The 50 Best Albums of 2020 (50–26)
I hate to be redundant with this introduction to my year-end list, but is it even possible to talk about 2020 without at least acknowledging the unprecedented events of this year? The second week of March, I sat in a barren library at Temple University, sipping on a coffee and listening to the latest releases, particularly from Lil Uzi Vert and Jay Electronica. This would be the last time I would step out in public, not wearing a mask. Since then, the past nine months, I have spent most of my waking hours in front of my laptop screen for class, work, internship, leisure, and here writing here on Medium. Since March, practically every day has felt the same without public outings, concerts, or meeting with friends to name a few. Outside of a summer of protesting a broken institution that’s only effective in protecting the wealthy status quo and a trip to New York City in the summer, my life has been near-exclusively limited to the confines of an apartment excluding daily walks. Seeking a silver lining to end this introduction, at least the pandemic has given me more time to discover music of old, expand my pallet of genres, and listen to hundreds of 2020 releases. Out of the roughly 500 releases I have heard this year, here are what I believe to be the fifty best this strange year has had to offer. From New York drill to the revival of disco, 50–26 will have a little something for everyone.
50. “Starz” by Yung Lean
In recent years, artists such as Bladee and the rest of the “Drain Gang” have garnered notable success, yet they still can’t touch the cloud rap scene’s originator. On “Starz,” Yung Lean continues to submit his legacy as the most influential figure of cloud rap, a title that dates back to 2013 before the genre was at most an afterthought. As one would expect, the production on “Starz” feels like it’s from another planet, kicking off with the infectious chorus on “My Agenda” before ascending into even more ethereal moments like “Boylife in EU.” The production here shimmers, and Lean’s vocals are soft and bittersweet, making for my favorite Yung Lean project to date. “Starz” shows enormous growth in songwriting and maturity from Lean while offering, per usual, fantastic production. There may be countless intimidators, but nobody matches the level of artistry of Yung Lean in the could rap genre.
49. “Growth & Development” by 22Gz
The late Pop Smoke will forever be known as the one to put the New York drill scene on the map with his future-classic tape, 2019’s “Meet the Woo,” and mega-hit “Dior,” which became an anthem during the 2020 summer protests. However, don’t get it twisted and think Pop Smoke is all New York drill has to offer. Enter 22Gz, and his best tape to date, “Growth & Development.” Second to Pop Smoke’s first installment of “Meet the Woo,” this is the New York drill opus; luxurious dark bangers with aggressive bars mentioning crime and hedonistic pleasures. Moments like “Twirl Girl” are tolerable duds, but when 22Gz is in his zone over the hardest of 808s, the result is tracks like “Suburban, Pt. 2” and “308,” which are some of the most memorable drill bangers in recent memory. The Flatbush native is an original of New York’s drill scene that recently broke through into the mainstream music conversation. With the devastating passing of Pop Smoke, 22Gz seems to have all the making to carry the torch. “Growth & Development” is a one-trick pony, but likewise is drill; as long as you have the recipe down, you have the potential to create banger after banger, something 22Gz has undoubtedly figured out on this tape.
48. “Stray” by Bambara
“Stray” is a fusion of post-punk and blues from the upcoming band, Bambara. Unknown to most, but Bambara has toured as an opening act for both Idles and Daughters. That alone should act as a motive to listen to this overlooked effort. The instrumentation on “Stray” is moody and atmospheric with rather spooky storytelling from frontman Reid Bateh. From the vocals to the dark atmosphere, “Stray” reminds me heavily of “Murder Ballad’s” from Nick Cave & The Bad Seeds, which I assume influenced the band. As a whole, no song rises above the order and instead flows effortlessly from one song to the next, but if I had to pick a standout from the bunch, “Serafina” seems to be the highlight here. “Stray” feels like a soundtrack to a contemporary gloomy western film and an album that I find myself returning to relatively often. Flying under the radar of most mainstream outlets, don’t let this album from Bambara go unnoticed.
47. “NO DREAM” by Jeff Rosenstock
Pop-punk has never been my cup of tea, but Jeff Rosenstock is one of the few in the genre that never fails to satisfy. A byproduct of the early stages of quarantine, Jeff Rosenstock created yet another admirable effort with “NO DREAM.” On his fifth album, Rosenstock continues to do what he does best; songwriting ranging from dealing with anxiety to voicing his distaste for our current political climate with a DIY aesthetic and a personality hard not to love. “NO DREAM” is a surprise but on-brand release. At times “NO DREAM” is more intensive than its predecessor, but some of the best songs here, such as “Scram!” and “Ohio Tpke,” fit right at home with the rest of Rosenstock’s discography. Few have been as persistent and consistent over the past half-decade, and “NO DREAM” continues that trend with a memorable quarantine album, putting spare time to good use.
