The Top 30 ALBUMS of 2020: Part Two (#11--20)...

 

the midway point on the albums list:

11. Sault UNTITLED (BLACK IS)/ UNTITLED -RISE: 

a mystery group being able to remain mysteriously throughout the year means only one thing: fantastic music.

12. Hamilton Leithhauser THE LOVES OF YOUR LIFE:

Leithauser is boyishly eager to ensure that it’s the characters of his tales which sit at the heart of the album. The swinging “Cross-Sound Ferry” recounts a world-wise stranger he met on the ferry from Orient Point to New London, while vaudeville lead single “Hear They Come” depicts a friend of his hiding from life’s problems in a cinema, the lights coming up as the real world refuses to stay outside. (THE LINE OF BEST FIT)

13. Frazey Ford U KIN B THE SUN:  

when one thinks of artists straddling the religious fervour of the pop/soul divide, bias tends to lean towards black singers. Or Adele. Here though we can add Frazey Ford to that list because the Canadian has delivered on her third album with meticulous consistency.

14. Sufjan Stevens THE ASCENSION:

not sure why critics have cooled on The Ascension but while he may be facing backlash for moving closer and closer to pop, Stevens continues a stunning streak of superb, unique expressions of sound.

15. Quelle Chris & Chris Keys INNOCENT COUNTRY 2:

Innocent Country 2 threatens to fade into a pleasant blur, guests help pick up the pace. Homeboy Sandman storms onto “Sacred Safe,” raging that “Every single person on Earth irks me,” while the churchly sounds of “Mirage” might be the brightest beat Earl Sweatshirt has rapped over in ages. Other appearances are less expected. Merrill Garbus appears on three songs, the best of which, “Graphic Bleed Outs,” shows the Tune-Yards singer scale down her usually powerful voice to line up with Keys’ dreamy flutes while she asserts that a lover has slashed at her spirit like a cold blade piercing her lungs. The counterbalance of gore and tranquility is jarring, but if there’s one thing you need to enter Quelle Chris’s world, it’s a mind open enough to reject conventional logic. (PITCHFORK)

16. Rina Sawayama SAWAYAMA: 

right off the bat, SAWAYAMA is powerful. The first three tracks are insanely dynamic, stringing together two vibrant pop songs (the first about standing up on your own, the second about excessive wealth) into what can only be described as Gwen Stefani-meets-nu-metal. As far as the meaning of this record goes, Sawayama sums it up herself in a recent interview: “The album ultimately is about family and identity. It’s about understanding yourself in the context of two opposing cultures (for me British and Japanese), what ‘belonging’ means when home is an evolving concept, figuring out where you sit comfortably within and awkwardly outside of stereotypes, and ultimately trying to be ok with just being you, warts and all.” (PASTE)

17. Freddie Gibbs & The Alchemist ALFREDO:  

Freddie Gibbs’ change in producers is immediately noticeable when a Bernie Mac sample precedes a sultry guitar riff in the album’s first track, “1985.” That’s not a jab at Madlib—his work on Bandana was spotless—but The Alchemist’s experimentation is especially stark here. Gibbs maintains his usual level-headedness and stoic disposition through his expressions as an analytical gangster. Features from Rick Ross, Benny The Butcher, Tyler, The Creator and Conway the Machine solidify the credibility Gibbs is back to confirm. (PASTE)

18. U.S. Girls HEAVY LIGHT: 

if Heavy Light were released five years ago, it wouldn’t be considered a political album. Thankfully (or unfortunately), not even a casual listener in 2020 would miss Meghan Remy’s cutting commentary, a convention of her music that’s become quintessential in her over-10-year musical career. Her most referential work to date, Heavy Light is defined by an inward-facing well of civic unrest, with Remy foregoing the prescriptive style of her manifesto-like 2018 album In a Poem Unlimited. The record’s name is itself a reference to Franz Kafka (“Faith, like a guillotine. As heavy as light.”), and Remy merges the ideals of the realist movement with narratives of experiential, hometown frustration. (PASTE)

19. Fleet Foxes SHORE:  

Fleet Foxes remain a quintessential millennial band, and, on Shore—which dropped with only a day’s warning—they’re once again tapping into the millennial psyche, this time with a little more optimism. Upon first listen, Shore lacks the immediacy of Fleet Foxes and 2011’s Helplessness Blues—at least from a sonic standpoint. But frontman Robin Pecknold’s astonishingly thoughtful lyrics quickly bring the listener back up to speed, at times recalling the grandiose scope of Crack-Up’s more cheerful moments, even if the indie-rock stylings are lagging a bit. (PASTE)

 

20. Shabazz Palaces THE DON OF DIAMOND DREAMS:  

the group absorbs and warps a different sonic palette than usual: listen for the loopy guitar solos on “Wet,” or the swaying riffs on “Bad Bitch Walking” and “Fast Learner.” That spectrum of influence is a new strand in their complex sound, but what surrounds it is very much classic Shabazz: glistening synth crystals on tracks like “Ad Ventures,” Maraire’s distinctive kick drum throughout, and a lyrical ode to the Divine Feminine (not their first) on “Thanking the Girls.” (PITCHFORK)