Hi, everybody. Long time no talk.
I’m here to write about something that everyone TOTALLY cares about: my opinion on music. 2020 was a rough year for music, but that’s not on the fault of any artist (except maybe Tory Lanez). The pandemic f***ed everything up. A good number of projects came out sounding disappointingly half-baked and an even better portion of them didn’t even come out at all because the studio time would be hard to book, collaborations would all need to be done electronically, and basic promo wouldn’t even be able to happen since live shows were completely taken out of the picture. The industry took a huge hit in almost every facet, so that makes the albums put out in 2020's musical landscape all the more commendable. I respect the artists that put things out this year for still making it happen a million times more now. The conditions to release anything sucks right now and I bet you it’s even harder to find inspiration when you’re locked up. Anyways, with that, I want to present the best musical projects that I’ve listened to. I want to give a brief disclaimer before I begin that these are my favorites. I don’t have the broadest scope ever and I don’t consider myself an expert in all areas of music. This is straight-up opinion...which also happens to be the most important thing. Obviously, everyone should stop what they’re doing to care about it. Okay, seriously, let’s go! These are my top 15 albums of 2020:
Slauson Malone is the mastermind behind one of my favorite albums from last year, A Quiet Farwell, 2016-2018 (2019). So, I was obviously pretty hyped to hear that he would be releasing a follow up project. Admittedly, at first, I was a little disappointed when I realized that some of the tracks were renditions, extensions, or reprises of tracks from that last record, but I came to love this thing as a sister project instead of a standalone one. This time around, you’re getting the same heavy sampling and distorted production, but with more acoustics and strings. Slauson Malone provides yet another noisy and despondent collage of sounds that definitely challenge you, but still feel like a thrilling sonic trip all the way through. For me, it’s just more good stuff from one of the best breakout experimental innovators in music. I would still listen to its predecessor first, but you’re going to get an insane car-crash of sounds regardless. I could write pages about this guy’s music, so I’ll leave it at that. This is surreal art at its finest.
Favorite tracks: Simile #7, Smile #5, My feet’s tired
You’ll find that 2020 has been my first experience with many artists on this list and that’s true with this Ka record. I’ve been recommended this album by a good number of friends and music publications and I’m impressed with what’s on display here. Ka has a mastery of lyricism and extended metaphor. That coupled with his darker and grimy voice sort of reminds me of MF DOOM. The story references told through his rhymes are more evident than ever with the album title and biblical artwork. I love how he uses the allegory of Cain as a reference to his advantage in building that theme around the haunting quality that ancestral mistakes can have on generations like a domino effect. I recently found out that he uses various mythological stories as a framework for some of his other projects, which is an interesting musical concept to play with. I’ll definitely be going back and checking out more of his work in 2021 when I have the time.
Favorite tracks: Every Now and Then, Patron Saints, Old Justice
I don’t have a deep attachment or emotional connection to Mac Miller’s music like many fans do, but there were some songs of his that I always liked. I thought that Swimming (2018) was pretty good and I really appreciated the artistry behind Watching Movies With the Sound Off (2013). Miller’s death in late 2018 was pretty depressing to hear about, though. His metamorphosis as an artist was probably one of the most interesting transformations that a music fan can witness as he went from making trashy, white-boy, party rap to some of the most emotionally vulnerable music that many in the music community had ever heard. That being said, Circles is great. A lot of that is due to composer, Jon Brion, who I’ve been a fan of for years now. This record is heartbreaking as hell but super touching. Fans have every right to love this album. It’s a rare posthumous piece that actually does its due diligence on an incredible artist that’ll be missed for years to come.
Favorite tracks: Blue World, Good News, Hand Me Downs
Alright, alright. I know this is an EP and I said Top 15 albums, but we’re kind of doing top 15 projects here. Besides, the modern day interpretation of what that even IS has changed so much over the years that it’s hard to say what something definitely is anymore. Artists are releasing 15-25 minute collections of songs and calling it an album so I’m gonna treat them like they’re on MOSTLY level playing field. Also what is this, Pitchfork? I’m just a dude. Anyways...Peggy released an awesome set of singles this year. There were so many good ones that it would almost warrant putting them together into a collection. And a few weeks ago, my dude did just that. I won’t say much other than that these are mostly great songs. I felt like it was necessary to include JPEGMAFIA on my list this year anyways since the guy keeps getting more and more untouchable in the hip-hop landscape. NO ONE is doing what he’s doing. He’s a straight innovator.