46. “The Ascension” by Sufjan Stevens
Sufjan Stevens is the best singer/songwriter of the 21st century. Throughout his career, Sufjan has been accustomed to releasing classic-status material, and going into “The Ascension,” the Michigan native was coming off one of his best with the 2015 “Carrie & Lowell.” For this reason, it feels like a slight disappointment as “The Ascension” is one of Sufjan’s weaker solo albums to date. On the other hand, it speaks volumes that something seen as inferior to previous output has warranted a spot on this list, a testament to the greatness and consistency of Sufjan. On”The Ascension,” Sufjan makes a return to his indietronica sound; it’s impossible not to think of 2010’s “Age of Adz.” Both are long, demanding listens, but very rewarding if given a chance. To add to the comparison, the reception to the “Age of Adz” was modest initially, but it wasn’t until later did it receive the majority of its praise. I reference this in particular because with each listens to “The Ascension,” I start to appreciate the ambition and vision Sufjan had here. With IDM elements and glitch pop baked in, the highlights here are some of the best of Sufjan’s career. “Make Me an Offer I Cannot Refuse” sets the tone with a strong mark, and the finale, a 12-minute epic, “America” is one of the year’s best and, as Sufjan himself describes it, a protest song critiquing “the sickness of American culture.” As “The Ascension” continues to grow on me, I believe in retrospect this album will climb my list as I kick myself later on for it not being higher when I revisit the music of 2020 in the future. Regardless, “The Ascension” is a welcoming addition to one of the finest discographies in the current music landscape.
45. “Magic Oneohtrix Point Never” by Oneohtrix Point Never
Daniel Lopatin, better known as Oneohtrix Point Never, is arguably the past decade’s defiant electronic artist. Best known for his 2013 work, “R Plus Seven,” Lopatin’s progressive take on electronic music tends to include elements of glitch, ambient, and sound collage, to name a few. On his best album in years, Daniel Lopatin under his stage name Oneohtrix Point Never came through with another twist, fusing his boundary-pushing style of electronic music with neo-psychedelia for one of the year’s most captivating releases. “Magic Oneohtrix Point Never” is some of Lopatin’s most accessible work to date thanks to its vibrancy, yet sacrifices not even the slightest bit of ambition. If anything, the blend of neo-psychedelia is another groundbreaking feat for the man known as Oneohtrix Point Never. The music on “Magic Oneohtrix Point Never” is as hypnotic as the cover would suggest. Tracks like “Long Road Home” and “Lost But Never Alone” are some of the best; easy to get lost in the mind of Daniel Lopatin. How one continues to reinvent their continuous cutting edge sound is beyond me, yet Oneohtrix Point Never does it time and time again.
44. “Auto-Pain” by Deeper
“Auto-Pain” is the sophomore from the post-punk outlet from Chicago band Deeper. On “Auto-Pain,” Deeper effectively occupies a space of bass-driven grooves, crunching guitars, and added synths. These tracks seem upbeat on the surface, but the recent tragedy in the band gives the lyrical content a different meaning. Not long after “Auto-Pain” was complete, recently departed guitarist Mike Clawson sadly took his own life. While very abstract, some tracks seem to touch on topics of tragedy and grief, in particular, lyrics to “Lake Song” feels like a punch in the gut, even if the upbeat nature of the instrumentation seems far from these topics. Deeper is a band that wears their post-punk influences on their sleeve, such as Wire and Gang of Four, who they cite on their Bandcamp, which are evident on personal favorites of mine “This Heat” and “Willing.”Post-completion of “Auto-Pain” must’ve been a gut-wrenching time for the band after Mike Clawson’s death. Even if this sophomore album was completed before his death, “Auto-Pain” acts as a tribute to the late bandmate, with a portion of Bandcamp proceeds going towards raising awareness on the subject of mental health. This LP from Deeper is some of the finest indie rock you’ll find all year.
