In previous annual retrospectives I’ve talked about how music is often the one thing that can liberate us from the hard times we endure. This year though, not even music could do that. As I write this, over 66,000 people have been lost in the country I live in — with over 1.6 million lives lost worldwide and counting. There’s no song to take you away from that; nor should there be. But we carried on listening because there was little else that we could do; and often the volume of that music was the only barrier between you and the horrors going on around you. I spent most of the year in a tower block in the middle of the first city Coronavirus reached in the UK. I was working from home while my wife looked after our then-6 month old baby with no support. Between the never-ending sirens wailing past our windows night and day, constant coughing from flats above and below us, all the while inextricably tethered to the dial-in tone of conference calls while my small family suffered without me in the other room — I rarely took the music below Full Volume from March onwards.
In October we moved from the city to a small market town nearer to France than my hometown. We’re paying less rent, are close to her family and it feels like we have some room to breath now, despite the country being far from out the woods yet. We’re extremely lucky in terms of our health and work situation to be able to be in this position, and I frequently remind myself of this. My heart goes out to each and every artist left struggling by this unparalleled gloaming and I am in awe of those who felt able to share their art in spite of it. Laura Marling brought her album forwards to help balm the chaos. Charli XCX, Adrianne Lenker, Oneohtrix Point Never and many more created whole records in quarantine. And the Griselda leviathan kept rolling like not even a pandemic could stop them. I am eternally grateful to all the artists on this list whose burden this year was far more than to simply entertain, but to force us to look away. Thank you.
Albums of the Year
When I came to shortlisting this, I had it in my head that maybe it hadn’t been a really strong year for albums, but actually it just wasn’t a strong year for listening. In the end I really struggled to keep it to 100, and so really have to hand the following (very) honourable mentions to albums from Destroyer, Helena Deland, Polo G, The Soft Pink Truth, Working Men’s Club, Oscar #Worldpeace, Jeff Rosenstock, FLOHIO, Bartees Strange, Rico Nasty, Ólafur Arnalds, HEALTH, KeiyaA, D Smoke, Princess Nokia, Ty Dolla $ign, Everything Is Recorded, Protomartyr, dvsn, Kenny Mason, Armani Caesar, Don Toliver, Navy Blue, Young Nudy aaaaand 2 Chainz. It genuinely pained me to leave them all of the list and I recommend them all.
Before we start (and not to put too fine a point on it) these are my 5 biggest disappointments of the year, and for that reason do not feature on this list:
The Weeknd — After Hours: The title track was SO good, why was the rest of the album an 80s synthpop pastiche? And why I am alone in thinking it?!
Grimes — Miss Anthropocene: I’ve been a fan for years but in 2020 Claire Boucher became The Worst. The album was a cringe-inducing mess.
Lil Baby — My Turn: Emperor’s New Clothes award of the year. No matter how many times I try it, I can’t find anything remotely interesting here.
Thundercat — It Is What It Is: Call me a killjoy but this year I became allergic to noodly basslines and songs about Dragonball Z and loving your cat.
Lido — Peder: Hesitated to put this here because I didn’t dislike it, but it just completely washed over me in comparison to his stunning debut and EPs.
Enough of that then — time for the Top 100. As in previous years I’ll run through the first half in short form, then write a little about each of the Top 50. All of them are worthy of your time so if anything I’ve written sparks your interest, do check them out. I’ve shuffled the order around more times than I’d care to admit now so I just need to jump in…
100. Pop Smoke — Meet The Woo 2: Released just days before his murder, it is the definitive statement from an artist on the cusp of deserved stardom.
99. Poppy — I Disagree: Electro-punk? N-metal? I still don’t know what this is but it’s pure adrenaline and I love it. What Grimes thinks she’s doing.
98. 070 Shake — Modus Vivendi: After a star turn that saved ye we awaited a debut from her singular voice with baited breath. It didn’t disappoint.
97. Yaeji — What We Drew: Dropping at the start of the 1st lockdown, Korean-American Yaeji gifted us with something both comforting & energising.
96. Xavier Omär — if You Feel: One of the best voices in R&B further proves his brilliance with a set of yearning, silken ballads for long nights of the soul.
95. Reason — New Beginnings: The sole LP released by TDE in ‘20; the weight of expectation was perhaps too great, but this is solid, true hip hop.
94. Spillage Village — Spilligion: A curveball from EARTHGANG, J.I.D and Atlanta’s best; more afro-folk than rap music; collaborative innovation.
93. Tricky — Fall To Pieces: Written and recorded in the aftermath of his daughter’s death laid bare: “What a fucking game / I hate this fucking pain”
92. Royce 5'9″ — The Allegory: For those who like their hip hop wordy and hard-hitting. A sprawling, dynamic listen feat Vince Staples, Griselda & more.
91. Future — High Off Life: Sounding more upbeat and carefree than we’re used to but still unmistakably the Toxic King, Future’s 8th was another hit.
90. Nas — King’s Disease: The legend teamed up with producer of the year Hit-Boy for a bold, snappy return to form. He sounded fully rejuvenated.
89. Sports Team — Deep Down Happy: Tried to dislike this band based on their foppish poshness but the jagged music shouts that out completely.
88. Baauer — Planet’s Mad: Continuing to prove himself more than a 1 trick pony, Baauer produced a wild concept album for fans of RL Grime and TNGHT.
87. U.S. Girls — Heavy Light: The unstoppable Meg Remy returned with another amazing collection of personal & political songs for the ages.
86. Kota The Friend — EVERYTHING: Brilliant breakthrough from a young rapper who captured a laid-back summer that never came, feat. Joey Bada$$
85. Arca — KiCK i: Arca continues to be one of the most exciting and boundary-pushing artists in music with this new record. A stunning rebirth.