Favorite tracks: BALD! BODYGUARD! ROUGH 7
This is a short little collaboration that just made sense to make. Both of these guys are finally getting more attention for their contributions to music and it only seems right that one of the best producers out there right now works with one of the best rappers. This project was coupled with a fun animated short film about Denzel and Kenny going into what’s basically the matrix to retrieve some lost tracks. The story behind it all is an amusing aesthetic to play with. The music itself is just consistently quality. Word is that the record took about 72 hours to make and that many (if not all) of Denzel’s verses were freestyles. That’s impressive, sure, but you definitely get that vibe regardless of the purposefully unfinished style. It’s a great time but leaves me wondering how much harder it could go if both guys really took their time on something.
Favorite tracks: Take_it_Back_v2, DIET_, ‘Cosmic’.m4a
The New York duo of underground MCs Billy Woods and Elucid team up for a dark, but dreamy, sample-heavy record. I like Billy Woods a lot. His critically acclaimed album, Hiding Places (2019) narrowly missed out on my top albums list from last year. I know a little less about Elucid but love what he brings to the table on this project. While the album takes a bit to really get rolling, it picks up pace and it’s a great ride to be on once you're there. Much of the abstract production that often feels like it’s coming from somewhere in a poorly lit NYC apartment hallway lends super well to both rapper’s voices. As a bonus, the features all give high quality performances; A few of them even show up on this list with Quelle Chris and R.A.P Ferreira. I feel obligated to mention that this album also wins my cover art of the year trophy. Amazing. Don’t skip over this one. It’s an enjoyable listen that I come back to frequently. I hope to hear more from this pairing in the future and it has me ready to listen to whatever either artist puts out next for their solo work.
Favorite tracks: Charms, Frida, Slew Foot
This album is a vacation. I have to show some love to Detroit, and Quelle Chris has been making consistent waves out of there for years now. His lyrics are often filled with social commentary and thoughtful meditations on the self, the latter being even more true on this record. Innocent Country 2 is the sequel to Innocent Country (2015), a collaboration with producer, Chris Keys. This is basically melodic flows meeting even more melodic beats. The piano-filled production is glittery and smooth and Quelle Chris is just so effortless with his delivery and wordplay. It’s just beautiful and soulful music. With that being said, I find myself wishing it was slightly better paced. This isn’t a huge complaint, especially if you’re sliding back the blinds on a Sunday afternoon and turning this on, but the skits aren’t my favorite, either. These are minor flaws in the larger scale of a great collection of songs. This is music for the SOUL, man.
Favorite tracks: Honest, Living Happy, Mirage
What’s good about this? A lot, really. The thoughtful yet playful poetic license utilized by Ferreira against the backdrop of a jazzy yet ever-evolving instrumental mix fosters a uniquely whimsical listening experience. Many of the vocals on this sound like poetry or spoken word, but other tracks become raps songs that incorporate choruses, melodies, etc. This eclectic set of vocal approaches always keep you on your toes, but the production also has you venture into different regions with more atmospheric and abstract sounds mixed in. Sometimes those measures take away from a feeling of structure, but they still cultivate a more open-minded approach because your expectations always seem to be getting subverted by what’s next. The real shining moments on this record are when the beauty of the poetry joins with the beauty of the production to harmonize with one another; That’s when this album is at its most special. There’s definitely magic on this project. Some of that spirit is almost reminiscent of a more mature and contemplative approach to one of those earlier Chance the Rapper mixtapes (Ferreira even references Chance in a bar on this which may have triggered this observation). The lyrics are all mostly purposeful as they discuss the power of art and injustice. When they’re not, though, they’re mostly entertaining. Overall, great piece of artwork that encourages multiple listens to better digest it.