43. “All the Time” by Jessy Lanza
“All the Time” by Jessy Lanza is a fun fusion of alternative R&B and electro-pop. It’s both glitchy and bouncy, tapping into futuristic sounding production. Yet, her vocals remind you of something along the lines of 90s R&B.“All the Time” is very straightforward, as Jessy Lanza masters a formula of minimalistic pop that is exemplified on songs like “Lick in Heaven” and “Like Fire.” Everything from the vocals to the production here is subtle in a beautiful way, making it an addictive, catchy listen. Jessy Lanza is someone who popped on my radar this year, and I can’t wait to see what the Canadian artist will have to offer in the future.
42. “Pray for Paris” by Westside Gunn
Fronting the three-headed monster of Griselda Records, Westside Gunn has turned hip-hop on its head, carving out a lane for mafioso rap in 2020 to a similar extent Raekwon and Ghostface Killah were doing on the purple tape in 1995. The prominence of the new generation of gangsta rap could have only been accomplished through a prolific output of material. Gunn did his part and dropped three albums, but his first of 2020 was his best; “Pray For Paris.” If you’ve heard Westside Gunn before, you know what to expect. Braggadocios raps in his high-pitched voice over 90s inspired boom-bap, and more than enough adlibs to go around. Highlights on “Pray For Paris” include “500 Ounces,” which consists of a years-best verse from Freddie Gibbs who pays his respect for the late Kobe Bryant, and “327” which is eyebrow-raising as Gunn gets Joey Bada$$ and Tyler, The Creator on the same song, both living up to their lofty standards. “Pray for Paris” is a balancing act of Buffalo’s street life and the high-end spectacle of Paris weaving in the fruits of his labor. Boastful raps over gritty boom-bap are a dime a dozen, but nobody can come close to Westside Gunn’s ear for beats, feature placement, and his general aesthetic. Through hard work and dedication, Westside Gunn has put himself in a league of his own.
41. “Chapters of Zdenka” by Salami Rose Joe Lewis
Last December, I stumbled into Salami Rose Joe Lewis and her release of “Zdenka 2080.” Not knowing what to expect ahead of time, to my surprise, I found one of my favorite releases of 2019 for the brilliant combination of neo-psychedelia and dream pop. Now roughly one year later, Salami Rose Joe Lewis’s most recent album, “Chapters of Zdenka,” is another project, similar in sound and right on par in quality with its predecessor. In retrospect, this makes sense as she wrote this album around the time of “Zdenka 2080.” What you receive is another batch of honest, mellow pop songs. Personal favorites here are “Cosmic Love” and “Do You Care?” Released in the second week of December, “Chapters of Zdenka” is one of a few pleasant year-end surprises to close this turbulent year, not appearing on my radar until after I started compiling my top 50.
40. “No” by Boris
Boris is arguably the best Japanese band ever to exist. Since their 1996 debut “Absolutego,” Boris has undergone many artistic changes, predominantly bouncing between a Drone and Stoner Metal band. On “No,” Boris finds themselves experimenting with a cross between sludge metal and punk. Kicking off the album, you get the slow-burning six-minute sludge fest that is “Genesis,” a vintage Boris sound very similar in style to their primary influence, the Melvins. After “Genesis,” though, Boris quickly puts it into overdrive, playing some of the most aggressive in your face music they have ever created. No finds the trio of Atsuo, Takeshi, and Wata getting back to their roots, reasserting themselves as the legendary chameleons of the underground metal scene. It’s a release full of life and a welcome return to form for a band that’s been stagnant in recent years. No happens to be the band’s best since the band’s mid-2000s’ Pink era. Not too shabby for a group seemingly past their prime and mulling the idea of splitting up in 2017.
39. “Manger on McNichols” by Boldy James & Sterling Toles
Few had as prolific of a year as Detroit emcee Boldy James and for nobody has this moment been such a long time in the making. “Manger on McNichols” may have been released in July, but the roots of this project date back to 2007 when Boldy initially started laying down the raps for this project. However, run-ins with the law would delay and bound him to the independent rap scene for years. However, overcoming adversity, 2020 was Boldy James’s breakout year, releasing four projects in 2020 alone; this is the first of two appearances on this list. Boldly’s delivery is deadpan while exceptionally clever and dense over jazz production from Sterling Toles. “Detroit River Rock” and “Mommy Dearest (A Eulogy)” are tales of the streets, drug deals, and how sometimes that can, unfortunately, get wrapped up in family business. This year has seen breakouts from Michigan artists such as 42 Dugg and Sada Baby and releases from familiar faces Big Sean and Tee Grizzley, yet Boldly James stands out amongst the rest. In a year that’s seen a peak in mafioso rap unlike anything since the 90s, Boldly is an unexpected face leading the charge, holding it down for the city of Detroit.
