The 50 Best Albums of 2020 (25–1)
As promised, here is part two and the final 25 of what I believe to be the best albums 2020 had to offer. If you haven’t read yesterday’s part one, take the time to read that before reading number 25–1. Numbers 50–26 saw an array of newcomers such as young drill mastermind 22Gz and the longtime in the making Boldy James, who was perhaps the MVP of hip-hop in 2020, releasing four fantastic projects. Part one wasn’t filled with strictly newcomers either, but plenty of space for seasoned veterans releasing some of their best material yet. Familiar faces such as Sufjan Stevens made is highly anticipated solo return after the masterful “Carrie & Lowell” released in 2015, while Freddie Gibbs kept up his hot streak with the help of The Alchemist. Part two consists of a wide range of artists, including Bob Dylan in now his seventh-decade making music which made one of his best in a long time and a double-dip from Pink Siifu, putting two albums inside the top 15 submitting himself as one of the most cutting edge artists of today. Enough of this intro; here is part two and the final 25 best albums of 2020, enjoy!
25. “We Will Always Love You” by The Avalanches
The Avalanches are the plunderphonics genre’s poster-boys, masters of manipulating pre-existing sounds and music to create glimmering sugar rushes of sound collage-like songs. In 2016, “Wildflower” was the first album after sixteen years, and inspired to create, the gap between albums was thankfully only four years this time. In a year of hardship and adversity, “We Will Always Love You” is a much-needed hug, sending you off into what one can only think will be a better 2021. The duo of Robbie Chater and Tony Di Blasi are so in-tune with the current music landscape, evolving their sound with the help of fresh faces while sticking to their spirit found on the legendary “Since I Left You.” More than ever before, The Avalanches have a full-blown supporting cast of features ranging from the young cutting edge Pink Siifu to alternative legend Rivers Cuomo of Weezer. Other notable artists here include Denzel Curry, Tricky, MGMT, and many more. Like any Avalanches album, it flows masterfully, and for that reason, it’s not hard to feel yourself get warped into the music. If you’ve enjoyed anything The Avalanches have done before, you’ll be sure to enjoy this warm and soothing experience.
24. “ALIAS” by Shygirl
Before “ALIAS,” I wasn’t familiar with the U.K. artist’s fantastic debut EP from 2018, but better late than never finding out about Shygirl because this is hands down one of the most engaging listens of the year. It’s a seven-song whirlwind capped at under 20 minutes, blending U.K. bass and hip-hop like few have ever done. Also pulling from the evermore prevalent sound of deconstructed club, this EP is made for late nights out on the city, in the club, or some other high-octane experience. Tracks like “Freak” and “Siren” are electric bangers and only add to the envy I have developed for the London music scene throughout the year. “ALIAS” fires on all cylinders without missing the mark for even a second, leaving me hungry for Shygirl’s eventual debut full-length album. In the meantime, I expect to return to the first two EP’s for their abrasive and futuristic sound.
23. “It Is What It Is” by Thundercat
“Drunk” was one of my favorite albums of 2017 for its short, humorous; bass focused tracks. After a nearly three-year wait, I had my expectations set high, but nevertheless, Thundercat came through with another fantastic album. The charm that drew me in on 2017’s drunk is still present; hell, fan-favorite Lil B is a featured artist on “Fair Chance,” so you know the humor will always be there. Beyond that, the songs here are more developed than drunk, “Dragonball Durag” and “Black Qualls” are just a couple of moments on “It Is What It Is” that are some of the best material Thundercat has ever released. An anime obsessed, wickedly good bass player who blends soul, jazz, and funk; this is why I love Thundercat. He’s such a unique person and dons it within his music. Back to back albums now, Thundercat has left me in awe, blessing us with yet another album I will continue to play for the foreseeable future.
