III. Contributing Writer; Rap; January 17 2020 . Twice as Tall triumphs not so much for its substance but as a shimmering surface, a landslide victory for the politics of pleasure. The result is some of the finest songwriting of Swift’s career, vivid storytelling both personal and fictional (and somewhere in between), stuffed with more Easter eggs than a Marvel movie. Bullet casings fall to the floor on opener “Nonbinary,” but Arca isn’t under attack: “I do what I wanna do when I wanna do it,” she deadpans, and then proceeds to prove it by remaking herself with each track. –Amy Phillips, Historically, there are two trajectories from sweetie childhood star to flawed adult: the bumpy one full of high-profile foibles or the one where they wind up as robots. “I feel it in my bones,” he proclaims. ), Listening to Mary Lattimore’s Silver Ladders feels like blinking awake on New Year’s Day: There’s some melancholy over what has passed mixed with buzzing wonder at what lies ahead. Artists like Soccer Mommy and Porridge Radio expressed a distinctly 2020 sense of isolation in prescient albums recorded before the pandemic, while raging punk bands like Dogleg and Soul Glo summoned the catharsis we all hope to feel when we can attend live shows again. –Andy Cush, London punks Chubby and the Gang present themselves as a cartoonish version of an actual gang, replete with not one but two theme songs. 281k members in the popheads community. 184 votes, 142 comments. Yves Tumor, Katie Crutchfield of Waxahatchee, Kevin Parker of Tame Impala, Haim, and Bartees Strange (photo by Julia Leiby). But with the addition of six songs on the deluxe edition in May, the record kicked dirt on the arbitrary and outdated rules of rap albums. KiCk i is her first record to prominently feature several guest singers, with Björk, Rosalía, SOPHIE, and Shygirl all present to witness her various metamorphoses. Traditional structures melt into long vamps, as on the tormented psychedelic ballad “Kerosene!,” which distills the album’s beguiling agony. There’s no doubt it has suffered in the era of coronavirus. Gordon’s howls are hell-bent and infatuated, with Tumor’s raspy pleas pushing them both closer to the edge of oblivion. –Anna Gaca, Listen/Buy: Apple Music | Bandcamp | Spotify, With their 2018 debut Parts, Ohmme introduced a combustive art-rock style based on tightly intertwined dual vocals and improvisatory guitars, wringing sing-song catchiness from baroque complexity. View reviews, ratings, news & more regarding your favorite band. Kempf and Balla trade yearning, hiccupy vocals across riffs that reverberate like heat waves off asphalt, as McGrady thuds away through the humid air. The Latest Juice December 31, 2020 December 31, 2020. His observations are modest and sweet (“just sing your silly song”), just enough to nudge you away from doomscrolling. As ever with late-period Dylan albums, death lurks in every corner: as a prompt for bloody, Frankenstein-ish experiments in “My Own Version of You,” a red river to be traversed in “Crossing the Rubicon,” a body who shares his bed in “I Contain Multitudes,” a nameless rival in “Black Rider.” The gravity of Dylan’s voice and the clarity of his vision allow him to address these wraiths as an equal, one with intimate knowledge of the darkness they inhabit. But they’re also jam-packed with sharp, critical observations about growing up with dual identities, the Orientalist gaze, and the trappings of femininity. To the casual listener, Beatrice Dillon’s avant electronic tracks might seem austere. leader’s latest solo album, a collection of pure pop melodies smuggled into strident, feisty punk songs. Indie Rock. 83. The U.K. post-punk trio’s latest LP updates their DIY aesthetic, filling some of the negative space they’ve so expertly wielded in the past with pulsing electronics. But even though she’s sick of the bullshit surrounding her, she doesn’t let it consume her being. –Marc Hogan, On PITH, Melkbelly’s second full-length, the Chicago foursome refine their knotty but melodic noise rock. Perfume Genius, Phoebe Bridgers, Fiona Apple, Lil Uzi Vert, Bad Bunny, and Moses Sumney. –Madison Bloom, Hannah Read can make a melody out of anything. Songs to Yeet at the Sun brings all these qualities into focus in the space of an EP, packing an album’s worth of twists into 12 searing minutes. Over the next month, we'll be collecting year-end top 10 album lists from over 200 music critics, publications, record stores, and other sources. We count down to number one, with entries from Soccer Mommy, Run The Jewels, HAIM and Moses Sumney . The album is always enchanting and full of small surprises: the particularly cartoonish warble of a synth on “Sayonara,” the intimate binaural hums on the meandering “Marafon 15,” the burst of laughter answering the lure of a saxophone on the cosmos-traversing “Plans.” New details peek out on every listen, like elements of wonder waiting to be discovered. 