84. Black Thought — Streams of Thought, Vol. 3: Cane & Able: It was a great year for hip hop elder statesmen, and Black Thought led the charge.
83. Bad Bunny — YHLQMDLG: The most streamed artist of 2020, his album proved he had world-conquering ambition. A vibrant latinx joy.
82. Four Tet — Sixteen Ocean: A much more subtle & ruminative collection than Hebden’s recent releases, save for the Ellie Goulding sampling ‘Baby’
81. Kelly Lee Owens — Inner Song: An interesting album that grew and grew on me as the year went on. Propulsive but revealing in equal measure.
80. Roc Marciano — Mt. Marci: Another triumph from the godfather of the current wave of hard-nosed drug-dealer rap having a resurgence right now.
79. Sorry — 925: A special record that jumps out the speakers at you from all angles. Right when you think you know where you are, something shifts.
78. Lido Pimienta — Miss Colombia: Melding traditional latin-American music with synth-pop, my 1 year old daughter loves dancing with me to this.
77. Oneohtrix Point Never — Magic OPN: It has rightfully become an event when OPN drops. Another glimpse into the mind of a genius.
76. Aesop Rock — Spirit World Field Guide: The rapper with the biggest vocabulary makes stunning concept album about cerebral wilderness.
75. Open Mike Eagle — Anime, Trauma and Divorce: Does what it says on the tin. Mike sifts through the wreckage to piece together growth.
74. clipping. — Visions of Bodies Being Burned: The sister album to last year’s horror movie album. As scary as it sounds; Diggs is a true polymath.
73. Megan Thee Stallion — Good News: proving she’s far more than WAP and a true scholar of the genre. Unapologetically powerful & sexy.
72. Georgia — Seeking Thrills: It’s crazy to think Georgia started out as a drummer; she has so much else to offer. Deservedly Mercury-nominated.
71. Headie One — Edna: More straight drill than his GANG mixtape but still a triumph. One of the most instantly recognisable voices in the UK.
70. King Krule — Man Alive!: Marshall became a father just before I did, and there’s a lightness among the nocturnal yelps on his latest that I recognise.
69. Machinedrum — A View Of U: Another shot to the arm from the frenetic producer — this time adding Freddie Gibbs and Father to his collaborators.
68. Charli XCX — How I’m Feeling Now: The best quarantine album of the year, Charli documents the experience with the help from friends and fans.
67. Armand Hammer — Shrines: billy woods & Elucid team up again for an underground rap record carved out of concrete. Featuring Earl Sweatshirt.
66. Deante’ Hitchcock — BETTER: A new name to me that immediately caught my attention with beats and flow. A second disc proved it was no fluke.
65. Lil Wayne — Funeral: Somehow more consistent than the much-anticipated TCV, Wayne sounded free and even larger than life than before.
64. Apollo Brown & Ché Noir — As God Intended: Legendary producer Apollo Brown backs hungry Buffalo rapper as she sets the record straight.
63. Gorillaz — Song Machine: Season One — Strange Timez: Albarn untethers himself from the album format for a series of winning collabs.
62. Kid Cudi — Man On The Moon 3: An unexpected high at last call, Cudi returns to show there’s still life in him yet. With added Phoebe Bridgers!
61. HAIM — Woman in Music Pt. III: I finally succumb to the band’s charm as they seem to go from strength to strength. We’re lucky to have their music.
60. Lil Uzi Vert — Eternal Atake: Best summarised by the Microsoft Pinball sample and Backstreet Boys interpolation. A wild ride and totally unique.
59. Stove God Cooks — Reasonable Drought: I checked this out after his features on WSG’s album. Entirely prod. by Roc Marciano, it’s extravagant.
58. The Avalanches — We Will Always Love You: A cosmic love story existing between life & death, earth & the stars, truth & fiction. Spell-binding.
57. Tame Impala — The Slow Rush: Initially underwhelming after the awe-inspiring Currents, Parker’s 4th furthered his mythos as a mad genius.
56. Nicolas Jaar — Cenizas / Telas: 2 companion albums this year saw Jaar return to the ambient minimalism of his debut. Transcendent and transportive.
55. Julianna Barwick — Healing Is a Miracle: Possibly the most serene and soothing album of the year, right when we needed it most. Like an angelic choir.
54. Boldy James & The Alchemist — Price Of Tea In China: The album that thrust Boldy deservedly into the limelight. Alc was busy this year too!
53. Fleet Foxes — Shore: Based on their last, this could have been a heavy listen, but instead Pecknold & co delivered a light summer breeze of an album.
52. Mach-Hommy — Mach’s Hard Lemonade: Costing $444, there aren’t many rap artists who can justify the price tag. Mach isn’t most rap artists.
51. billy woods & Moor Mother — BRASS: Coming in at the very last minute, this is a thrilling meeting of minds; the cream of alternative hip hop.
50. Backxwash — God Has Nothing to Do With This Leave Him Out of It
Every year there’s a record I get into that sounds absolutely nothing like anything else and 2020 gave me this: a Transgender rapper from Zambia who samples Black Sabbath and Led Zepplin…it’s as special as that sounds. Last month she won Canada’s prestigious Polaris Music Prize; which I hope will mean one of the year’s most singular talents is exposed to even more fans.
49 Liv.e — Couldn’t Wait to Tell You…
Until this year, Liv.e was a name I recognised as a feature artist but her solo work blew me away. Most of the songs are about 100–150 seconds long and feature loops of jazz and soul songs, with Liv.e’s untethered vocals ebbing and flowing over the top. Incorporating mystical vocals a la Erykah Badu, the jazzier moments from To Pimp a Butterfly and Earl Sweatshirt’s DIY spirit; it feels like a one-off.
