This year was anything but ordinary. In an effort to draw attention to the plethora of good music that made their way onto our playlists and recall some of the positive things that occurred this year, I’ve created my very own Top 70 Albums list of 2020. Here goes nothing!
No. 70: WOMB – Purity Ring
One of the biggest surprises music-wise for me was just how much I enjoyed Purity Ring’s Womb. Usually known for their macabre approach in their lyrics and stripped-down electronic productions akin to dream pop and witch house (don’t ask), I gave them a chance this year after listening to the gorgeous “pink lightning” and trance-like “peacefall.” While it’s not something I continued to listen to throughout the year (I try to limit my exposure to things that may be overly negative or numbing, especially if I’m feeling prone to depressive episodes, which was 2020 in a nutshell), I found the whole experience intriguing and reminded of other groups like CHVRCHES. Though the pace is slower and material darker than many of the other albums to be discussed here, there are some positive, lighter spots on the album, including “stardew.” Purity Ring showed me not only that there is a time and place for everything but that one should listen to oneself and figure out if exposure to something dark can/will alter one’s overall mood. If you’re not in the right state of mind, pass on listening to this album. Otherwise, give it a go!
(Positive) Standout tracks include: stardew and pink lightning.
No. 69: lil kiiwi – Kiiara
Four years in the making, Kiiara – yes that same Kiiara who sang that song from the Apple commercial way back when – finally dropped her debut album, featuring a smattering of hits since she struck “Gold” in 2016 and rose to prominence. On the 14-track LP, Kiiara sings about some of the most relatable things: fuccbois being their problematic selves. Incidentally, Kiiara leaves off some of the best songs she’s created off the LP, including my favorites “Messy” and “Open My Mouth.” While the newer singles and album tracks don’t necessarily deviate from her proven formula of backbeat, distorted ad-libbed vocal noises, and lyrics focused on the perils of dating immature guys, Kiiara still finds a way to turn the listening experience into something that gleams bright without demanding much from the listener. The album functions like fool’s gold – pretty to look at (or listen to, in this case), but without providing too much insight into the artist and her life experiences. And that’s totally okay! Because instead, we are gifted an album that, while more or less predictable and leaning toward pleasant background noise, creates enough of a vibe to soundtrack the countless more exciting things happening on the other side of the speakers.
(New) Standout tracks include: I Still Do, Numb, Bad One, and Brightside.
No. 68: Changes – Justin Bieber
This year, Justin Bieber released Changes, an LP that was supposed to personify the changes he himself had embraced in his life. And while that may have been the case personally, the album did not necessarily deviate from the stylings that Bieber has embraced in the past. It’s Journals 2.0, but without the variety that fuels an enjoyable listening experience. In fact, of the 17 tracks that make up Changes, the collection remains homogenous, not really having a chance to create memorable moments in the listening experience. While there are certain songs that do stand out a LITTLE bit in comparison to their fellow tracks (see “Forever,” “Intentions,” and “Running Over”), much of the album blends together, not really providing much of a change when listening to the album itself. It’s funny, because his subsequent releases, including collaborations with Chance The Rapper and Shawn Mendes (“Holy” and “Monster,” respectively), both embody the changes he boasts with this LP, yet neither would seem to feel at home on the album. It’s a decent effort, but for 17 tracks, it tends to drone on. And when there aren’t many moments of excitement present, listening can become relatively excruciating at certain points. It will be interesting to see how this album fares during the Grammys in 2021.
Standout tracks include: Intentions, Forever, Running Over, Yummy (Summer Walker Version), and ETA (specifically because it reminds me of All That Matters).
No. 67: Wachito Rico – boy pablo
Channeling his best Tame Impala and Vampire Weekend impressions, Boy Pablo, or Nico Munoz, doubles down on the sad boy indie pop-rock sound he cultivated several years ago on his debut. Heralded as a breakthrough artist in his native Norway, it’s not hard to see why – he has a way with lo-fi, synth-driven, vibing productions that provide just enough context through lyrics to help audiences connect with his music. The issue, though, is that it just starts to sound a little bit repetitive. And this is where Munoz may need to step up and really go that extra mile. Because doing so can help him move past his YouTube fame and become the multifaceted artist we all know he has the potential to be. Overall, the album isn’t bad – it’s just more of the same. And remaining consistent can be much-needed in a year as devastating as 2020.