38. “Real Bad Boldy” by Boldy James & Real Bad Man
You’ve already read about Boldy James and his career-year once already, but on his fourth release of the year, teaming up with Real Bad Man, the Detroit rapper saves his best project of 2020 for last. “Real Bad Boldy” follows the same formula as “Manger on McNichols,” but with rather lively boom-bap production rather than slow jazz-infused beats. The subject matter doesn’t exactly change, still having to do with the drug trade and the risks that come with dealing, best personified on “Light Bill” with Meyhem Lauren and “Street Shit.” Before you think about saying the subject material is becoming too predictable, just remember that coke rap never goes out of style. Just look to Pusha T, who’s made an acclaimed two-decade career talking about selling cocaine and the luxuries of life. “Real Bad Boldy” is a well-deserving victory lap, capping off an MVP caliber year for Boldy James.
37. “Mt. Marci” by Roc Marciano
Even though Roc Marciano has been rapping since the late 90s, it wasn’t until the 2010s did the Long Island emcee hit his stride, gaining notoriety through great albums like “Reloaded” and “Behold a Dark Horse.” To kick off a new decade, Roc leaves right where he left off, releasing “Mt. Marci.” With his soft-spoken, monotone delivery, Marciano lays down boastful, crime-ridden lyrics on boom-bap production that could be mistaken for the beats of New York a quarter-century ago. The features here are a standout, with Kool Keith delivering his best verse in a long time on “Broadway Billy” and an East meets West moment with ScHoolboy Q shines on “Covid Cough.” Other moments such as “Wheat 40's” and “Baby Powder” are vintage Marciano with gritty lyricism, while “Wiked Days” throws in a tad bit of humor with the line, “I’m rocking Lizard, the skin on the kicks is Hillary Clinton.” In all, “Mt. Marci” is one of the better releases of Roc Mariano’s career and an excellent solo follow-up to last year’s “Marcielago,” which also made my top 50.
36. “What’s Tonight To Eternity” by Cindy Lee
Fronted by Patrick Flegel, Cindy Lee is a Canadian act putting an ice-cold spin on pop. The sounds of “What’s Tonight to Eternity” are hard to describe, utilizing layers of texture that infuse elements of lo-fi and harsh noise with soothing dream-pop vocals. These dense, dark arrangements make for the best material of Cindy Lee’s career. Favorites of mine “I Want You to Suffer” and “Lucifer Stand,” with its spoken word bit teeters between haunting and beautiful. Some have compared “What’s Tonight to Eternity” to a David Lynch film’s soundtrack for good reason. It makes sense; the avant-garde structures of” What’s Tonight to Eternity” make you question the medium’s boundaries, sometimes leaving you confused with it’s dark, abstract nature. This exact description can also be used to describe David Lynch’s “Part 8” of Twin Peaks season three, which I just watched yesterday for the first time. What’s Tonight to Eternity” has become ever more enjoyable with every listen, admiring the left-field approach and weirdness of Cindy Lee.
35. “Whole Lotta Red” by Playboi Carti
I can’t remember that last time an album had been so sought after ahead of time as “Whole Lotta Red” was. Immediately after 2018’s “Die Lit,” fans have been practically begging for the follow-up, which has in the process suffered more leaks leading to numerous reworks of the album. With the number of well-known compilations and offshoot leaks that are floating around the internet, the final product of the official “Whole lotta Red” lead to, as expected, polarizing takes. Some fans were disappointed that fan-favorite leaks such as “Kid Cudi (Pissy Pamper)” or “Cancun,” built around upbeat euphoria, are still nothing more than unofficial bootlegs. In stark contrast, the final version of “Whole Lotta Red” is dark and aggressive. Few expected tracks like “Stop Breathing” or “Rockstar Made,” which incorporate heavy influences of trap-metal and the underground tread sound that many unfamiliar with Carti’s most recent shift found off-putting. It’s an album that I expect to be a grower for the masses, much like Playboi Carti’s entire career; however, in my eyes, “Whole Lotta Red” two years in the making lived up to its lofty expectations. From the cover inspired by Los Angeles based “Slash Magazine” that ran from 1977 to 1980 or the hard-hitting sound of the music, nobody in music today is as unique as Playboi Carti.