48. Car Seat Headrest — Making A Door Less Open
Until this year I was somewhat immune to the charm of wunderkind Will Toledo. I felt like the immense praise heaped on Teens of Denial was slightly overstated. Weirdly — although his latest was met with mixed reviews — for me, the addition of electronic elements completely won me over. Suddenly the vocals I wasn’t sold on sounded more frantic and impassioned. Maybe it’s time I tried again.
47. Perfume Genius — Set My Heart on Fire Immediately
At this point you know before even pressing play on the first track that whatever Mike Hadreas puts out will be amazing, and his latest was no exception. SMHOFI is another sumptuous, lush collection of songs that burst with life. Perhaps more of an evolution of the album that preceded it than the reinvention of ‘No Shape’ but inspiring to see how much creativity one man has to give.
46. Benny the Butcher — Burden Of Proof
Last year Benny The Butcher released one of my favourite EPs of the year ‘The Plugs I Met’ and forced me to stop ignoring the insidious yet unstoppable rise of Griselda Records. I was just in time, as this year they completely took over. Benny’s offering was entirely produced by Hit-Boy; 1 of 3 albums on this list from the legendary beatmaker. Together they pushed Benny’s sound forward.
45. Fiona Apple — Fetch the Bolt Cutters
I recently included Apple’s last album as one of the best Folk albums of the decade. 8 years later and she followed it up with something even more daring, restless and unique. Reviewers fixated on the uninteresting inclusion of the singer’s dogs barking in the background, when really the brave ruminations on female camaraderie, mental health and abuse were the real gems.
44. Rina Sawayama — SAWAYAMA
2020 needed larger than life popstars. My favourite by a long shot was Rina Sawayama with her stunning debut full-length. I got into her originally as I’m a longtime fan of her go-to producer Clarence Clarity, so it was great to see his work here get proper recognition at last. He provides her powerful voice with 00s bubblegum pop melded with shredding guitar solos to create something unstoppable.
43. J Hus — Big Conspiracy
It was clear from 2017’s breakthrough ‘Common Sense’ that Stratford’s own J Hus was one of Britain’s rising stars. But released in the cold innocence of January, its follow up fully cemented him as one of our great talents. It added soul, strings and singing to his sound and it sounded near cinematic. J Hus completely shrugged off the Grime tag and proved that he could win in any arena.
42. Idles — Ultra Mono
I can’t put my finger on it but something had changed between the release of Idles’ last album and this new one that made me slower to give in to punk-like abandon. The joy that had felt like an act of resistance at the time, had been proven somewhat impotent. Still, the band’s new one tried out new sounds but kept driving the same message home: don’t let the (facist) pricks get you down.
41. Sufjan Stevens — The Ascension
I’ve been a Sufjan fan since Michigan/Illinois (hilariously it took a global lockdown and 200 fans to finally finish the 50 States project this year) and I’m always excited to see where he goes next. If anything this felt more like a successor to his collaborative Planeterium than the hushed Carrie & Lowell. It’s sprawling, ambitious but crucially: beautiful. We’re lucky to have an artist like him.
40. Westside Gunn — Pray For Paris
Griselda’s big year was kicked off in April with the released of arguably their linchpin’s best album (and first of 3 he released this year!) Pray For Paris has none of the smooth flow of Benny The Butcher, or deft lyricism of Conway The Machine, but what it has is attitude. That’s what makes this an amazing release and WSG such a star — he knows he’s in the middle of writing a legacy.
39. Disclosure — Energy
In true hipster fashion, I went off Disclosure when they started getting big name vocalists on their songs; preferring their early, weirder experiments. But I gave their new one a go while on a jog the week it came out and found myself running faster than usual. The album once again refocuses on the sound palette while the features fit in around them — the way it should be. Consider me back on board.
38. SAULT — Untitled (Black Is) / Untitled (Rise)
The righteous resurgence of the Black Lives Matter movement this year was born out of grim necessity rather than celebration. Some artists attempted to grapple with what was happening on record, but only SAULT were able to capture the sense of determination that came with the protests worldwide. Sonically you couldn’t tie it to any genre; it sounded like resistance.
37. R.A.P. Ferreira — Purple Moonlight Pages
I’d dipped in and out of the output from the artist FKA milo for years, but it was the production from a trio made up of Mr Carmack, Mike Parvizi & Kenny Segal that got me to sit down and absorb this one and I’m so glad I did. The whole thing is the very definition of rhythm & poetry. The line “Pure will in every moment” in particular following me around the whole year, echoing always.
36. Keaton Henson — Monument
There’s always kind of a gulp moment for me before going into a new Keaton Henson album. It’s not something you can have on in the background while you try and do something else. Each new record feels like a gift that the giver underwent great hardships to deliver to you. Monument is no different; this time tackling the grief of losing his father with an inimitably gentle devastation.
35. Childish Gambino — 3.15.20
I really struggled with where to put this album on a list like this. 2 years ago, with only ‘This Is America’ to go by, I was sure Donald Glover’s next album would be his best and easily top a list like this. Instead it arrived with no artwork, no track titles and felt kind of like a hard-drive dump. But from a man this talented, it was still one of the great records of the year. And that closing song…more please.
34. Aminé — Limbo
Limbo felt like a hip hop record beamed down from the simpler times of mid-2010’s — before Trump, Tik Tok and the pandemic. It had great, bouncy instrumentals, perfect features (Young Thug, Vince Staples, JID) and holding it all together; a young, charismatic rapper who straddled the line between turn-up and turn-inward effortlessly. For 45mins it felt like everything was ok again like it should be.
33. Romare — Home
This one took a little while to get to me as it felt like a departure from what Romare had been doing previously. What I didn’t realise straight away though was that it wasn’t just different; but far, far better than any previous sound the artist had used before. It suddenly felt like he wasn’t holding back anymore; the experiment was over and the finished product had burst to life with a boundless rhythm.