Standout tracks include: hey girl, leave me alone!, honey, rest up, come home, moustache, and wachito rico.
No. 66: Wonder – Shawn Mendes
Let me start by saying I usually enjoy Shawn Mendes’ music, but I was so disappointed by the power yelling on the title track while throwing in trippy Beatles moments and homages to David Bowie that I didn’t even want to consider the album for my 2020 countdown. Fortunately, there are much, much better highlights that showcase a natural progression for the artist known as Shawn Mendes. Regardless of where the guy falls on the sexuality spectrum, one thing that shouldn’t be attempted on his part is inserting himself into the lanes of fellow pop stars who are dominating their current slices of the pop “pie” – I’m looking at Shawn’s attempts to jump into territory that Harry Styles is owning so well. They are valiant attempts – they start off well enough, but they end up falling flat somewhere in the middle. But where Shawn actually soars are on his album tracks; it’s a tale as old as time (or in his case, since 2015). Shawn releases singles that, while catchy, end up not being the most compelling content in his body of work. The same goes here: on simple, stripped songs like “24 Hours,” we hear Shawn do what he does best: a full falsetto where he discusses how he hopes to love his partner. But we also see positive growth in production on songs like “Higher” and effective use of layering on “Dream.” And he nails the cutesy pop reminiscent of his classic hits like “Lost In Japan” and “There’s Nothing Holding Me Back” on “305.” But much of this is overshadowed by Shawn’s attempts to mimic stylings of other singers when he should be focused solely on the artist he wants to be. It truly makes me “Wonder” how/why he released an album with two distinct styles. Hopefully, Shawn will figure out his direction and maintain this artistic growth for the future!
Standout tracks include: Song For No One, Piece Of You, 305, 24 Hours, Dream, Higher, and Can’t Take My Eyes Off You (BBC Live Version).
No. 65: Church – Galantis
While 2020 may have been more hell and less heaven, Galantis took us to Church and made us believe in the power that a slick production and uplifting lyrics can have in redefining perspective. Always the type to craft clean and uplifting songs, Galantis doesn’t disappoint in meeting these same expectations on their third studio album in just five years. Featuring the glorious “Faith” with vocals by the queen of goodwill Dolly Parton (and one of my father’s favorite singers), the album is a pleasant listen that is bound to leave the listener feeling better than they originally did. But, though the album truly is delightful and a bright spot in an otherwise difficult year, it serves as a reminder of the complacency that so many amazing artists can fall into. Church does little to change up or refresh the formula Galantis to express their artistry. As Galantis tries to tell us that we’ve “never heard a love like this,” but that’s simply not the case – see literally their whole discography. It’s almost as if they haven’t grown as artists over the course of half a decade, which we all know can’t be the case. Because of this, the LP tends to fade into the background of other Galantis productions, leaving much to be desired. I will say, they do try to change things up with songs like “Hurricane” and “We Can Get High,” but more exploration and risk-taking could have helped make this album stand out from its predecessors. And that’s not to say that the album is anything other than great – it’s just that after 5 years, it may be prudent to innovate and reach new levels of artistry instead of churning out the same dog and pony show year after year.
Standout tracks: Faith, I Found U, Steel, Unless It Hurts, Stella, Miracle, and Feel Something.