22. “Ultimate Success Today” by Protomartyr
I will forever be a sucker for the post-punk genre, which makes the appearance of Protomartyr’s “Ultimate Success Today” on my year-end top 50 relatively unsurprising. Protomartyr has been as consistent as it gets for a near-decade, five for five on albums and the last two being their best. Loose, noisy guitars and nihilistic lyrics from frontman Joe Casey are a perfect match best exemplified by “June 21” and “Processed by the Boys.” An album full of disappointment and crushed dreams, the music of “Ultimate Success Today” mirrors a turbulent 2020 with its overall bleak atmosphere. It’s too early to say, but there is reasonable doubt to believe that between interviews and cryptic lyrics found throughout the album, this could be the last installment from Protomartyr. As much as that would be a punch in the gut, “Ultimate Success Today” would be a worthy final album before the band goes its separate ways. Only time will tell, but let’s hope this is only speculation and not a future reality.
21."Brass” by Moor Mother & Billy Woods
Few rappers reach their peak late in their career, but Billy Woods is an anomaly in the rap game. Since his debut album in 2003, Woods has been steadily one of the best writers in the genre. So dense that his sound can be hard to get into his sound at first, but once you do, it’s a rewarding experience. On “Brass,” Woods continues that notion after his prolific output last year, tapping Philadelphia artist Moor Mother. Moor Mother is best associated with her spoken word delivery that walks the tightrope between poetry and music, so it makes sense that a collaboration with the densest pen in hip-hop right now would be an exciting prospect. “Brass” is a familiar offering of dark production and cryptic rhymes that one can bank on when listening to a Billy Woods album. Beyond the duo of Woods and Mother, an array of features are a welcome addition, such as Mach-Hommy, Navy Blue, and Elucid. They all add a memorable contribution to this wonderful album. Even in a world of cheap monthly subscriptions to streaming services, “Brass” was so enjoyable, I didn’t mind coughing up $15 for the exclusive download. With tracks like “Portrait” and “Maroons, ” “Brass” is well worth the price tag on Billy Wood’s website.
20. “SAWAYAMA” by Riana Sawayama
Nobody impressed me more with their ability to flow from one genre to another the way Rina Sawayama did on her debut album “SAWAYAMA.” Grounded in dance-pop, Rina isn’t afraid to take a sharp left turn in outstanding bursts of other genres like alternative metal. Bundled together, Rina had set out to create a mashup of everything that dominated popular music in the early 00s that she grew up listening to and enjoying. Blending the sounds of Timberland, System of a Down, and more seems strange, but favorites “XS,” “STFU!,” and “Dynasty” in all of their flashy glory pull it off wonderfully. Rina Sawayama has been on the cusp of being the face of forward-thinking pop music of the past few years after an intriguing 2017 EP. Now with a full-length offering under her belt, Rina may well become a new star of pop after her long-awaited breakthrough.
19. “Rattle” by Wailin Storms
Whenever you blend sounds of punk, blues, and gothic rock, you’re going to garner my attention. To a further extent, this four-piece out of North Carolina is currently creating some of the hardest-hitting rock music right now, making this an easy pick for my year-end list. Each track is dark and ominous with blistering guitar riffs, which come out swimming on the first two tracks album-titled “Rattle” and “Rope.” Since I first listened to “Rattle,” I couldn’t help but compare it to the Daughter’s “You Won’t Get What You Want” regarding the bleakness of the music and similar sounding vocals. If you’re seeking a hidden gem of 2020, this is an excellent place to start. At a concise eight songs and 35 minutes, “Rattle” feels like a tornado that’s gone in a flash, a must-listen for anyone keen on heavy rock music.