070 Shake’s captivating feature on “Ghost Town,” off Kanye West’s ye, was easily the best part of that bedeviled album.Now, after a … “Why doesn’t it feel the same when I’m in the air?” she murmurs on “In the Mirror.” “My life is in a weird place,” she raps in Korean on “Free Interlude.” But she finds clarity, and joy, in examining it nonetheless. On his second album of 2020, the underground New York rapper reaches a new level. Jay’s lines are clever and self-reflective, and his references are evergreen: “Fuck Bill O’Reilly and Rudy Giuliani,” he passionately raps on “New Illuminati.” It’s rewarding to be swept up in his aura, and to feel the magnitude of every strategically placed interlude, every space where the beat rides endlessly, and every roughly mixed verse. –Rawiya Kameir, For 25 years, Dan Bejar has come across as the smartest absinthe-sipping aesthete in the room. With Saint Cloud, Crutchfield’s fifth album as Waxahatchee, she climbs to solid ground, emerging from the storm self-assured. –Jenzia Burgos, On her fourth studio album, UK singer-songwriter Jessie Ware conjures the erotic frisson of the cruisy dancefloors we aren’t permitted to congregrate on while the global pandemic rages on. Heaven to a Tortured Mind balances listeners on that knife point, declaring Tumor’s rock-star bona fides with roguish style. October 9, 2020. Songwriter and bandleader Meg Remy reckons with alienation and injustice, drawing on a palette of pop, rock, and experimental sounds to convey the anxiety of the era. Lead vocalist and songwriter Dana Margolin is incisive in her observations, and she often points them inward. The fact that Melee conjures a year so different from the one we got is part of why it leaves such a mark: The histrionics of emo aren’t just dramatic, they’re now science fiction. Along with producer Matt Sweeney, the band made Country Westerns with no filler, packing every song with twangy riffs and shout-along hooks. What We Drew burbles between frenetic drum patterns and hip-hop cadences, glossy electro beats and sinister synths. She maintains her unmatched knack for ferocious marriages of country and rock, swooping from the snarls of “Wakin’ Up” and “Man Without a Soul” to the weary last-call shuffles of “Good Souls” and “Shadows and Doubts.” Alongside her fury for oppressors, Williams offers comfort and solidarity to the dispossessed, with a set of tunes that break your heart only to glue it back together again. Album centerpiece “For Your Pleasure” is a treatise on hedonism set to retrofuturist synthesizers and artificial handclaps; perhaps too frantic for the ’70s discotechques Shopping has conjured in the past, it would sound right at home in the cocaine ’80s. With no stadiums to fill, Swift could take risks that would have previously seemed unimaginable in a discography calibrated to reach the cheap seats: work with the National’s Aaron Dessner as her principal collaborator, duet with Bon Iver, make tracks that sound like Low and the Sundays, drop an s-bomb within the first 20 seconds of the first song. He does a lot more of whatever he wants throughout the rest of the record—from sad boi trap to acoustic rap balladry to emocore—but not without first celebrating those who made it all possible. The old world that Dogleg wrote about sucks in its own way, but it’s the world they deserve. Check out all of Pitchfork’s 2020 wrap-up coverage here. Weezer were supposed to cosplay 2020 in the ... (Pitchfork earns a commission from purchases made through affiliate links on our site.) And check out all of our end-of-year wrap-up coverage here . Rock, in its purest form, is predicated on a group of people gathered in a room. While some vocal lines emulate pulsing bass and celestial synth, the prevailing current is a surging chorus of near-language, struck through with the unmistakable trembles and notches of a human voice. Amidst the neverending whirlwind of 2020, it was tempting to crawl into a cocoon of nostalgic favorites and never come out. Owens wrote the lyrics in a depressive state following a trauma-release therapy session, transforming that cathartic expulsion of her pain into a record with healing properties of its own. As she glissades through disco synths on “Love Again,” talkbox funk on “Levitating,” and electronic dance rhythms