No. 64: kelsea – Kelsea Ballerini
Let me start by saying I’ve always found Kelsea to be a precarious country singer – her voice and lyrics always reminded me of a pop musician’s, but she has always been billed as new-age country. And this album helped me understand this billing so much more. A combination of pop and country sensibilities, “Kelsea” hugs this tightrope well, balancing the rich storytelling of country music and the infectious hooks of pop music. Whether it’s Kelsea singing about “the other girl” and her man being a “bragger” or the sob story of a “homecoming queen” and how she processes by writing “a country song,” Kelsea exhibits the versatility needed to fully realize the pop-country genre in which she currently reigns. Overall, I was pleasantly surprised at how much I truly enjoyed this album throughout 2020 – between seeing her perform live last year (she opened for Kelly Clarkson), the strength of her single choices, and her versatility as an artist, she’s made a fan out of me, and I’m excited to see her continue to develop her unique position in the music space.
Standout tracks include: hole in the bottle (the Shania single remix is pretty adorable), the other girl, half of my hometown, the way i used to, needy, and a country song.
No. 63: The Photograph Soundtrack
Helmed by the amazing Robert Glasper, The Photograph Soundtrack manages to capture the soul not only of the film itself, but of New Orleans and the surrounding areas where the story hashes out. With only three vocal tracks on the 15-track album, a majority of the album relies solely on instrumentals, allowing the listener to be transported into the rich tapestry of imagery developed by cinematographer Mark Schwartzberg. Relying on R&B and jazz, Glasper takes a beautiful story and manages to convey the same plot just using sounds synonymous with the Big Easy. And the results are truly breathtaking. When it comes to the three vocal tracks, Glasper recruits HER, Erykah Badu, and Lucky Daye to voice various parts of the story, and the results sound perfectly at home in the thick of the plot. Specifically, “Comfortable” by HER and “Fade Away” by Lucky both incorporate R&B and jazz in ways that not only move the plot forward but remain true standouts and gorgeous moments worth remembering from the film. As someone who claims New Orleans as his hometown, the soundtrack and subsequent film gave me immense joy and pride through its beauty and splendor, and it’s helped introduce me to the musical genius that is Glasper.
Standout vocal tracks include: Comfortable and Fade Away.
No. 62: Dark Lane Demo Tapes – Drake
“I got all these blessings just to give them to others anyway…”
With nearly 15 years in the game, Drake hit back in 2020 with Dark Lane Demo Tapes, a preview of his upcoming studio album. Stepping away from the radio hits that usually litter his releases, Drake steps into the experimental, production-light limelight that accentuates his rapping and singing skills, showing us just why we fell in love with his talent all those years ago. Whether it’s quoting Eminem in “Chicago Freestyle” or inventing a new dance craze for TikTok consumption with “Toosie Slide,” Drake makes sure to dial up reflection and tone down the flexing that tends to permeate throughout other rap albums. Leaning more into the introspection that solidified his legacy during 2011’s Take Care, Drake pieces together a moody collection of songs that sound right at home during the uncertainty of 2020. And if this album is any indication of the caliber of his 2021 project, the world truly isn’t ready for its greatness.
Standout tracks include: Desires, Chicago Freestyle, When To Say When, Not You Too, Landed, D4L, Pain 1993, Demons, War, and Toosie Slide.
No. 61: Duality – Duke Dumont
On his debut album Duality, Duke Dumont puts quality over quantity. Throughout the 10 tracks, Duke creates a darker, moody experience that immediately transports the listener to the middle of a rave where countless faceless bodies continue to move amongst and against one another. The album covers various facets of the electronic genre that Duke has laid claim already: EDM, trance, electro-pop, tropical-house, and even a full-on piano interlude (see the gorgeous “Overture”) – but all wrapped in layers upon layers. The whole album is a mood – it relies more on feeling than fully-developed lyrics, production more than gimmicks, structure more than uniqueness. And in these trade-offs do we find what Duke does best: create the looping melodies that can numb out all other focuses and soundtrack those nights shrouded in the cover of smoke, strobes, and looks that say much more than words ever could. It‘s the soundtrack to those nights when you can truly become one with the music – where nothing else matters but the sounds enveloping you.
Standout tracks include: Therapy, Nightcrawler, The Fear, The Power, Ocean Drive, Together, Love Song, and Let Me Go.