18. “Heaven to a Tortured Mind” by Yves Tumor
In my eyes, no album from this year comes out of the gate stronger than the first track, “Gospel for a New Century,” off of Yves Tumor’s fourth album, “Heaven to a Tortured Mind.” In the most vibrant aesthetic imaginable, Tumor taps into sounds of 90s alternative rock, 70s glam, and psychedelia in what feels like a revival of a true rockstar in a time where that title is associated with past generations. “Heaven to a Tortured Mind” is full of distorted guitars and vocals, glimmering production, but Tumor’s charisma might be what rises above the rest on this fantastic album on tracks like “Kerosene!” and “Dream Palette.” Yves Tumor has made a name for himself in recent years, but 2020 is his coming out party, showing the landscape of music the rockstar personality he personifies. In a greying rock music genre, Yves Tumor is an injection of excitement and someone I can’t wait to witness more of the sounds he harnesses so well on “Heaven to a Tortured Mind.”
17. “Rough and Rowdy Ways” by Bob Dylan
Bob Dylan made his music debut way back in 1962 as a 20-year-old on Columbia Records. Now 58 years later, in a career that has seen new music in seven different decades, Bob Dylan is back for more with his 39th studio album Rough and Rowdy Ways. With a handful of records in the legendary discography worthy of all-time great consideration, living up to expectations is nearly impossible compared to the Dylan era of 1963 to 1975. Still, with tracks like “Key West” and “False Prophet,” the legendary singer/songwriter proves he has plenty left in the tank at the age of 79. “Rough and Rowdy Ways” ends on the 17-minute epic, “Murder Most Foul,” in which Dylan describes the shock waves sent across America on November 22nd, 1963, the day President John F. Kennedy was assassinated. All these decades later, much of the cultural and political uncertainty in Murder Most Foul describing events in 1963 parallels an eerie extent the troubled times and turmoil we are currently living through in the year 2020. “Rough and Rowdy Ways” isn’t just another great Bob Dylan album or a welcoming late-career success story, but a testament to the unprecedented longevity and continued cultural relevancy for one of the greatest minds music has ever witnessed.
16. Vergangenheitsbewältigung (Crater Speak) by Slauson Malone
Vergangenheitsbewältigung is a German term that roughly translates to “working through the past,” which makes sense as Slauson Malone, a former member of Standing on the Corner, combats demons on this excellent sound collage EP. Last year, Slauson Malone released one of the years best, a cutting-edge album in “A Quiet Farwell, 2016–2018,” which pushed the boundary of experimental music in a mashup of what seems like hundreds of various samples and soundbites. Last year’s release had hip-hop influences, but “Vergangenheitsbewältigung (Crater Speak)” feels like a soul and folk mix if one had to attempt to attach genre tags to this effort. This EP continues Malone’s exceptional skill of recycling existing music into something entirely new rivaled by nothing in music’s current landscape. Creating a new genre sounds like an abstract idea, but with the uniqueness of memorable moments such as “Smile #6” and “The Wake Pt. 3 &2,” Slauson Malone may be doing precisely that.
15. Dump YOD: Krutoy Edition by Your Old Droog
Your Old Droog has been on my radar for a few years now and one of the more entertaining rappers of the underground. Unfortunately, what overshadows his music is his insufferable old head persona on Twitter, but if you can get past Droog’s obnoxiousness, you’ll like me, find “Dump YOD: Krutoy Edition” as one of the finest hip-hop releases of the year. The Ukrainian-born, Brooklyn-raised rapper taps into his Eastern European roots like never before on his sixth album with track titles like “Kazakhstan,” “Ukraine,” and the Mach-Hommy featured “Uzbekistan” is also credited as executive producer. Droog has always been good, but this is his first great project and most cohesive to date. Smooth abstract bars over sample-heavy beats will never go out of style; the calling card of “Dump YOD: Krutoy Edition.”
