What even was this year?
Music just hit differently this year, didn’t it? Didn’t everything? This artform that is so good at getting right to your emotional core, in this year of high highs and low lows (many lows), was so poignant. Because our suffering and our joy were somewhat communal. Yes, as individuals we had very personal moments of sorrow and joy -- particularly those who lost loved ones -- but there were so many moments where I genuinely felt that we were all going through things together. The rage and sorrow over the murders of George Floyd, Breonna Taylor, and Elijah McClain. The election. Wildfires. And of course, COVID-19 and the alienation we all felt together during the shutdown (and the haphazard reopening).
I know, we are more divided than ever (see the actual reactions to all of the above events). I’m not that naïve. But it felt like music reached out and provided a conduit for that connection. Even if that connection was between me, an artist, and the rest of that artist’s listeners (not enough of you listened to Dua Saleh!). But it was still a valuable connection that ran deep because of what music is and what it does. It taps into this.
Does any of this make sense? Should I just share my list so you can see what sort of connection we have? Sure, let’s do that.
I’m having a hard time with ranking things. Especially this year. So I’m going to have a number one, but everything else is going to be divided into categories instead of put into an order. If it’s listed here, I loved it and think you should check it out. Maybe on Bandcamp so you can toss a few bucks to an artist that didn’t get to tour this year.
How Dare You! - Surprising albums from artists that I didn’t think could surprise me like that.
- of Montreal - UR FUN
What was it about this one? It shouldn’t surprise me when of Montreal puts out another good one, but they are so prolific that I always go in with low expectations. It seems like nobody has taken them seriously in over a decade even though they’re pretty consistent. When this rush of sugar came out in January, it immediately hit me and gave me a lot of hope. Later in the year, it became my throwback to those pre-pandemic days. Though there are plenty of grounding moments like “You’ve Had Me Everywhere” that happen to be about mortality and connection that gained some extra poignancy in this year where we saw a lot of both of those things. Because of Montreal is at its best when it uses that spoonful of sugar to help the sorrow and alienation go down.
- ...And They Will Know Us by the Trail of Dead - X: The Godless Void and Other Stories
Come on, it’s 2020. I listened to them a bit in college and thought they were cool but I’ve changed so much since then. How dare they put out a brilliant collection of post hardcore (or whatever descriptor applies) in 2020? This hit my emotions hard with lots of big moments even before the majority of 2020’s nonsense hit. I should’ve known something was amiss.
- The Flaming Lips - American Head
Once upon a time, The Flaming Lips put out a perfect album for 2020. The Soft Bulletin, from 1999, expertly combines pure dread and sorrow with the hopeful optimism of jumping into an unknown void. Not to mention literal lyrics about heroes sacrificing themselves to find a cure to a disease plaguing the world. We didn’t need modern Flaming Lips, known for weirdo, off-putting, frankly exhausting experiments to say any more. But they did. And this album once again combines pure dread and sorrow with the hopeful optimism of jumping into an unknown void. Another perfect album for 2020. There’s something somewhat grounded about this album as well, where it really taps into the collective sadness and exhaustion (rather than being exhausting) that is 2020 on planet earth with an earnestness that I didn’t know they were capable of anymore.
- Taylor Swift - folklore (What? She's not on Bandcamp? I hope she can make ends meet!)
Seriously, how dare you. I’ve always thought she was fine, as far as popular artists go. But really not for me. Then Aaron Dessner was producer on the new one and I was even more eager to write it off. Like, that’s trying way too hard to be taken seriously and be “indie cool” or something. But I had to at least give that song with Bon Iver a spin. And that song stuck in my head and I realized it was very good. And then I put the whole album on a playlist (my general method for evaluating stuff). And the first several times it came on, I’d think “who was this again? This is good!” and then look and HOW DARE YOU, TAYLOR SWIFT. It is so moving, it definitely has her lyrical style (which I’m mostly learning from this album; it just has a good voice about it), it’s grounded and wonderful. Front to back. Damnit. And she put out a second one that I haven’t really had time to digest yet! Ugh!
- Thurston Moore - By the Fire
This isn't such an extreme example, but Thurston Moore has put out plenty of solo material that I've been ok just ignoring it. But this one is really exciting. It's got what I love about Sonic Youth all over it. The guitar experimentation. The extended jam sessions. The mood setting. The payoffs. I feel like lots of his solo material is either less guitar-forward or less accessible. This one tows that line wonderfully, in a very Sonic Youthy manner. Dig it!