No. 60: EREZ EP – Sally Boy
I’m not going to lie – I definitely judged this EP by its cover when it came to giving it a chance and a spin (SPOILER ALERT: he’s shirtless). But Sally Boy, or known by his mother as Erez Potok-Holmes, manages to combine the chillest of vibes with a throwback nostalgia that promises to fulfill our wildest suburban dreams while still maintaining that edge that can drive us crazy. Throughout the seven tracks, Sally Boy uses low-fi pop and clean production to remind us of failed high school romances and the countless empty promises fuccbois would whisper into our ears that the hopelessly romantic teen inside us would choose to believe until we realize that he happened to be using the same lines of every single person in our class. We travel through the various stages of an almost teenage love. And it makes sense: the EP flows as a reflection of a teenage dream ripe for reminiscence, with the elements of discovery, meet-cute, falling into the pit of unrequited love, and the subsequent crushing of Erez’s heart. And while there may be a slight misstep here and there (see “Kane” and the Dolce Gabbana line), the EP does a great job at harnessing the uniqueness of a middle class suburban wet dream of a teenage romance. Here’s to even more music from this newcomer!
Standout tracks include: Sally Boy, Stormy, I Wonder, To You, and Marie.
No. 59: R.Y.C – Mura Masa
Deviating from the electronic roots that brought him breakout success on his self-titled studio album, Mura Masa took on a more rock-oriented approach on his latest effort R.Y.C. With collaborations from other indie artists like slowthai, Georgia, Clairo, and Tirzah, Mura Masa makes sure to keep central to not only the production but also the vocal soul of the album. This is evident in how each song inevitably sounds like a Mura Masa song instead of a collaboration, as especially through his own personal stories making their own spoken word debut on “meeting at an oak tree” and the spooky but oddly calming “In My Mind”. The album sounds less futuristic as was the case with his debut and more full of nostalgia, which makes it an understandable by-product of the pandemic and the changing world around us. There’s a certain innocent youthful nature that you can never truly shake when listening to the minimalist sounds that Mura concocts for his second album. And honestly, the listener shouldn’t want to – whether it’s the hypnotic sweeping sounds of “In My Mind,” the rushed insistence of “Deal Wiv It,” or the funky soul of “Live Like We’re Dancing,” each song serves as some facet of Mura’s personality and another instance of a much-needed jolt of happiness and possible introspection during an otherwise tumultuous year.
Standout tracks include: No Hope Generation, I Don’t Think I Can Do This Again, Deal Wiv It, vicarious living anthem, In My Mind, Today, Live Like We’re Dancing, and Teenage Headache Dreams.
No. 58: Queen & Slim Soundtrack
Within the first ten seconds, listeners already know they’re in for a wild ride on the Queen & Slim Soundtrack, curated by Dev Hynes. Whether it’s the jarring and shocking “Ride Or Die” by Megan Thee Stallion and VickeeLo or the soulful “Yo Love” by Vince Staples, 6LACK, and Mereba, this soundtrack creates an experience that truly envelops the listener, making it hard to simply pause halfway through. Using some of the biggest names in black culture, Hynes cultivates an experience that explores themes of police brutality, black excellence, and living the American dream. In terms of it functioning as a soundtrack to a motion picture, the LP does leave a little to be desired, especially in providing the necessary sounds to induce further introspection on various emotions surrounding grief that may plague the characters, instead focusing more on the connection and partnership that is central to the plot. But as a collective album, it does provide a healthy smattering of knowledge and curiosity that can lead the listener to learn more about the issues facing Black people and BIPOC communities today.
Standout tracks include: Ride Or Die, Collide, Guarding The Gates, Soul Sista (Remix), Getting Late, Yo Love, Catch The Sun, and Runnin’ Away.