32. BbyMutha — Muthaland
BbyMutha’s moniker came from her becoming a single mother to twins aged 17. This is not music from an inexperienced girl; every bar hits with the weight of a tough life and one that has forged a very tough rapper. Sadly she announced Mutherland would be her last, as the lifestyle wasn’t for her. But the sheer fire and sass on display throughout will no doubt inspire others for a long time to come.
31. Duckwrth — SuperGood
I was late to this guy and absolutely kicked myself on first play of this sparkling display. I was initially drawn in by features from EARTHGANG and Jean Deaux but it’s immediately undeniable that Duckwrth himself is really the star. The album is evidence that he is destined to sit among the Princes and D’Angelos of musical history. If that sounds like high praise; trust me, it’s earned.
30. Freddie Gibbs & The Alchemist — Alfredo
Ever since Freddie Gibbs AKA Freddie Kane AKA Freddie Corleone was acquitted from false accusations against him at the end of ’16, he’s been on an unstoppable killing spree. From 2 solid solo records to the legendary sequel to his collab with Madlib; he hasn’t missed. This year saw him team up with another production titan The Alchemist and his warm, earthy beats are the perfect match.
29. Conway the Machine — From King To A GOD
The jewel in the Griselda crown this year emerged to be the gruff-voiced Conway. Not content to remain in a well-established lane, his debut studio album saw him expand his sound; both in terms of production (from The Alchemist, Murda Beatz, DJ Premier & more) and in flows. But one thing remained constant — his unflinching, unmatched lyrical prowess.
28. Laura Marling — Song For Our Daughter
Before you even hear the music, Marling deserves a nod for bringing her album forward so we had it during lockdown. Of course, the music itself was perfect for the moment too: warm, comforting and full of heart. It’s written to an imagined daughter about ‘what it is to be a woman in this society’ so it immediately struck a chord with me, listening at home with my wife and baby girl of our own.
27. Bob Dylan — Rough And Rowdy Ways
I ticked ‘Seeing Dylan live’ off my bucket list in ’08 but his voice sounded so shot then that it could have been someone else. Which is partly why I was so surprised at how brilliant he sounded on his 39th(!) album. From the opener ‘I Contain Multitudes’ it was clear we were privy to a late-career high like Leonard Cohen’s ‘You Want It Darker’ — it sends a hush over you and forces you to lean in.
26. Jessie Ware — What’s Your Pleasure?
Disco got a stunning rebirth this year in the form of national treasure Jessie Ware. On paper it didn’t sound great, but the soaring strings, propulsive beats from James Ford and Ware’s stunning harmonies made this one of the most addictive releases of the year. Her last couple of albums felt safe, but here there was a stunning sense of melodrama throughout. A big statement perfectly executed.
25. Mac Miller — Circles
Intended as a companion album to Mac’s seminal, final album Swimming; this was finished by Jon Brion who was in the middle of working with him when he passed. Released in the cold light of January; it felt like a sweet message of comfort descended from the clouds as a gift. It’s hard to talk about him now, with his artistic genius now more starkly undeniable than before. It’s clearer than ever that he was a truly singular spirit who had achieved so much but whose star was still ascending. The album marks practically a full departure from rap music and an embrace of bluesy ballads and unassuming pop songs that offered a glimpse into who he really was. We miss you Mac.
24. Lianne La Havas — Lianne La Havas
In case there was any confusion before, La Havas’ self-titled third cemented her as one of the UK’s most powerful vocalists. Recorded live with her band, it adds a free-wheeling looseness to her sound which really suits her. The headline was naturally her Radiohead cover of ‘Weird Fishes’ and rightly so, as it somehow topped the original. Don’t believe me? Stick it on and make sure the volume is up for the “I hit the bottom” crescendo. The album was full of jaw-dropping moments; from the aptly titled ‘Bittersweet’ which opens the album with a cathartic outpour, to the jittery, Mura Masa-assisted ‘Can’t Fight’ — her range is stunning. There was no more denying it; La Havas is a gem.
23. Smino — She Already Decided
Released right in the middle of the first wave of terror 2020 had for us, She Already Decided could easily have felt completely wrong for the time. But Smino had created it alone at home, in the same boat as the rest of us with the intention of giving the world something fun. And it worked: every one of the 16 tracks had a carefree reverie that was just undeniable. Longtime producer Monte Brooker was notably absent which I think gave Smino the chance to try new things. Even his fun freestyles over Megan Thee Stallion, Baby Keem and Roddy Ricch beats sounded right at home with his characteristic, sing-song flow over them. The result was by far my favourite Smino project yet.
22. Pa Salieu — Send Them To Coventry
Sometimes an album comes along that becomes an immediate favourite — Pa Salieu’s debut is one of them. The young rapper draws from his Gambian roots and deftly blends those sounds with the rough realities of gangland Britain (Pa survived a shotgun blast to the head last year…) It’s as exhilarating as that sounds, from the start to the very end. Initially he drew comparisons to J Hus, but his upbringing in COV’ (City Of Violence) gave him a grimmer, more desperate outlook than the East London rapper. You can tell that our entertainment isn’t on his list of priorities; and the music sounds all the realer for it. A hugely promising opening gambit from true, raw talent.
21. Duval Timothy — Help
This arrived like a smooth breeze of fresh air on a warm day. Largely led by the piano, it’s a singularly beautiful record unlike any other this year. But it’s not just an instrumental album; friends and family are sampled to paint vivid pictures and themes. He also worked with producers Vegyn, Mr Mitch & Lil Silva to add a stunning electronic element which had me constantly returning. Timothy also had his brother playing trumpet and his sister adding spoken word making it a warm family affair. The track I came back to most, ‘Slave’ features beautiful female vocals repeating the title, while Twin Shadow artfully discusses why artists must own their masters. Kanye, take note…
20. Sevdaliza — Shabrang
From a first glance at the artwork, you know that Sevdaliza’s sophomore is not going to be an upbeat listen. On ‘Shabrang’, her and producer partner Mucky continued to develop the irresistible formula they emerged with; dark, smokey trip-hop with an experimental edge all helmed by singer’s bewitching allure. But this time the sonic palette is expanded further, with plucked guitars, piano, strings and deeper influences from her Iranian heritage, including a cover of a song in the Farsi language. It was the throbbing electronic bass that kept me coming back though — the kind of calm menace that would make Massive Attack proud. Hopefully more cotton on soon.
