumstance, Mac carries a thoughtful levity through every verse. Paired with Jon Brion’s soulful musical genius, this album feels like a meditative breath of closure.
Mac’s lyrics are not particularly in-depth or complex. In fact, one could say they’re simplistic. But that minimalism works for this album. Mac isn’t trying to tell a story. Mac is rambling affectionately, and it sounds like stuff that’s been on his mind. It sounds off the cuff and personal. I feel like I’m having a conversation with him. Perhaps that’s why his bars are usually distanced from each other, because you’re supposed to imagine yourself responding to what he’s saying. You’re supposed to fill in the gaps. What does existence mean to you? What is happiness? What’s your happiness? What keeps you going?
From what I can tell, it sounds like Mac was on the cusp of discovering the answers to all these questions for himself. It’s a well-known fact that Mac used drugs to cope with boredom and depression for a long time. Swimming, and now Circles, represent a new leaf. He was so close to figuring it all out. But maybe that’s the irony. Everybody’s always one experience away from an epiphany.
Maybe that’s what life is. Chasing an epiphany that’s never quite in reach.
Rest easy, Malcolm.
1992-2018