No. 57: missunderstood – Queen Naija
When Queen Naija didn’t immediately churn out a full-length album after her hit single “Medicine” in 2017, many wrote her off as a one-hit wonder. Fast-forward to 2020, when she released missunderstood, a cohesive, solid effort that incorporates the right amount of personality and attitude to help her reintroduce herself to listeners everywhere. Within the first ten minutes, listeners are treated to two samples: Erykah Badu’s “Bag Lady” on “Pack Lite” and DeBarge’s “A Dream” on “Lie To Me.” The homages are apparent from the beginning, but they’re indicative of Queen’s style – her voice croons about the trials and tribulations in love that black women have had to deal with, so it makes sense for her to pull inspiration from some of the greats who have paved the way for her. Throughout the album, one thing remains consistent: Queen Naija remains true to her own experiences, pouring her soul into her songwriting and reaping gold from her trauma. Whether it’s a failed marriage, birthing a child, or just straight-up dating, Queen writes about what she knows best, and she does it well.
Standout tracks include: Love Language, Pack Lite, Dream, One Time, Pretend, Trial & Error, and Butterflies Pt. II.
No. 56: Yesteryear – Cosmo’s Midnight
Yesteryear sounds like what rose-colored glasses and nostalgia would sound like in a year where the things we cherished were unavailable to us – and it’s what makes the album work so well. Leading with elements of electronic, rock, and indie pop, Cosmo’s Midnight set out to make a record that incorporated an updated and accessible disco and funk vibe that could wash away much of the gloominess of 2020. And at this, they succeed. Incorporating elements of bossa nova, the tracks function as a calming wave that washes over the listener. It’s the ultimate in lounge music. The perfect soundtrack to an outdoor summer hangout; the songs sound just familiar enough to lull the listener into a sense of security but also just distinct enough to inspire curiosity. It’s an album that doesn’t ask for much but demands the listener to not only smile but thoroughly enjoy oneself. And that is what makes it such a worthy listen.
Standout tracks include: Yesteryear, Unwind, It’s Love, Have It All, A Million Times, Down For You, We Could Last Forever, Time Wasted, CUDI, and Idaho.
No. 55: Blood Harmony (Deluxe Edition) EP – FINNEAS
The co-producer to what we have come to know as the Billie Eilish phenomenon, FINNEAS graced us with his debut EP Blood Harmony late last year, re-releasing it with new material in August, featuring his 2018 hit and a remix of his biggest solo hit to date. (Due to the late release last year and the subsequent Deluxe version, I’m considering this album as a 2020 release.) So the thing about this EP… it highlights the things we love about FINNEAS as an artist and producer – great storytelling, great melodies, great production – it’s as if he took a page out of Justin Hurwitz’ playbook in creating the songs. But it’s hard to know if this is truly representative of him. If this truly is his experience. For example, lyrically in “Partners In Crime” he references drug usage, distribution, prison amongst other issues that seem to be out of scope compared to his openly-discussed experiences. But, they are still compelling narratives, especially when woven into the tumultuous love affair he croons about. This is problematic solely because the EP serves as an introduction to FINNEAS. It’s through songs like the former and even “Shelter” that we see the glorious collaborative nature that is FINNEAS’ persona – the songs sound near perfect to have been on Ed Sheeran’s latest release, but instead feel out of place and pull focus away from what the audience really wants: to figure out who he is – away from his sister, away from the other artists. Yes, he can become king of the SadBoiPop movement, but it would be nice to know who he is before we crown him. And while he may not yet earn the crown in my eyes, his EP is full of hidden gems and beautiful storytelling that will keep the mystery alive for us.
Standout tracks include: I Lost A Friend, I Don’t Miss You At All, Break My Heart Again, and Let’s Fall In Love For The Night.
No. 54: Year Zero – Tchami
Years in the making, French DJ Tchami, AKA Martin Bresso, finally made his eagerly-anticipated debut with Year Zero. With a knack for combining house and future electronic styles, Bresso dives deep for allusions to some of the genre’s defining forces, including French duos Daft Punk and Justice, amongst other heavy hitters. The results are a 16-track cohesive piece of work that transports the listener to an ultra-suave rooftop lounge, where drinks cost the same amount as your utility bills – it sounds almost too exclusive for us plebeians but we still manage to get in and share in the experience. Through the sleek, silky vibes etched into the production itself, Tchami doubles down on the sound and experience his audience has come to know and appreciate over the years – the difference is it’s polished beyond belief in a way that comes through truly understanding one’s signature sound. As a producer, Tchami has truly come a long way since he remixed Janet Jackson’s throwback “Go Deep” – see his collaborations with Lady GaGa on ARTPOP and Chromatica. And throughout it all, he’s been able to truly refine and redefine who Tchami is while delivering a solid, hour-long romp of a debut album.