19. Bright Eyes — Down in the Weeds Where the World Once Was
When I named Bright Eyes’ last record as a band, 2011’s ‘The People’s Key’ one of the best albums of the decade, I wasn’t expecting another one any time soon. When news broke that it was in the works, and that Flea contributed slap bass to a song, I was slightly apprehensive…But I needn’t have worried. Somehow they’d returned with the best music any of their members had been involved in since 2005’s ‘I’m Wide Awake’. After a typically eerie and cryptic opener, the band burst into life with ‘Dance And Sing’, one of their grandest songs ever and Conor Oberst at his absolute best. It reminded me why I loved them so much aged 14, and somehow we’d both grown in the same way since.
18. Tom Misch & Yussef Dayes — What Kinda Music
Tom Misch’s music hadn’t immediately grabbed me in the past so I was kinda late to this; despite countless recommendations. I guess the addition of jazz drummer Yussef Dayes was what captured me (Spoilers: not the only young jazz drummer on this list.) His clean, crisp rhythms gave Misch’s songwriting an urgent, grand quality not a million miles away from latter day Radiohead but more freewheeling. Released on legendary jazz label Blue Note gives the album a certain weight, but the duo blend more sounds and genres than the fanfare might suggest. The unexpected and smooth feature from rap hero Freddie Gibbs only added to the myriad delights this album offers.
17. Moses Sumney — græ
A double album whose two halves were released 3 months apart, Sumney knew he was delivering us something that needed to be digested properly to fully appreciate it. In the past I’ve likened Sumney to Prince, Jeff Buckley and Nina Simone but on his second album he proves that both he and his music are now completely beyond comparison. Here is a man dedicated to making art, and doing something that no-one else is doing. His gorgeous falsetto swoops and dives throughout the album; constantly breathtaking whether loud or quiet. Highlight ‘Me In 20 Years’ encapsulates the deep mood of the whole album; “Is it laced within my DNA / to be braced in endless January?”
16. Yves Tumor — Heaven To A Tortured Mind
I became an Yves Tumor fan with the release of 2018’s strange and beguiling Safe in the Hands of Love — an experimental album that introduced me to an artist in the very truest sense of the word. There were moments on that which drew the sound away from an electronic palette into something anchored more in live instruments, but on the follow up Tumor went full glam-rock. Lead single ‘Gospel For A New Century’ opens the album with what I can only describe as T-Rex doing a Bond theme. Highlight ‘Kerosene’ takes the vibe to the extreme, with hands-down the most monstrous guitar solo I’ve heard for years. It’s the vocals that sell it all; a true rock’n’roll spirit for the future.
15. Samia — The Baby
Many musicians posses far beyond their years, and 23-year old Samia is definitely one. Cherub-like album artwork aside, if you were come to ‘The Baby’ blind, you’d never believe it was her debut album. It’s full of beautifully confident recounts and ruminations on love and human behaviour. The opening line on the album lets you know straight away what you’re in for: “I said ‘Lovin’ you is bigger than my head’ / And then you dove in / And then I said ‘I’m afraid that I need men’ / You said, ‘Need me then’” Musically it ranges from impossibly gently acoustic guitar, to full band flourishes with strings and brass too. It’s a stunning opening gambit from surely a star for the long run.
14. Adrianne Lenker — songs
I’m a big Big Thief fan but never really delved into lead singer Adrianne Lenker’s work until I read so much about this sweet lockdown miracle of a record. Created at home and released alongside 2 x 20 minute instrumental songs it was the perfect transmission into a world that had been hushed privately, while chaos raged outside. For me, it conjured all the things I loved most about her full time gig; the hushed, delicate songs like ‘Pretty Things’ and ‘Mary’ where it felt like Lenker was playing you the music sat at the other end of the sofa. songs takes that even further, summoning 11 Elliot Smith-esque lullabies to comfort and calm with gorgeous quiet.
13. The Microphones — Microphones In 2020
The Microphones in, perhaps, 2009 were a pretty big deal for me. Discovering The Glow Pt. 2 was a formative experience on my musical and artistic tastes, and I got really into the first Mount Eerie projects too. Like many other fans, my heart went out to Elverum when his wife passed away a few years ago and pored over the silencing eulogies he released in the aftermath. What I didn’t expect was for him to retrieve his original moniker some 15 years after its last release to put out a 44-minute song, set to a home photo montage. Less an album than a audio scrapbook, it still makes perfect sense somehow. A sweet, delicate retrospective on past trials; the return to the name made sense.
12. Riz Ahmed — The Long Goodbye
Concept album’s are tricky to pull off; but a concept album using a messy break-up as a metaphor for Britain’s exploitation of South Asia? Sounds like something that would doom any artist to failure. But Riz Ahmed is not just any artist. A true polymath like only Donald Glover before him; Ahmed’s writing, acting and flow sell this idea flawlessly; to the point where your heart actually wrenches for a whole nation, whole generations of people through his story. Famous friends turn up along the way to leave “told-you-so” voicemails about how the partnership was never right; adding humour to the all-too-sad story of how the UK continues to mistreat the ‘other.’