14. “weight of the world” by MIKE
Those familiar with my year-end lists in the years past have become accustomed with New York emcee MIKE thanks to his constant output of fantastic material. At just 22 years old, MIKE has crafted a handful of albums and mixtapes worth of the classic label within the hip-hop genre, and “weight of the world” is no exception. On “weight of the world,” MIKE, much like 2019’s “Tears of Joy,” mourns the passing of his mother, only this time with a little more optimism and embracing personal growth. MIKE’s dense lyricism is accompanied by his ever-evolving glitchy lo-fi trademark production style that is the byproduct of the mid-2010s New York underground scene. This sound of MIKE is influenced by the likes of MF DOOM and Earl Sweatshirt, who happens to have a feature on the last track, “Allstar.” If you’ve listened to MIKE before, “weight of the world” isn’t exploring uncharted territory, which is just fine in the case of arguably the most prolific yet talented emcee of recent memory. Why alter a format that continually excels? This is how I feel about MIKE’s approach to music and someone I’ll always be excited to see what he has in store.
13. “Hum” by Inlet
Hum is an alternative-rock act that made waves in the mid to late 90s with a couple of great albums, “You’d Prefer an Astronaut” and “Downward Is Heavenward.” After 22 years since the latter, Hum returned with “Inlet,” reinventing themselves as a shoegaze, alternative metal act which is just as good if not better than their 90s material. Hum avoided an often pitfall of veteran rock band comebacks, releasing subpar material with a mindset of chasing the past. As mentioned, “Inlet” finds the band exploring new sounds but stays true to their spacey alternative rock background. Tracks such as “Waves” and “Shapeshifter” are highlights, built upon atmosphere and melody that relies upon fuzzy guitars, similar to other acts of the shoegaze and alternative metal genres. For someone like me who was unfamiliar with Hum before their comeback, it was worthwhile to take the time to listen to their 90s material after enjoying the work presented on “Inlet,” as one of my favorite discoveries of 2020. Veteran rock bands tend to not age so gracefully, especially when it’s in the package of a comeback album; however, Hum defies the odds with a wonderful late-career gem.
12. “After Hours” by The Weeknd
Post-mixtape era, Weeknd became a household name; unfortunately, at the same time, his music’s quality took a significant dip. After his breakthrough trio of mixtapes fronted by the best being “House of Balloons,” each body of work, while enjoyable, became blander, hitting rock bottom low of creativity on 2016’s “Starboy.” After years of being on the low, The Weeknd returned with a vengeance in the form of something special; an 80s inspired synthy R&B album. I have never questioned the ability of the Weeknd’s ability to write a catchy song. The surprise; his tasteful artistic vision made a triumphant return on “After Hours,” which paid off in a chart topping mega-hit such as” Blinding Lights” with some of his best vocals to date. Not to mention, for the first time since Childish Gambino’s “Redbone,” “Blinding Lights” is one of those songs no matter how much airplay it gets, it still sounds fresh and stays a personal favorite. On top of the 80s inspired synths, The Weeknd explores familiar themes of loneliness, addiction, and depression, which are prevalent on “Escape From LA” and “Faith.” Unlike most recent Weeknd material, though, these ideas are well fleshed out with the mixtape era’s ambition Abel. Since “After Hours” came out, it’s only grown on me thanks to incorporating well-executed 80s synthpop elements into contemporary mainstream pop. After a lukewarm “Starboy,” I never expected to see another fantastic full-length Weeknd project, but “After Hours” surpassed any expectations I had, which made for one of the year’s most welcoming surprises.
11. “NEGRO” by Pink Siifu
Prior to this year’s release of “NEGRO,” Pink Siifu was exclusively seen as a mainstay of the lo-fi hip-hop subgenre, rapping over hazy beats with his soft-spoken delivery. On his first release of 2020, though, Pink Siifu did a complete 180; pushing the boundaries of a sound collage album, mashing sounds of industrial, hardcore punk, and hip-hop to create a protest album that says “fuck you” to the violence of the state like no other. As various track titles would suggest, this is not a listen for the faint of heart, with standout moments being “Chris Donner,” “ameriKKKa, try no pork,” and “FK,” which are brilliant small doses of fury and rage. Released months before this summer’s months-long protests demanding reform, the music on “NEGRO” is timely, representing the rage millions of Americans are currently feeling against our corrupted institutions. “NEGRO” is as left-field (hence the label name it’s released under)and abrasive as music gets, but Pink Siifu crafted an album that dares to challenge the listeners comfort zone in all facets.