Standout tracks include: Buenos Aires, Proud, Heartless, Shine On, All On Me, The Light, Sweet Savage, Rebirth, and Ain’t That Kind Of Friend.
No. 53: ENERGY – Disclosure
Honestly, I’m surprised Disclosure’s ENERGY didn’t GENERATE more hype than it had. It’s quintessential Disclosure: from the collaborators to the tracks themselves, it’s a continuation of the sound they’ve explored and polished throughout their career. But instead of simply copying and pasting their tried-and-true formula, something happens midway through – a shift incorporating afropop and elements of hip-hop that while quite enjoyable, sound slightly out-of-place when placed next to their cut-and-dry formulaic electronic work. Whether it’s drum and bass, garage, deep house, or funk, Disclosure delivers what we have come to know and love from them. But in that same light, while they did try some new things, they didn’t seem as committed to this exploration. But, their familiarity is what makes this release work – in a year where similarly-sounding material can bring comfort to the masses, Disclosure succeeds in doing just that.
Standout tracks include: Tondo, Know Your Worth, Get Close, Birthday (VIP Remix), Watch Your Step, Lavender, Douha, and Ecstasy.
No. 52: The Renaissance – Aluna
I’ll start by saying Aluna from AlunaGeorge holds a special place in my heart. The girl is a formidable performer and definitely gives her all when she’s on stage (as was the case when she opened for Sia in Houston back in 2016). On The Renaissance, Aluna trades her counterpart George in to explore her own identity, especially within the realm of dance music. As such, she reconciles her own signature sound with her discoveries from other facets of dance. It builds off of the sounds from AlunaGeorge’s last LP I Remember and even perfects the minimalist forays from their Champagne Eyes EP. The results, while not as polished as she usually comes across, is a joyous exploration of a Black woman who is finding herself musically and outside of the production she’s known for. She remains a chameleon – her voice accompanies the collaborations with fellow black artists readily in a way that shows her own versatility as an artist. The Renaissance, in essence, is Aluna reaching out on her own, combining the winning parts of her style of R&B with various parts of electronic and dance music. It illuminates her own personal and professional growth as she throws caution to the wind and stretches the boundaries of music she’s been placed between. It is, ultimately, Aluna’s own Renaissance.
Standout tracks include: The Recipe, Don’t Hit My Line, I’ve Been Starting To Love All The Things I Hate, Off Guard, and Get Paid.
No. 51: Confetti – Little Mix
I’ll begin by saying this album has bops falling down like Confetti from start to finish. Little Mix has always had a knack for sampling and combining various genres in an accessible way, and the music present here is no exception. Whether it’s trap-R&B on “Nothing But My Feelings,” hip-hip on “Rendezvous,” electro-tinged pop on “Holiday,” or nostalgic teen-pop/jack-swing on “If You Want My Love,” Little Mix does what it does best: surprise the hell out of us by producing high-quality pop music that will most probably be underappreciated by the masses in the US. At the end of the day, Little Mix remains dependable for a fun, middle-of-the-line, sweet, “Sweet Melody,” and their latest effort continues to solidify this trend.
EDIT: this is also Jesy’s last album with the group as she stated today that she’ll be leaving the group to protect her mental health. Unfortunately, Jesy endured a ton of online bullying, and, while I support her decision to withdraw from the group, it’s just so disheartening to see her stop pursuing this dream because of relentless critics. She was my favorite 
Standout tracks include: Sweet Melody, Bounce Back, Not A Pop Song, Rendezvous, Holiday, Confetti, Breathe, Nothing But My Feelings, and If You Want My Love.
And that wraps up Nos. 70-51… Click here to see Nos. 50-31!
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