Great Discoveries - Stuff I learned about this year, obvs.
- keiyaA - Forever, Ya Girl
I don't know what makes this unique, it's just really good soul and it's so damn easy to love. The beats kind of remind me of J Dilla. And the songs are these little pieces of brilliant poetry and singing and I don't know, it's just real good stuff.
- Dua Saleh - ROSETTA (EP)
I really look forward to Dua Saleh's first full album, assuming they ever go that direction. We keep getting singles and EPs and this EP is the closest thing we have to an album so far. So I have to break whatever rule I never set and include an EP on this list because I am really really excited about this artist. They are totally unique and badass and sound and feel like no one else. It's a hip hop attitude with experimental production and a certain melodic sensibility that I can't pin down. But listening to it is powerful stuff. Music!
- Kelly Lee Owens - Inner Song
This one is really neat. Some great instrumental electronic music that kind of reminds me of Battles or something. It's like going spelunking, and I just wanted to use that word but it does make me think of exploring caves. Discovery. Anyway, then she sings on some songs and that puts it over the top for me. It brings a certain intimacy to the proceedings. Then there's John Cale to bring a certain "so damn cool" credibility as well.
- Shamir - Shamir
I never checked out the first couple Shamir albums, though I am guessing I would like them. I read about him in a really good Pitchfork article about black artists in the indie scene and was quite intrigued. This is fascinating bedroom pop that feels very very intimate (I'm noticing a theme here) and so very catchy, straddling lines of pop sensibilities, gender, genre, race, creating something that can only be described as Shamir.
- Bartees Strange - Live Forever
I first heard of Bartees Strange one Bandcamp Friday when I was browsing some intriguing Black artists. He had an album of covers by The National that was quite intriguing. I gave it a listen but it didn't really catch me. I decided to give him another chance when his album Live Forever came out, and am I glad I did. This is one of my top revelations of 2020 (obviously, as it's on this list). There's a bit of everything here, mostly rock with a whole lot of passion, not too far removed from Arcade Fire or TV on the Radio but still quite unique. Some rapping on "Boomer," some giant M83-esque synths on "Mustang," all in a cohesive package that works better than I feel like I've been able to describe it. Another artist I am really itching to see live. Someday it must happen. And yes, I gave that National covers album another chance and it's great.
- Special Interest - The Passion Of
It's like a band that actually took the torch of Refused's The Shape of Punk to Come. And other great bands that combined hardcore with electronics, such as Brainiac and The Locust. It's not that complicated. It works really well. And for whatever reason, there aren't a lot of people doing it. What you get is a certain controlled chaos. Or like a train that is going to keep going no matter what happens on the track, if there is someone tied to it or whatever, you can't control the train. You can only control what you're doing while you're stuck on the train. The train will just keep going.
Ol’ Reliables - I thought it’d probably be pretty good, and it was better than that.
- U.S. Girls - Heavy Light
Yeah, because 2018’s In A Poem Unlimited was one of my top albums of that year. So of course. Meg Remy keeps doing new things and stuff. She seems to have a really cool network of collaborators and this feels like a good demonstration of that, even though it’s all filtered through Remy’s vision. It’s high energy and BIG but intimate. It’s fearless and super creative. She makes some weird stuff really catchy and it works. I don’t know how else to explain this, but it’s real good. And the use of the Q&A interludes almost makes the album a conversation, as you think of your own experiences and it puts you into a personal mindstate for the songs that follow. Still one of my favorite artists I’ve discovered in the last couple years. It was also the first concert I’d planned on going to that got cancelled when the world got knocked down. I hope she comes back soon.
- Grimes - Miss Anthropocene
I almost could’ve put this in the “How Dare You” category even though she hasn’t missed yet music-wise. Just the Elon Musk thing and the baby name thing (remember when that was the big scandal in early 2020?), it was kind of a “this album better be brilliant or it will be terrible” situation. But of course it was brilliant. So personal and heartbreaking and big, like so much of the music discussed here. It sounds like she's just calling out to... you? Us? Whoever is listening? - Caribou - Suddenly
I love this because it's simultaneously so digital and so analog. Organic and processed. I don't know, the way he samples pianos and other very analog pieces into such modern sounds is so brilliant, so soulful, you just gotta listen to it. - Nicole Atkins - Italian Ice
- Run the Jewels - RTJ4
These dudes. They bring it every damn time and they have yet to disappoint. This might even be my favorite. Not sure, because my favorite RTJ album is probably whatever one I'm listening to at the moment. RTJ2 comes to mind though. But RTJ4 captures the moment so well. Everybody talks about Killer Mike's verse on "Walking in the Snow" and yeah. It gives me shivers. And there's that song with Mavis Staples. And the song that samples Gang of Four. This has to be their best album, doesn't it??