Favorite tracks: U.D.I.G, Cycles, An Idea is a Work of Art
I’ll be honest with you, man. Up until recently, I didn’t really care for clipping. Last year, they released There Existed an Addiction to Blood (2019) which I noticed got a lot of praise around the board. So, while I was compiling my end of the year list, I checked it out and respected the artistry but just couldn’t connect with it. Enter this album, a sequel. It got even MORE positive critical attention than the last one. It still didn’t resonate with me all that much and I really just began to think something was wrong with my brain. Horror-flick inspired, experimental, avant-garde rap music? I thought “what the hell, dude? This shit is made for you.” I persisted through it and finally, just a month ago, BAM, it clicked. This is a great freaking album. Super dark, heavy, and distorted sounding tracks with chilling lyrical stories to back the eerie production up. Vocalist Daveed Diggs goes OFF on some of the tracks. His flows sometimes even get a little too nuts, especially on high energy tracks. All in all, I love this project. I still don’t know how often I’d listen to this album, though. It requires a mood that I have less frequently than usual. Still, for what it is, this is definitely one of the best constructed albums this year.
Favorite tracks: Say the Name, ‘96 Neve Campbell, Enlacing
El-P and Killer Mike are back yet again. That’s right. Yet another duo makes this list. I’m so glad they decided to break away from any confines of a trilogy and keep making music together because Run the Jewels is becoming one of the greatest rap duos of all time. They just keep releasing consistently good projects. I really don’t know if they have a bad one yet. This one sounds bigger and better than ever with booming stadium-style anthems and smooth but club-rocking cuts. Run the Jewels is more than just a certified banger factory, though. These two are always putting together some really conscious bars about systemic racism, corporate corruption, and police brutality. It’s like they’re making diss tracks about humanity. They even dropped this record a few days early in support of the widespread protests happening in early June. These were in response to the unjust murders of George Floyd, Breonna Taylor, Ahmaud Aubrey, and the many others helplessly killed. Run the Jewels never feels disingenuous, though. The pair is just good for everybody, whether it's the message, the mosh-worthy tracks, or both. I hope they don’t stop making albums. This world is a better place with RTJ rolling out quality, definitive hip-hop every few years.
Favorite tracks: ooh la la, JU$T, a few words for the firing squad
This one was difficult to place because it came out more recently. Still, I have listened to the ever-loving shit out of this album since its release. It’s by no means perfect, but it may very well be the best album EXPERIENCE I’ve had in 2020. The epic, psychedelic, spacy, atmospheric vibe of the production really takes you on the journey that Kid Cudi intended. His vocals and bars are vintage, and every feature from another artist is super welcome. The first half feels a little bit like newer territory for Cudi as one after another trap-inspired banger flies in. But the second half of the project feels much more like the first Man on the Moon records with more personal reflection, emotion, and grandeur. A lot of people agree that Scott just was not completely right on his recent solo work until the 2018 joint effort with frequent collaborator, Kanye West dropped. I went into this thing just hoping that some of that magic from Kids See Ghosts (2018) would carry over and it’s safe to say that it did. The “Reborn” Cudi is totally in form on this one. This album is by far his best solo release in years. I think it will resonate with a lot of people for years to come.
Favorite tracks: Mr Solo Dolo III, Lovin’ Me, Rockstar Knights
Freddie and the Alchemist have both been killing it in their respective areas for years now. I don’t think there were many people who thought that this wouldn’t be great. These two got the long overdue attention they deserve a Grammy nomination for best rap album, which was an awesome surprise considering how celebrated these two guys are in the hip hop community. Freddie picks right back up where he left off on Bandana with the same level of lyricism, flow, and rhythm that we’ve seen from him countless times before. With each consistent record like this, I feel like he’s slowing solidifying himself in the top rappers of all time conversation. As for the Alchemist, his beats are crisp, elegant, and smooth enough to lay down on. Mostly every feature fits right in with guest spots from Rick Ross, Tyler the Creator, and more. Just good stuff all around here. If you’re a rap fan then this is a must listen.
Favorite tracks: Scottie Beam, Look At Me, Baby $Hit,
If you’ve heard me talk about music this year, then you’ve probably heard me express my relatively newfound love for the New York rapper, Mike. I wrote an article earlier this year about his breakout tape, May God Bless Your Hustle (2017) and how much it means to me. Weight of the World is just more of everything that I love about Mike. A few of the songs on this thing are some of the most hypnotic things that I’ve ever listened to. The samples used on the beats are creative as hell. And, of course, Mike just spits over them casually but somehow keeps a lot of heat. The album is full of the classic lines that you want to yell right along with him on cue. Mike has this commendable talent to tap into raw emotion and express his thoughts and feelings honestly in his lyrics like almost nobody else in rap does. He has the introspective ability to write meaningful meditations on internal struggle and still make it slap. It’s just super cool. Everything about this album is cool. Weight of the World gets my coolest album of the year award.