10. “It’s Only Us” by The Monophonics
Fronted by the ever-fantastic Kelly Finnigan, San Francisco based Monophonics released their best record to date, reviving the psychedelic soul of the 70s inspired by the likes of Curtis Mayfield and Shuggie Otis. “It’s Only Us” is an uplifting album, full of lush arrangements, including highlights “Last One Standing” and “Tunnel Vision,” which come back to back in the middle portion of this excellent soul release. Nothing here attempts to be game-changing, but rather as an offering of a vintage-sounding soul release which is scarce in the contemporary music landscape. Last year, Kelly Finnigan released a solo album that landed pretty high up on my year-end top 50, and with The Monophonics, he manages to top last year’s “The Tales People Tell.” Other than Michael Kiwanuka, nobody is making soul music better than Kelly Finnegan right now.
9. “how i’m feeling now” by Charli XCX
In a time where most people were learning how to bake sourdough bread, Charli XCX took quarantine productivity to a new level in the shape of creating a future pop classic. Eight months after the self-titled release, the quick turnaround finds Charli in a league of her own, crafting the best work of her impressive career. Checking both the boxes of catchy pop songs that the masses can enjoy while pushing the boundaries of the genre itself makes “how i’m feeling now” a rare feat. Making something that can appeal to a mass audience while pushing boundaries are two traits in music that don’t tend to cross paths, but Charli XCX explores new extremes in the outskirts of the glitchy bubblegum bass sound that has come about the last decade. Charli XCX has always had loads of potential, but “how i’m feeling now” is her coming-out party transcending the bubblegum bass subgenre and effectively taking the pop to a place the genre has never been. Charli is one of the most exciting artists making music now and can’t wait to see where she goes next with her captivating sound.
8. “Shrines” by Armand Hammer
The first week of June rightfully belonged to Killer Mike and EL-P’s fourth installment in the Run The Jewels series, but they weren’t the only duo to release one of 2020’s finest hip-hop albums. The pair of Armand Hammer consists of Billy Woods and Elucid, two of hip-hop’s finest in the underground scene, and “Shrines” happens to be there best work yet. “Shrines” finds Billy Woods and Elucid at there best delivering a signature dense vocabulary over bleak, almost ghostly beats which are brought to light thanks to a longtime collaborator, Kenny Segal, offering a peek into New York’s sprawling underground hip-hop scene. With an array of top-notch features including Earl Sweatshirt and Pink Siifu most notably, “Shrines” is everything a hip-hop fan could want in an album; ice-cold beats and some of the best skill on the mic you’ll hear all year. The Armand Hammer duo has hit their stride in the past couple of years, creating textbook abstract hip-hop that stand the test of time.
7. “RTJ4” by Run The Jewels
“RTJ4” couldn’t have come at a better moment in time, both empowering and motivating Americans to take to the streets during a period in time where the entire country was ailing over the murder of George Floyd at the hands of police. Along with songs “Dior,” “Scottie Beam,” and “Pigs Feet,” songs off of “RTJ4” functioned as anthems to this year’s months-long protest from the largest of cities to small towns demanding police reform. In particular, politically charged lyrics on “Walking In The Snow” and “yankee and the brave (ep. 4)” will forever co-reside with 2020’s social turmoil. Beyond the context of social commentary, “RTJ4” is another fantastic album in the Run The Jewels discography. To the extent of no Run The Jewels album before, producer EL-P taps into his most left-field of producing skills, creating beats such as the one on “Ooh La La” that has only grown over time into a personal favorite of mine. June 2020 was an unprecedented time with direct action taken by Americans like never before. The spring/summer will be a time I remember vividly for long as I live for the progress made and the music that provided the soundtrack.