- Deerhoof - Future Teenage Cave Artists
Deerhoof is almost frustratingly reliable. They are so prolific, and every time it's another great album. They were involved with several great albums this year, including some live stuff, some collaborative stuff (check out Greg's collab with Serengeti!), experimental covers...but the "normal" studio release Future Teenage Cave Artists yet again showcased that this is one of the most creative bands working and while it always sounds like Deerhoof with its quirky rhythms and crazy guitars and fun vocals, there's always something a little different and new every time. I can never not include them on a list like this and I can never not recommend them, even though it also feels like I don't know of any new ways to write about what they're doing or what exactly sets this album apart from the last one. It just sounds fresh every time, and it is all worth listening to. So get this one if you haven't, get their past releases if you haven't, just get on the Deerhoof train if you're not already there. - Margo Price - That’s How Rumors Get Started
I dunno, she's just real good. A modern badass country singer kind of like Loretta Lynn maybe? This is the stuff I'm a real sucker for, what can I say? The album is also really eclectic so it just breezes by. But it does leave a mark. Especially when she goes out on the closer "I'd Die For You."
- Fleet Foxes - Shore
This one didn't catch me as immediately as I hoped it would. But it's closer to Helplessness Blues than Crack-Up. Which means it's more of a feel-good album that doesn't try to throw you off your game with weird experimental portions. I'm a bit split in my preferences; as I as a rule prefer the experimental stuff, but Helplessness Blues is one of my favorite albums of all time for the way it speaks directly to my own desires to settle down into comfort. Anyway. Have I written enough about this even though I've said very little? This has a lot of the earnestness that I love about Fleet Foxes, and beautiful melodies and general niceness.
- Annie - Dark Hearts
This just felt like it got glossed over and overlooked and I really don't understand why. It's only Annie's third album and her first in 11 years! This one's a moody, synthy affair that calls to mind driving in a city at night, not unlike Chromatics. I'm sure this is an album they'd play at the Bang Bang Bar in Twin Peaks. There's such a strong nostalgia to this album, and I get more and more obsessed every time I give it a spin. "The Streets Where I Belong" instantly sounds like a classic radio hit that everybody should know, why don't they all know it? It's that earnestness that I love about the 80s that I've spoken about at length. Nostalgia for when you felt everything so deeply, it's a teenager album even though it's a grown-up album.
Sometimes you just need punk rock - Straightforward veterans of the punk and punk-adjacent scene sometimes just spoke to us in a direct manner. That was appreciated. So I’m going to bring up these ones because they were very special to me.
- AJJ - Good Luck Everybody
I never got into this band back in the day, and only finally checked them out with this album. For some reason. They were part of the Asian Man Records family just as I was moving on to different things. So I didn’t even know they were folky. But they sure have a way with lyrics, don’t they? The style makes the message come in more directly than even normal punk rock, I think. It also came out in the earlier times, but speaks so much to the mess we were already in then. Which is all still very relevant. Good luck, everybody. The mantra of 2020.
- Dan Potthast - Cars for Sale
The MU330 frontman has been so prolific and I've tried to keep up. He's so good at speaking plainly about the heart of issues. From a position of compassion and empathy. It's like listening to your conscience. It can make you cry just to hear what you know you already know, but what has not been put so clearly using terms that understand the humanity of everyone. I don't know. In a world where everyone is so clever and cruel, it just rips it all down back to basics and that in itself is such a rebellious act, and it's a very emotional thing.