11. Big Sean — Detroit 2
Welcome to the Hip Hop Hill I’m Prepared to Die On: Big Sean gets such an unfair amount of hate. Does he have some corny lines? Of course, but not for years. And does he have more than Drake? Travis? Uzi? I don’t think so. Anyway, Detroit 2 was everything I needed from a big, blockbuster rap release this year: amazing beats (exec. produced by Hit-Boy), big features (Nipsey Hussle, Anderson .Paak, Young Thug, Lil Wayne) and at the centre of it all, a rapper who has the lyrics, flow and charisma to keep you hooked for over 70 minutes. This record soundtracked my long runs in the summer and there’s something so plucky about it I just couldn’t help loving it. No apologies.
10. 21 Savage & Metro Boomin — Savage Mode 2
Any hip hop album narrated by the unmistakable voice of Morgan Freeman is Top 10 material in any year, right? Savage Mode 2 is literally like watching a horror flick with commentary by the Hollywood legend. John Carpenter-esque synth lines abound, along with creaking doors, menacing laughter and the producer’s unmistakable bass boom. The whole thing feels insanely cinematic even without the star of the big screen coming along for the ride. Both Drake and Young Thug call in for the ride but it’s the songs with just the 2 marquee artists locked in together that work best. After 21’s unfair run-in with I.C.E last year, it’s a thrill to hear him this triumphant and as powerful as ever. And Metro expands his palette too; from the haunting Diana Ross sample in the first proper song ‘Runnin’ you know you’re in for a treat, but the producer also works choirs, violins and more into his legendary trap-defining sound to create the best work by either artist to date. A real experience.
9. Jay Electronica — A Written Testimony
What can be written about the wait for Jay Electronica’s legacy that hasn’t already been written? Suffice it to say that after over 10 years of waiting, the good will amassed by the elusive MC had largely dissipated. It took the man who believed in him from the beginning, Jay-Z himself to encourage this album out. Perhaps that’s why this is essentially a collab-project between the two. Hov is the first voice on the record (after a Louis Farrakhan speech, naturally) and has more bars in total throughout. But whatever Jay Elec needed to help deliver a full body of work doesn’t matter; to hear him unspool from his devout and mystical consciousness is intoxicating. The only hint at the long wait comes in the lyrics: “Sometimes I was held down by the gravity of my pen / Sometimes I was held down by the gravity of my sin / Sometimes, like Santiago, at crucial points of my novel — My only logical option was to transform into the wind.” He delivers the majestic mystery so absent in today’s age.
Note: I haven’t listened to Act II as I’ve heard he’s finishing it and wanted to hold out.
8. Against All Logic — 2017–2019
Electronic genius Nicolas Jaar likes to use his alias Against All Logic to exorcise some of his more physical, club-friendly music. His second album under the A.A.L name bursts into life with an audacious sample from Beyoncé’s ‘Baby Boy’ and it acts as a warning shot: this is not a Nicolas Jaar record. The rest of the album is full of the same kind of thrills; from the pitched-down Snoop Dogg on ‘With An Addict’ to the aggressive techno of Lydia Lunch-featuring ‘If You Can’t Do It Good, Do It Hard’ — every song feels like an event in itself. But the loud moments are perfectly balanced with more intricate, hypnotising pieces too like ‘Faith’, which is reminiscent of the melodic percussion used by fellow producer Caribou. Somehow, 2017–2019 was one of 3 albums Jaar released this year. It’s tempting to view this one — with its anthology-esque title and stock photo artwork — as a less important body of work. But in fact it shows another progression for Jaar as a composer.
7. Ka — Descendants of Cain
Ka’s music reminds me of being a scholar in that the work he produces demands critical reading. Every album he’s created has been built around a strong allegorical concept; from Samurai legend to Greek mythology; chess to The Manchurian Candidate. This time round, he utilises tales of Old Testament violence to draw a lineage to brothers killing brothers millennia later. In terms of sound, Ka doubles down again on what he does best. The beats have no drums as he almost whispers his dispatches with a grim urgency over guitar and horn samples. The best way I can describe it for the uninitiated is like listening to a Film Noire with audio description. Except that no script is as beautifully crafted as Ka’s lyrics. Fire Chief by day, independent rapper/producer by night, Ka’s bio reads like a super hero’s. On the closing track we get a rare glimpse into the man’s origin story as he thanks his wife, his mother and his late best friend each in turn. It’s a precious insight.
6. Fontaines D.C. — A Hero’s Death
As winning sophomore efforts go, this one was up there with The Horrors’ ‘Primary Colours’ for me — another band who burst into life with a head-turning debut, then followed it up with something altogether darker, more serious and even better. ‘Dogrel’ was amazing, but how the Dublin band managed to follow it up just over a year later and have improved so complexly just totally bowled me over. The ramshackle boyishness of their debut was gone, replaced by a grim-faced seriousness that suited them so well. Singer Grian Chatten seems to have levelled up in all directions; his deep singing brings Ian Curtis to mind, while his anguish yelp sounds at times like an Irish Pete Shelley. But he shows he can properly sing too, on sweeter songs like ‘Oh Such A Spring’ and on beautifully mournful opener ‘I Don’t Belong’ It’s been a while since I’ve been really excited by a post-punk record to the point where I know every song on it inside out, and I feel really lucky that a band like this exists so successfully in 2020. I can’t wait to see where they go next.
5. Moses Boyd — Dark Matter
The last couple of years have been truly amazing for young, British talent making what could loosely be termed ‘nu-jazz’ and 2020 pushed that even further. Until this wonderfully restless album , I knew nothing of Boyd other than the fact that he’d played drums on Sons of Kemet’s Your Queen Is a Reptile. I was hooked on this after one listen. The quickest, laziest comparison I could give it is that it sort of reminds me of first hearing Bonobo’s music in that it exists between the gaps of electronic music, jazz, funk and more. The drumming — be it live or programmed — is definitely a highlight throughout, but the blaring horns, dancing tremolo guitar and scattering of feature vocalists all burst from the speakers. The silky-voiced Poppy Ajudha and Nigerian rising star Obongjayar add gritty soul to highlights, but my favourite ‘Only You’ has no guest; just the rumbling vocal sample of the title, while the drums cascade around you like standing in a house falling down. A thrill.