Favorite tracks: More Gifts, No, no, weight of the word*
3. Jean Dawson - Pixel Bath
Personally, this is one of my favorite albums in a long time. Jean Dawson is so talented, and it's hard to believe that this is his sophomore project considering how sharp it is. This placement actually comes as an edit after this article was published because I hadn't heard it yet. Check out the review I posted about it, though. Since I did talk about this album at length already in that capacity, I'll keep this entry short. All I have rest to say is that much like actual gold, the value of this thing will increase as time goes on. It's rare that I've been in love with an artist after listening to just about one album of theirs THIS quickly. Dawson is a name to keep your eye on, because this guy is going to continue to musically scorch the earth. You won't find fresher products than this, really.
If last year was weird then I don’t know what you’d call this year, Tkay. Okay, so, I’m not sure if this is an EP or an album...but whatever. If Earl Sweatshirt’s Some Rap Songs (2018) is an album in 25 minutes, then this can be too. It’s 27 minutes. But it’s classified as an EP for some reason. Maidza put out a handful of singles last year that absolutely blew me away. I knew I had to keep my eye out for her next project and WOW was it worth it. MORE PEOPLE SHOULD KNOW ABOUT THIS. In 8 tracks, Maidza shows that she is capable of being one of the most versatile artists in music right now. I seriously think she could blow up into a mega-star one day. She dominates whatever stylistic direction she decides to go in and can take you from a hard as nails, heavy, semi-industrial banger to a sunny and funky jam session with ease. The talent on display here is seriously ridiculous. It’s like a rainbow of sound. This is an exceptional project that feels like just the beginning for a brilliant artist with an already advanced skillset. Go listen to this immediately if you haven’t. Actually, go listen to it regardless. You’re welcome.
Favorite tracks: literally all of them
First, I just quickly want to say that this pick also exists to acknowledge her EXCELLENT, nearly GOAT tier album from last year, simply titled, Charli (2019). I listened to that this year just as much as I listened to this album, and they’re sort of siblings in a way. Ok, so, phew. What can I say? Charli XCX is making the most innovative pop music out there. She’s not afraid to embrace new, boundary pushing, and eclectic sounds to lead the genre into a more liberating and individualistic future. She went from making solid but regular radio hits to ushering in a wave of musical freedom. When she released Pop 2 (2017), it was like she made the conscious switch to become more of a boundary pusher. It was an ironic statement that it’s time to take the genre up a level. No one has a better ear for a hook than Charli does. NO ONE. It’s legendary how she can fuse old elements of Britney Spears with totally wacked out crazy electro boom-bap sounding stuff like 100 gecs. So, why is this my number one? Well, because it’s spectacular, yeah, but also because this album is SO 2020. Towards the beginning of the pandemic, Charli announced that she would be working on an album ENTIRELY in quarantine. What came out of that time is a captivating meditation on what life has been this year. Isolation from most of the world, the reconnection and rebirth of love with the people that you’ve had to share a bubble with, the desperate desire to have things go back to normal, the weird trials of the technological age, and so on. All of it’s right here in how I’m feeling now. It’s literally how we’re feeling now… This is the best piece of art that aims to document current times that I’ve exposed myself to. It’s a snapshot of a time period, yeah, but the themes go way past that anyways. I never thought I'd give a pop record album of the year, but this deserves it. This is my album of the year!
Favorite tracks: Forever, Claws, Enemy
Thanks for reading! Seriously, if you got this far, thank you so much. If you take a listen to any of these because of me then I’m honored that you trust any of my recommendations. I might follow up with a list of my favorite songs/singles of the year. Maybe that will be a separate article next week. Expect me to be posting on here more often. I've departed from my writing position at All Talk No Balk, so you could easily see more stuff on here now. Also, I may easily come back and add in some projects since 2021 technically hasn’t started yet. Playboi Carti is set to drop Whole Lotta Red on Christmas, but I’m not waiting around for him, especially if he pulls a Kanye and does a no-show. This list is subject to change, of course. I will most likely move things around or add projects since I always seem to discover something a year or two late. If you want to see my other lists from the past few years, click here to be taken to the album rankings page.
Happy Holidays everyone! Be safe out there. Here’s to a better all-around life in 2021.