6. “Róisín Machine” by Róisín Murphy
From Dua Lipa to The Weeknd and a hell of a lot more, capturing an 80s sound of synthy danceable songs was one of the most prevalent trends of 2020. Each of the two artists I mentioned deserves high praises, yet nobody perfected this trend to the extent of veteran Róisín Murphy did on her fifth album.“Róisín Machine” embraces a nu-disco and house sound only comparable to the music of clubs nearly 40 years ago. With four of the ten tracks surpassing the six-minute mark, Róisín creates a lush atmosphere of slow-burning thumping grooves that are irresistible not to bob your head to if the environment doesn’t permit dancing. For this reason, it’s easy to get lost in the music, unlike any other release I heard this year. Countless artists have pulled from prominent 80s sounds, adding a contemporary take. However, only Róisín Murphy went to the extent of creating a hypnotic throwback dance record. In some cases, some recordings here date back to 2012, making this 2020 great a long time in the making, bringing the club to your home in the year of COVID-19.
5. “FlySiifu’s” by Pink Siifu & Fly Anakin
Few if anyone had as fantastic of a year as Pink Siifu. After the avant-garde “NEGRO,” a middle finger to the status quo and a collage of genres ranging from industrial to hardcore punk back in April, Pink Siifu returned with a more accessible hip-hop album last month. This time, tapping the up and coming Richmond emcee, Fly Anakin for a loose concept revolving around working at a record store; a spitting image of Craig and Day Day’s time at Pinky’s from the hilarious 2000 movie, “Next Friday.” More often than not, skits bring down an album or, at best, adding nothing. On “FlySiifu’s,” though, the skits are almost as essential as the tracks themselves, similar to how the skits off of Kanye West’s first two albums complimented the main attraction. The fantastic chemistry between Pink Siifu and Fly Anakin is the backbone of “FlySiifu’s,” which is most prevalent on some of personal favorites such as “Dollar Dr. Dream” and “Runthafade.” “FlySiifu’s” is the real deal; my choice as hip-hop album of the year for executing to near perfection the hazy jazz-rap sound of the current underground hip-hop scene. This, of course, is made a reality by the production from roughly 13 different producers, including the legendary Madlib who help bring this project to life. On “FlySiifu’s,” both Fly Anakin and Pink Siifu continue to submit themselves as two of the brightest young rappers hip-hop has to offer through slick lyricism and an excellent ear for beats.
4. “Ohms” by Deftones
In a day that also saw the release of highly anticipated albums from Idles and Sufjan Stevens, I didn’t expect Deftones to have the best album of the week. However, I shouldn’t be shocked as the alternative metal icons have never failed, always bringing a fresh take on their mix of shoegaze and metal with each release. Despite that, “Ohms” wasn’t exactly on my radar after the very solid yet career low “Gore” back in 2016. It’s a testament to the band’s consistency that “Gore” is a low point in the band’s career, but this year Deftones bounced back in an enormous way, creating their best album in my eyes since 2000’s opus, “White Pony.” The Sacramento band doesn’t tread new ground on “Ohms” but instead continues to execute an aesthetic they’ve become synonymous with; melodic riffs and dark atmosphere. At the time, I was preoccupied with the hype surrounding Idles and Sufjan Stevens; nevertheless, reliable ol’ Deftones won me over with highlights such as “Genesis” and the title track “Ohms.” On the band’s ninth album, Deftones struck gold, landing in my top five with the captivating “Ohms.”