34. “Self-Surgery” by Mrs. Piss
“Mrs. Piss” is the first release under the alias of this side-project from Chelsea Wolfe. This fusion of sludge metal and noise rock is some of the most sinister yet wickedly good material you’ll get all year. In roughly 19 minutes, Chelsea Wolfe, in a different element, unleashes some of her darkest vocals while backed by pounding drums from Jess Gowrie. After a 40 second intro, “Downer Surrounded by Uppers” kicks off the affair before being followed-up by the best song, “Knelt.” The lo-fi, and in some instances, washed-out production complement the mix of sludge and noise found on this project, creating an ominous aura. “Mrs. Piss” is a straightforward petal to the metal release that, if anything, cuts its stay short, leaving you hungry for more. This was my first experience with a Chelsea Wolfe and someone that I’ll be keen on exploring more of her music in the future.
33. “A Written Testimony” by Jay Electronica
Before “A Written Testimony,” I have never described an album as being a fever dream, and now nine months later, this album still feels strange that it actually exists. I say this in the most favorable light possible hence it’s spot on my top 50, but I had gotten to the point where I never expected to see a Jay Electronica album. Thirteen years after his acclaimed mixtape “Act I: Eternal Sunshine,” Jay Electronica’s debut album collaborates with Jay-Z, who is equally prevalent here even though Hov isn’t credited on the track-listing. For nearly 40 minutes, two of hip-hop’s heaviest hitters who show up once in a blue moon trade great bars on tracks like “Ghost of Soulja Slim” and decade-old “Shiny Suit Theory,” which is still a beyond welcoming addition to “A Written Testimony.” “A Written Testimony” is not the debut Jay Electronica fans hoped for, but nevertheless exceeded expectations for what one of hip-hop’s biggest mysteries was capable of creating. The duo of Jay Electronica and Jay-Z mesh well, dropping gem after gem of maturity in their lyricism over abstract production for one of the year’s biggest surprises.
32. “Last Year Was Weird, Vol. 2” by Tkay Maidza
Few artists are as electrifying as Tkay Maidza, and while it’s technically an EP, “Last Year Was Weird, Vol. 2” coming in at just under 27 minutes deserves to be mentioned among the year’s best. This EP exhibits a groundbreaking left-field approach to pop-rap, much different than the majority of the mainstream names that are often redundant and bland. Instead, Tkay Maidza blends pop and rap through ranging vocals that go from loud and aggressive on one of the year’s best songs, “Awake,” which also consists of a knock-out verse JPEGMAFIA. In a complete 180, Maidza delivers relatively soft and somber vocals on the intro “My Flowers.” The production too is wide-ranging, pulling from the left-field elements of 100 Gecs-like glitch to groovy alternative R&B. In 2020, only Rina Sawayama reaches such diverse heights in a matter of a single project. If this happens to be EP material, I can only imagine just how memorable her next album will be.
31. “LUV vs. the World 2” by Lil Uzi Vert
Where were you on March 13th? For many, including me, this was the final day I remember being out in public not donning a disposable blue surgical mask. I mention this because, on March 13th, I was sitting in an empty library at Temple University with my headphones in listening to the new album releases of the day, the main attraction being “LUV vs. the World 2.” A week prior, Uzi broke his music drought with the worthwhile “Eternal Atake,” but part two of Uzi’s 2020 return is his most memorable. “LUV vs. the World 2” possess similar energy and sounds to Uzi’s 2016 work; a welcoming bit of nostalgia that mirrors the Philadelphia rappers often touched on themes of love and heartbreak from his rise to stardom. “LUV vs. the World 2” also offers long sought after material such as the Chief Keef featured track “Bean (Kobe)” as well as some of the year’s best beats found on “Myron” and “Yessirskiii.” If “Eternal Atake” wasn’t your cup of tea, the ethereal and somewhat of a throwback to 2016 sound is, by all means, a worthy sequel to the landmark “LUV vs. the World” mixtape. Few trap albums are this lush and eccentric, characteristics that imply addictive replay value.
30. “What’s Your Pleasure?” by Jessie Ware
Within the music scope, no genre played more of an integral role in keeping up morale throughout the long months of 2020 than pop. More specifically, the 80s inspired revival of sorts that has seen the sounds of dance, house, and disco find a vital niche this year. One of the albums that best exemplified this remarkable trend of warm and often uplifting 80s was Jessie Ware’s fourth album, “What’s Your Pleasure?” It’s an album that pays homage to the clubs of disco’s peak with lyrics revolving around love. “Spotlight” and “Soul Control” are some of the year’s best songs for their strong vocal performance and lush production. “What’s Your Pleasure?” is the coming-out party for Jessie Ware, previously a relatively unknown artist becoming one of the defiant artists of the year as she has blown away anything else she has done to date.
