Top Albums Of 2020

This agonizingly difficult year is finally coming to an end. Twelve months of worldwide struggle, strife, and angst does have a silver lining, however, which was the great music that resulted from the tumultuous chaos we’ve been navigating. Today, one of my most highly anticipated days of the year, is when I’ll be listing my top albums of 2020.

I need to first list the honorable mentions that didn’t quite crack my top ten. These were all great records that stood out for one reason or another but were just slightly outshined by some of their competitors. SAWAYAMA - Rina Sawayama (8/10) is able to add her own twist to a somewhat oversaturated pop genre, offering sometimes aggressive instrumentation that fits her confident attitude. Future Nostalgia - Dua Lipa (8/10) is one of this year’s most innovative pop albums with back-to-back futuristic hits. Shore - Fleet Foxes (8/10) is a wonderfully complex and textured album that reflects on the times we’re living through beautifully. Starting Over - Chris Stapleton (8/10) proves why this famed country singer has established himself as the king of country music. Alfredo - Freddie Gibbs and The Alchemist (8/10) is a stellar and smooth rap record that drips confidence, but remains self-reflective. Reunions - Jason Isbell and the 400 Unit (7/10) provides hit after hit of country blues tracks that highlight Isbell’s lyrical abilities. Folklore - Taylor Swift (7/10) takes this pop megastar into completely uncharted territories, which she navigates swimmingly. Positions - Ariana Grande (7/10) shows a matured yet playful side of Grande that I can’t wait to see grow even more. Saint Cloud - Waxahatchee (7/10) is a Dylan-esque country meditation with hypnotic melodies. Finally, The Slow Rush - Tame Impala (7/10) demonstrates yet again the kind of musical genius Kevin Parker proves himself to be. All of these albums are a part of my permanent library, but the next ten are the albums that defined this year for me. With that being said, let’s get into it.

10. The New Abnormal - The Strokes (8/10)

Manhattan’s own beloved indie rock band The Strokes return to form with their most exciting release in years. The New Abnormal aggregates the band’s best qualities into a compact track list that doesn’t disappoint. Julian Casablanca’s signature vocal delivery returns me to the band’s classics like “Reptilia”, and tracks like “The Adults Are Talking”, “Selfless”, and “At The Door” are some of the group’s best ever. A great album that just cracks the top ten for the year.

9. What’s Your Pleasure? - Jessie Ware (8/10)

Riding the disco synthpop wave that has ingratiated itself into the genre, coming full circle from the 1980s, Jessie Ware jampacked this album with excellent tracks. I’m not much of a dancer — who am I kidding? I never dance — but songs like “Ooh La La” and “Soul Control” do just what their titles suggest. The production, lyrical performance, and instrumentation are impressive, but more importantly consistent, all throughout this spectacular and glamorous record.

8. how i’m feeling now - Charli XCX (8/10)

I knew it would be an uphill battle for Charlie XCX to top last year’s magnum opus Charli, which was my second favorite album of 2019. When I found out that she was not only releasing another album so soon but doing so in quarantine made me apprehensive. how i’m feeling now, while not as squeaky clean as its predecessor, does exactly what it set out to do by creating a playlist for partying in isolation. This optimistic album reinforces that Charli is continuing her reign as one of my favorite artists right now. Great stuff.

7. Punisher - Phoebe Bridgers (8/10)

Punisher is an emotionally complex album for me. Bridgers’ dry sarcasm and heartbreakingly relatable insights glide over largely ambient instrumentals. This pent up emotion culminates in the album’s closing track “I Know The End”, though, one of my favorite closers in the past few years. This is often the album I have turned to for times of quiet contemplation, and because of that, it’s one of my favorite albums of the year.