on “Hallucinate,” the British singer effortlessly fuses styles without resorting to forced formulas. –Cat Zhang, On Every Bad, Brighton indie rock four-piece Porridge Radio make a strong case for curative self-scrutiny. Consider the load sufficiently lightened; on she climbs. Her howled words and the music’s occasionally sharp edges are both caustic and restorative forces. Jay Electronica: Act II: The Patents of Nobility (The Turn) 13. Grimes once treated lyrics as meaningless sound, but here, she’s shockingly honest about the pain of posh isolation: “I’ll tie my feet to rocks and drown/You’ll miss me when I’m not around.” –Arielle Gordon, On Every Bad, Brighton indie rock four-piece Porridge Radio make a strong case for curative self-scrutiny. The wintry decay that initially clouds the album disintegrates on “Garden Song,” where the arrangement blooms and burbles, thumping steadily, like a walk home in crisp evening air. Traditional structures melt into long vamps, as on the tormented psychedelic ballad “Kerosene!,” which distills the album’s beguiling agony. It is. By Olivia Ovenden. Pitchfork's Best Electronic Albums of 2020. It’s both the country album she was destined to make and an acknowledgment that self-acceptance is hard-won; Saint Cloud reckons with addiction, sobriety, imperfect romance, trauma, and trying to navigate it all. Home; News; Reviews; Best … There’s no doubt it has suffered in the era of coronavirus. –Allison P. Davis, The followup to Kelly Lee Owens’ breakthrough self-titled LP is rooted in pain and loss—the shedding of a toxic relationship, the death of her grandmother, and the decay of the environment. Death and apocalypse lurk in every corner of Punisher—lightning flashes, sirens wail, a Giants fan gets killed at Dodger Stadium—and Bridgers shuffles through this ominous fog, still alive, still growing taller. –Mankaprr Conteh, When Big Thief scrapped their international tour this year, Adrianne Lenker found a world of her own in a cabin near the Berkshires of Western Massachusetts. The song is accompanied by a short story about a woman, three cats, and the titular bush has shared a new song titled “rosebush.” The largely … She turns liquid on the synth-sheathed “Time,” raps on the chaotic “Riquiquí,” and glitches with her voice pitched high on “Rip the Slit.” Presented as the first of four eventual albums, KiCk i shares all the promise of becoming, in both its pain and its joy. Over a buzzsaw guitar, mononymous vocalist Summer screams through her disgust for entitled dudes with backward hats and hair gel. Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. Release Date: Feb 5, 2021; 79. Read More . The Nashville trio consists of guitarist (and bar owner) Joel Plunkett, Silver Jews drummer (and Trash Humpers actor) Brian Kotzur, and bassist Sabrina Rush, who also plays violin in the Midwest alt-country group State Champion. Singer-songwriter Alex Stoitsiadis was supposed to be hollering his hooks over melodic post-hardcore guitars in roiling 250-cap clubs, and the scenes of heartbreak he described were supposed to be playing out for listeners in real life. All rights reserved. –Allison Hussey, Magik Markers distinguished themselves in the early 2000s with unfettered noise jams and a merch table so teeming with CD-Rs, tapes, and LPs as to render the idea of a coherent discography faintly obsolete. Charlie Valentine, who operates No Home as a one-person band, can sing powerfully, as on “Exile,” but more often their voice is unpolished, punctuated by low moans or painful stabs of feedback. Bartees Strange - Live Forever. The song’s title sentiment is simply uttered on the hook—he’s wounded, yet hopeful that the sentiment’s warmth can be felt. –Evan Minsker, Grimes embodies the unhuman on Miss Anthropocene. “Last Man Standing” describes a musician packing up his instrument alone onstage at the end of the night, a poignant metaphor for the twilight of a performer’s career. Pitchfork: The 50 Best Albums of 2020. Writing with more personality and candor than ever about a range of difficult themes—depression, loss, misogyny, the complications of loving on one’s own terms—they’ve also loosened their taut pop rock just enough to breathe more life into it, incorporating the ‘90s Lilith rock of Sheryl Crow, the blue-skied strums of Wilco, and a groovy Lou Reed interpolation. Low → High; High → Low; 50. The latest and greatest in pop music, all in one subreddit. But the best albums of 2020 proved that incredible new music will always make their way to our ears, even in the toughest of times.
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