29. “Kofū” by Meitei
“Kofū” is one of the hidden gems of 2020. In a year defined by its struggle and chaos, Meitei’s fusion of ambient and plunderphonics is more than welcoming. “Kofū” is a soothing atmospheric body of work that taps into “lost Japanese moods,” according to the Bandcamp description of this masterful project. “Kofū” also closes out the trilogy from Meitei that started with 2018’s “Kwaidan” in his quest to revive the sounds of music of the Meiji era Japan (1868–1912). Whispered samples, sounds of rolling water, broken piano, and beautiful melodies are just a handful of the characteristics that made “Kofū” stand out to me right away. I practically know nothing about Japan’s Meiji era, but Meitei’s efforts do a fantastic job of putting me in the mindset of Japan’s music of more than 100 years ago. Anyone who can admire well-executed sampling and ambient atmosphere will find this one memorable.
28. “Song of Sage: Post Panic!” by Navy Blue
Along with Playboi Carti’s “Whole Lotta Red,” “Song of Sage: Post Panic!” is another memorable album released as the days left of 2020 wind down into single digits. In February, Navy Blue released the decent but unmemorable “Àdá Irin,” leading me to sort of disregard this follow-up, and boy, was I wrong. “Song of Sage: Post Panic!” is a significant step up for the New York-based rapper. The production is a standout, which roughly half the album is produced by Navy Blue himself, a step up in that department compared to previous work. Song wise, “Sea Bass” and “1491” are favorites of mine for their dense, spiritual rhymes. To affirm this project is worth your time, let Yasiin Bey, aka Mos Def vouch, who is one of the best rappers of all-time and only appears once in a blue moon for only the best of rappers. In the last couple weeks of the year, I tend to wind down my listens as I write my top fifty, but “Song of Sage: Post Panic!” put a pleasant wrench in that process, with a career-best effort from the young emcee.
27. “Alfredo” by Freddie Gibbs & The Alchemist
The pride and joy of Gary, Indiana, Freddie Gibbs has submitted himself as one of the greats of his era. At this point, anything Gibbs puts out could be perceived as a victory lap after a handful of fantastic albums over the past number of years. On “Alfredo,” with the help of beats from The Alchemist, Freddie Gibbs dazzles per usual over warm, hazy production, delivering some of the most memorable lines of the year. On “Scottie Beam,” Gibbs raps, “The revolution is the genocide; Yeah, my execution might be televised.” In a year synonymous with police brutality, this line continues to stick as “Alfredo” was released a day after the Minneapolis Third Precinct’s burning, a defining moment in the continued struggle and growing sense of direct action in America. Other personal favorites of mine, such as “1985” and “God Is Perfect,” exhibit the continued growth of Gibbs on the mic, becoming just as well regarded for his lyrics as he is for his sought after flow. Adding to the enjoyment, Rick Ross, Conway, Benny, and Tyler, The Creator each leave a memorable mark, especially Tyler, a rarity to find an Alchemist type of beat. On “Alfredo,” Freddie Gibbs continues to make rapping look effortlessly with his charisma, flow, and lyricism; add in the renowned Alchemist, and the duo whipped up a wonderful dish on “Alfredo.”
26. “Shabrang” by Sevdaliza
Sevdaliza is a new artist discovery for me as I had never heard the Iranian-born artist’s work before 2020. “Shabrang” is the second album from Sevdaliza, a dark-sounding trip-hop and art-pop mashup. Something along the lines of what I imagine a fusion of Portishead and FKA twigs would be. The most notable aspect of “Shabrang” is the production. A blend of synths, strings, and piano creates an eerily cold atmosphere for Sevdaliza, whose voice melts into the production for some of the years finest arrangements found on “All Rivers at Once” and “Darkest Hour.” My only criticism of “Shabrang” is that the album starts to drag during the second half. A couple of moments being “Oh My God” and “Human Nature,” are decent but fall short of the album’s finest moments. At 62 minutes, these extra couple of songs can make “Shabrang” a taxing listen at times, but this is, regardless it’s an admirable effort. I hope Sevdaliza continues to refine the blend of trip-hop and art-pop sound she honed in here, as her potential is immense, and I can’t wait to see what she’ll do next.
That’s all for part one of what I believe to be the top 50 albums of 2020. Tomorrow on New Year’s day, I will publish part two (25–1) here, so be sure to check that out tomorrow! In the meantime, I hope you can find a new favorite album heading into the new year.