6. After Hours - The Weeknd (8/10)

I’ll address this once: It’s complete and utter bullshit that The Weeknd received zero Grammy nominations for or related to this album. After Hours is inarguably, to me, Abel’s best work by far. Instead of trying something completely new, he was able to refine his sound down to its essence, utilizing the best aspects of each of his eras to create a matured, nostalgic, and just plain catchy album. Every song has something unique to offer, and tracks like “Blinding Lights” and “In Your Eyes” are smash-hits. Looking forward to his Super Bowl performance - he earned it with this record.

5. Visions of Bodies Being Burned - clipping. (9/10)

A perfect sequel to the psychological thriller that was last year’s There Existed an Addition to Blood, Visions of Bodies Being Burned is another stellar offering from Daveed Diggs and company. Incorporating horror movie elements is magnetizing to a Halloween-head like me, and they do it so well on this album. In some ways, this record is better than the first installation. The continually developing instrumental backing is thoroughly impressive, and Daveed Diggs continues to become one of my favorite Jack of all trades rappers. Fantastic project.

4. Song Machine, Season One: Strange Timez - Gorillaz (9/10)

At long last — a damn near perfect Gorillaz album. Damon Albarn has finally recaptured the essence of the Gorillaz who I grew to love and appreciate with albums like Demon Days and Plastic Beach. Features are implemented amazingly, pairing dissimilar artists together seamlessly. Some of the songs here, like “Pac-Man (feat. ScHoolboy Q)” and “Aries (feat. Peter Hook and Georgia)” are some of my favorites in Gorillaz’ entire discography. I hope there’s more where this project came from because it is dynamic and reawakens the spirit that makes this band who they are.

3. Song For Our Daughter - Laura Marling (9/10)

Laura Marling’s gentle but potent delivery makes Song For Our Daughter one of the most emotionally resonant listens of the year for me. Fun at times, sad at others, and impressive from beginning to end, this singer-songwriter record is magnificent in its composition and execution. Marling’s vocal performance here is one of my favorites of the year. Heartfelt and touching, this is a fantastic project that I imagine will age very well in the coming years.

2. RTJ4 - Run The Jewels (9/10)

Killer Mike and El-P are the epitome of a dynamic duo. They’re certainly no strangers to hard-hitting and timely bars, and RTJ4 is no exception. A lot of the subject matter written here, particularly relating to racial tensions and relations, is unsettlingly relevant, especially since it was written before this year’s racial protests. This proves that these issues have been long-lasting and systemic, not simply a new trend. A track like “walking in the snow”, my favorite song of the year, is so effective because it speaks to the moment. As soon as Killer Mike’s verse started for the first time, I knew I was in for something bone-chilling and masterfully crafted. Most of this album is just that. Any other year, RTJ4 would likely take home the top prize and number one spot. This year, however, there was one record that outshined this stellar project…

1. Fetch The Bolt Cutters - Fiona Apple (10/10)

Truly incredible music meets the moment and brings something new to the table. On Fetch The Bolt Cutters, Fiona Apple is able to reach a place in my mind that had gone untouched up until that point. On this record, we are reminded to put one foot in front of the other no matter how challenging and insurmountable the circumstances may seem. The unabashed vulnerability of Apple’s vocal performance on this album, both aggressive and submissive at different times, are examples of pure artistic expression. The curtain is pulled back, and I am able to witness Apple’s reality as if it were my own for this album’s 51-minute runtime. Released at the height of the COVID-19 lockdowns, the sentiment of cutting one’s self out of their imposed box was perfect for the moment. That time allowed for vast introspection, too, which this project doesn’t shy away from indulging in. There simply is no music that sounds like Fetch The Bolt Cutters, and there may never be again. Nearly perfect from beginning to end, this is my favorite album of the year.

I grappled with this year’s rankings almost every day until recently coming to a final list I am satisfied with. Music was one of the best things to come out of an otherwise very challenging year. This is just my opinion and preference, but I highly suggest that you check out the albums I discussed here, including the honorable mentions. Thanks for reading! Also, here’s a Spotify playlist of my favorite songs from the albums featured in this post.