4. Boldy James & Sterling Toles — Manger on McNichols
A truly strange conception story: local Detroit legend composer Sterling Toles records a then-unknown local MC over a series of demos and spends the next decade-plus tinkering, recording and layering with a collection of talented local musicians to create the best hip hop album of the future. Fast forward to 2020 and Boldy James is the next hotly tipped rapper, working with everyone from the Griselda posse to The Alchemist. Toles chooses his moment to quietly release this singular masterpiece, the result of his labor into the world with its porcelain artwork; initially only available on Bandcamp. The album includes some of the first times James’ voice was ever recorded alongside brand new work but the most striking thing is how consistent he sounds. You can feel your mind swelling at hearing his hood-prayers incanted over skittering drums, heavy double-bass, horns, strings and choir samples. You can hear and appreciate the years Toles spent perfecting this dramatic transmission.
3. Phoebe Bridgers — Punisher
I got the resounding sense from speaking to friends and reading reviews that ‘Punisher’ was exactly the album that many people needed this year. Bridgers bridges the gap (sorry) perfectly between sweet, soft melodies and cynical, sarcastic realities. In essence — she is all of us; just trying to joke our way through horrifying situations with not enough human connection and too much bad luck. Her second album found her expanding her sound and utilising what she’d learned from her countless collaborations and the album sounds all the bigger for it. But what really sets her apart from the next singer-songwriter type is her preternatural bond with The Other Side. Death looms large across her songs until its vague presence becomes undeniable, spilling out into an exhilarating crescendo on closer ‘I Know The End’ It finds her howling like an animal, all the instruments and wailing horns smashing into each other to recreate The End of the title. It sounds strangely familiar.
2. Caribou — Suddenly
Dan Snaith, PhD released not 1 but 2 of the best electronic albums of the decade as Caribou, so there was no small amount of expectation on his latest when it dropped in February. Early single ‘Home’ was built around a prominent sample of Gloria Barnes’ 1971 hit of the same name and felt more like the jubilant dance music of Snaith’s Daphni moniker — so it was hard to anticipate what the whole album would sound like. As it happened, Suddenly drew from all elements of his work, from house and techno, to funk, world music, hip hop, twinkling electropop and everything in between. It serves as a gorgeous patchwork quilt of sounds, all held together by his soft falsetto. Samples definitely play a larger role here than on previous Caribou albums; there’s chopped rap vocals, traditional afro-folk chants and even a tape recording of his mother. It’s clear this is the most personal album for the producer so far, and as a result it’s warmer and more replayable for it.
1. Run The Jewels — RTJ4
It is impossible for me to imagine going through 2020 without a new Run The Jewels album. A global health emergency, bungled by inept political leaders and worsened by libertarian types who refused to be safe? Check. The boiling-over of righteous anger from the Black community, as the police became indistinguishable from a murderous gang? Check. Economy in tatters once again? Check. Climate emergency closer than ever? Check. I could go on. Really, there’s only one act — in hip hop and beyond — equipped with the power, the fury and the conviction to stand up with a rallying cry against it all, and that’s Mike and Jaime. The sonic equivalent of the statue of a slave-owner being toppled, RTJ4 is aggressive and loud, but with a brave and true heart beating fiercely at its core. The first half of the album shows the guys having some fun, linking with decks legend DJ Premier, or trading bars with fellow elder statesman 2 Chainz (the youngest person on the album at 43 years old.) But then ‘Walking In The Snow’ comes in, and you’re torn back to reality. Killer Mike’s line “And you so numb, you watch the cops choke out a man like me / Until my voice goes from a shriek to whisper: ‘I can’t breathe’” was originally written in reference to the murder of Eric Garner at the hands of police in 2014, but hearing it just a week after George Floyd uttered the same last words was by far the most impactful moment in music this year.
Anyone in the know understands that hip hop is today’s punk — and the most vital function it can serve is to rail against injustice in all its forms. It’s a lot to ask, and a massive undertaking which is maybe why it’s fallen to 2 titans in their mid-40’s to carry it. They’re joined by 2 more men in their late 40’s for ‘JU$T’ — another highlight that unpicks how the US’ capitalist kingdom is built on blood. It all sounds tiring on paper but somehow they make the whole thing a white-knuckle ride that doesn’t let up for a second. ‘Pulling The Pin’ finds them teaming up with Josh Homme and 81-year old (!) Mavis Staples, whose wizened and vulnerable bluesy voice adds something so yearning to the chorus. The 4th record in this journey could be seen as a continuation of the duo’s well-proven formula; but as long as the world keeps cooking up fresh hell for us all, we’ll always need music like this. What carries on making the work essential too, is that you can hear these guys live every word they rap. Every word bears the weight of the responsibilities they’ve taken onto themselves.
Following the tradition from RTJ3, the closer is hugely epic; featuring orchestral swells and climactic horns. We get El-P reflecting on what’s important — “You know how everything can seem a little out of place? All of my life, that seemed to be the only normal state…I used to wanna get the chance to show the world I’m smart, Isn’t that dumb? I should’ve focused mostly on the heart” and Killer Mike’s wife pleading for him to take a step back — “My queen say she need a king, not another junkie, flunky rapper fiend. Friends tell her, ‘He could be another Malcolm, he could be another Martin’ She told her partner, ‘I need a husband more than the world need another martyr’” You know that this is who they are, through and through. We needed these guys in 2020 more than ever before. Run The Jewels are the truth — and that’s why RTJ4 is the album of the year.