3. “The New Abnormal” by The Strokes
The New Abnormal wasn’t released until April; however, well ahead of time, I was already sold that The Strokes were back with a vengeance, seven years after 2013’s disappointing “Comedown Machine.” On a cold February New Hampshire night, The Strokes tore down the house performing at a sold-out Bernie Sanders rally debuting the upcoming single “Bad Decisions.” More importantly, The Strokes seemed rejuvenated after the seven-year gap without a new album. As police started getting testy with the crowd, The Strokes retaliated with the encouragement of people to come up on stage during the unexpected finale “New York City Cops.” Fans filling the stage to the tune of Julian singing “New York City cops, but they ain’t too smart” was going to be a memorable moment regardless, but at a rally for the 78-year-old Bernie Sanders makes it my pick for the greatest moment music has had to offer in 2020. The newfound life in The Strokes exhibited at Bernie’s rally in Durham New Hampshire evidently carried over into “The New Abnormal” two months later. Mixing elements of New Wave and Synthpop with vintage Strokes hooks along with Julian Casablancas’s most mature songwriting yet makes “The New Abnormal” a 2020 essential. “The Adults Are Talking,” “At the Door,” and “Ode to the Mets” aren’t just some of the years finest, they are also some of the best material in a tremendous Strokes catalog. The seven-year gap between “Comedown Machine” and “The New Abnormal” proved to be well worth the wait and a welcome return to form. Let’s just hope it isn’t another seven years before we get another Strokes album of this level.
2. “Fetch The Bolt Cutters” by Fiona Apple
“Fetch The Bolt Cutters” has by any account, garnered more acclaim than any other album this year, leading to this: what more is to say? “Fetch The Bolt Cutters” is some of the rawest, honest, and beautiful songwriting in recent memory. On Fiona Apple’s fifth album, she rejects any norms within the conventional pop structure by experimenting with oddball time signatures and the use of found instruments in the recording process. Regarding the songwriting, Apple walks a tightrope of intimate and vulnerable but intentionally catchy, not to mention a tad bit of humor sprinkled in for good measure. This blender of seemingly all over the place themes and expression is a head-scratcher at face value, but songs “Under The Table” and “I Want You to Love Me” are just a couple of choices that I believe show Apple’s all-encompassing brilliance. “Fetch The Bolt Cutters” is a lot of things, but above all, being not afraid to challenge the status quo sums up this masterpiece. Whether that be the limits of pop music or the people Apple refers to confronting on “Under The Table.” “Fetch The Bolt Cutters” is a sprawling album more than deserving of the praise it’s received throughout the year from fans and critics alike.
1. “Microphones In 2020" by The Microphones
Want an album that works both as poetry and an oral autobiography of one of the greatest singer/songwriter acts of all-time? “Microphones in 2020” is the first Microphones album since 2003’s “Mount Eerie.” Before “Microphones in 2020,” Phil Elverum seemed to have been long content with letting The Microphones alias rest. This seemed like the case until a 2019 live performance in Phil’s hometown of Anacortes, Washington, that signaled something might be in the works. In June, as luck would have it, Phil Elverum announced his fifth album under The Microphones, slated for a release in August. Besides the unique structure of an oral autobiography, the album consists of a single track that lasts 44 minutes, adding to the tightly knit structure that makes “Microphones in 2020” so memorable. However, the main attraction of “Microphones in 2020” is the songwriting, exceeding any expectations that a 17-year wait could ever entail. Phil Elverum has always been a masterful songwriter, but on “Microphones in 2020,” the maturity is as great as ever. 42-year-old Phil takes a look back to his youth, the inception of the Microphones, and the present day. It’s a first-hand preview of the life of Phil Elverum and an introspective take on arguably the greatest artist in the history of the indie genre. Adding a cherry on top, watch the accompanying visuals on YouTube, which shows photographs flashing across the screen as the story unfolds. I can’t rave enough about the genuineness of “The Microphones in 2020” and Phil Elverum in general. Since it’s release back in August, nothing has come close to rivaling “The Microphones in 2020” for my top spot, making this a slam dunk for my 2020 album of the year.
With “Microphones in 2020” at number one, there’s another year full of music in the books. Thank you to everyone who took the time to read or simply skim through the top 50 I have revealed over the past couple of days; it is much appreciated. In the comments, let me know what you thought of this list, what I might have forgotten, or a favorite album you had this year. Happy 2021!