- Jeff Rosenstock - NO DREAM
I just missed Jeff Rosenstock. His projects started gaining traction just as I was more or less departing the punk scene. So it wasn't until a few years ago that I checked out his solo material even though I'd heard his name many times. And hot damn, does he bring back those feelings I had as a teenager listening to punk rock. It's got this passion and welcoming air about it. The feeling that this music gets me. It gets it, if you know what I mean. And that makes me feel less alienated, knowing someone gets how I feel these days. When everything else makes no sense and is operating on seemingly "alternative facts," it is really comforting to know you're not alone. - Touche Amore - Lament
The more hardcore side of punk rock, I'm still kind of a newbie to Touche Amore but this album rocks. It's got the screams that we all wanted to scream in this year that I keep talking about when I talk about the music of this year. Huge passion that felt like such a release of all of the frustrations at a world that doesn't care about our concerns. Turn it up. Sing along. It's that simple. You'll feel (a bit) better. This album in particular seems to be a bit more mature and varied that what I assume they sound like on other albums, with tracks like "Limelight" featuring Manchester Orchestra, and the largely acoustic, piano-driven closer "A Forecast," which speaks so directly to such relatable concerns it just feels like a moment worth mentioning. **shrug**
- The Lawrence Arms - Skeleton Coast
Maybe my favorite band of all time at this point. They've had my heart for over 20 damn years now. This may fall below Metropole on my all-time list, but I will always be happy to listen to the Lawrence Arms. Both songwriters are just so damn good now, they know what works and--who knew?--it works. And the closing track "Coyote Crown" sees Chris indulge in some guitar heroics to close it out, which is something I haven't heard from him in some time and I really want to hear this song live now.
- Coriky - Coriky
The closest thing we're going to get to a new Fugazi album. It has half of them! Plus Amy Farina! It's like what you'd expect, which is The Evens but a little more tilted toward Fugazi thanks to Joe Lally's presence. It's mostly a low-key, dub-ish affair with just enough of that MacKaye fire to keep it interesting. It's always simmering, sometimes boiling over, and comforting like a bowl of soup. I don't know, that doesn't sound like a very appealing metaphor, as much as I love soup. Especially in the winter of our discontent.
Other cool stuff - Not everything fits into these little boxes but I still want to call them out.
- Waxahatchee - Saint Cloud
I wanted to like her for so long but her music never really spoke to me, even though the reviews all got me really interested. And now she’s gone country and for some reason her voice in a country context is perfect to me. The way her vocals break up here or there, the vulnerability just sucks me right in. Then within that context it feels like a tough interior. I’ll probably have to revisit those older albums now. I’m sure what I love about this album is present on those as well, I just need to open myself up to them a bit more.
- The Leonard Simpson Duo - LSD
This is one of those random things that I just liked. I never really paid much attention to Guilty Simpson. But with this album, he became a favorite, and I don't even know why. It's not boastful, it doesn't seem like he's trying to impress, it's almost just a conversation that happens to rhyme. But it makes me happy and it works. Leonard Charles' beats are reminiscent of the late great J Dilla, providing a very laid back foundation for some laid back, feel good rhymes. I guess there's a psychedelic aspect to it, and this is more apparent on some tracks than others, but it doesn't have to be super fancy to be awesome and this album is awesome.
- Fiona Apple - Fetch the Bolt Cutters
Is this where this belongs? Or old reliables? I feel like trying to put this album into any category would be a big mistake. I don't think I can say anything you haven't already read about this album, it is that good though and they are exactly right. Fiona Apple is a great singular artist with a lot to say and a really great method of saying it. Maybe her greatest album in a catalog of great albums.
And the Number One Is:
- Moses Sumney - grae
When the first part came out, I thought this might indeed be the album of the year. And then the second part came out and I thought yeah, it probably is. It became the benchmark. And nothing else met it. Because my god. This album is massive. Every aspect feels like Sumney's heart and soul were poured into it and that sounds cliche but every moment is either a giant buildup or a giant catharsis. The robotic vocal interludes sound like Laurie Anderson, but more grounded in literal conversations about Blackness. But that's about as grounded as this album gets because it soars. Put on some headphones for this one. You need to immerse yourself in it. And I don't even know how to describe the music. I don't really want to anyway. The genre is Moses Sumney and it is has as big of an emotional heft as 2020 required. Does that make sense? Does any of this? My only aim is to talk it up enough to get you to check it out for yourself. It's just all the things. Personal, communal, devastating, beautiful. And entirely unique.
Bonus Thing
Here's a Spotify playlist of my favorite tracks of the year. But I maintain, support artists directly. They need it and I need them to keep their careers going long enough to tour when this is all over.