EPs of the Year
I don’t always do an EPs list, but I think the nature of this year meant artists were more inclined to share their work more regularly and so we got a slew of amazing shorter-lengths. So here’s a brief collection of my 20 favourites:
20. Khruangbin & Leon Bridges — Texas Sun, 19. Dos Monos — Dos Siki, 18. Fred again… — Actual Life, 17. 박혜진 Park Hye Jin — How Can I, 16. Shelter Point — Catacomb, 15. JPEGMAFIA — EP!, 14. IDK — IDK & Friends 3, 13. Giveon — Take Time, 12. Mick Jenkins — The Circus, 11. Shlohmo — Heaven Inc. EP
10. Trim — Roadworks, Pt. 1
Trim is the biggest unsung hero of the British hip hop scene and that’s in no small part to the production he raps over. This was a masterclass in industrial, hard as nails stake-claiming and I hope we get more of it soon.
9. Serpentwithfeet — Apparition
Still patiently waiting for the world to realise this man is the best singer alive. Until then I’m in thrall. The lyrics “Can’t carry a heavy heart into another year” hits different right now and the song ‘Comma’ acts as a prayer of hope.
8. Little Simz — Drop 6
Not content with dropping one of the best albums of 2019, Simz holed up during lockdown and got busy. ‘where’s my lighter’ literally sounds like the empty streets outside that used to be rammed and haunted me for it.
7. BERWYN — DEMOTAPE/VEGA
Born in Trinidad and raised in Romford, Berwyn’s raw bars and soaring singing voice make him my favourite new artist of this year. This collection is so special, particularly this live performance in his mum’s kitchen.
6. James Blake — Before
It wasn’t a return to the CMYK days but it was something new: a more pounding electronic sound to match Blake’s newfound romantics. Like a flower blossoming at 10,000x speed it made you dance and smile.
5. Tobi Lou — LINGO STARR
Yes, this 3-song EP is little over 6 minutes total, but it crams more innovation, skill and confidence into them then most of the LPs that came out this year. I hope he can extend it out to more because it sounds like the future.
4. Tkay Maidza — Last Year Was Weird Vol. 2
This Aussie singer/rapper grabs your attention and doesn’t let go. The production is jagged like shards of glass and she hops through it with seamless vocal acrobatics. I’ll definitely be checking to see what else she can do.
3. Chika — INDUSTRY GAMES
Easily the shining light in this year’s bizarre XXL Freshman list, Chika deserves all the praise she gets. She’s seriously talented and most importantly is clearly following her own path. Hip hop desperately needs figures like her.
2. Denzel Curry & Kenny Beats — UNLOCKED
This is what happens when one of the best young MCs gets with one of the best hip hop producers and they just have fun. This reminded me of why I fell in love with hip hop — it’s exhilarating, smart and totally addictive.
1. Headie One & Fred Again…— Gang
The future of UK hip hop. It shouldn’t work on paper — a troubled drill rapper linking up with pop producer Fred again… whose credits include Little Mix, Ellie Goulding and Ed Sheeran. It definitely raised some eyebrows. But 10 seconds into the opening song and I was completely sold. Sonically, it owes a lot to Jamie xx; who actually worked with them on the enormous ‘Smoke’ — all warped keys and bass that pounds like a heartbeat. Headie’s vocals are stretched, pitched and layered to make him more than just a rapper. FKA twigs and Sampha both appear across the EP too, giving even more depth to this stunning team-up. I can’t fault a single moment on the record, and I only wish it was longer. Dropped the day Headie One was released from prison for possession of a knife; it was a powerful mission statement: he’s back and rising above what you knew before. A brave, unique & totally unforgettable piece of work and easily the best EP of 2020.
Songs of the Year
To round it all off, check out my Spotify playlist below of what I thought were the best 100 songs of the year; un-ordered to enjoy and discover something new. I loosely tried to avoid cuts from the albums above in order to highlight some unsung favourites. These were the songs I was glad to constantly have stuck in my head.
Some highlights: After Hours by The Weeknd held so much promise for the album of the same name, but despite being probably my favourite song of the year, was the only song from the album I loved, frustrating! Ego Death by Ty Dolla $ign feat. Kanye West, FKA twigs & serpentwithfeet was the song me and my wife drove county to county to playing at full blast. I still know nothing about SPRAY by Che Ecru but it’s like 90s Usher on nitrous oxide and I’m obsessed. Jamie xx returned to his solo work with Idontknow and the sound of him letting loose soundtracked the same for us, whenever we could.
Bandmate Romy also debuted her own solo work with Lifetime and made me so excited to hear it in a packed field one day with the sun on my face. Wayne’s World, the closing song on the late King Von’s album haunted me with the line “He slide, I slide, we slide / Ain’t stoppin’ til one of us die” after he was tragically gunned down in Atlanta last month. Pigs Feet by Terrace Martin & Denzel Curry feat. Kamasi Washington, G Perico & Daylyt was my favourite protest song to emerge from the BLM demonstrations this summer. Mustafa completely blew me away with a whisper on Stay Alive which I found myself singing under my breath as a comfort.
I welcomed the return of SZA with open arms as Hit Different wormed its way into my heart. Baby Keem continued to prove the hype is warranted with double A-side hooligan / sons & critics freestyle while he last record was my most played album of the year not from 2020. Tierra Whack put out a few more loosies as we patiently await a proper full length from her — Peppers and Onions was my favourite. Continuing his tradition of dropping out of nowhere right at the end of the year, Burial blessed us with 2 collaborations with Four Tet & Thom Yorke, managing to save the year at the last minute. And finally WAP. Yes, I enjoyed WAP very much.
Thank you so much for reading; I hope it was a nice distraction! Enjoy a peaceful Christmas and enter 2021 with renewed strength, hope and kindness x Cal
