Welcome to Part II of my review of the reputed 20 Best Albums of 2020. In case you missed Part I, you can find it here. This is one of three music blog series I’m doing this year as I seek to reacquaint myself with new music. You may also want to check out the most recent editions of the other two, in which I seek out the Best Albums of the 2010s, and search for the 21 Best Albums of 2021.
A quick reminder on the methodology for this series: I took year-end “best album” lists from All Music Guide, AV Club, Billboard, Consequence of Sound, Jim DeRogatis, Greg Kot, Mojo, New Music Express, Paste, Pitchfork, Rolling Stone, and Spin. For every album one or more of these sources listed, I tallied up the votes that album got between all of them. I’ll be breaking up the reviews into four blocks of five albums each, and then doing a sum-up at the end.
With that explained, here are my reviews of 6-10!
Heavy Light (U.S. Girls, 4 votes)– This album has solid 2000s beats with nice overtones of 70s music in several guises- 70s Soul, Patti Smith, AM radio. She (U.S. Girls is the vehicle of producer/musician Meghan Remy) has such a great pop sensibility, but it’s laced throughout with lyrical subversion. And livened by some surprising musical choices and vocal varieties on particular tracks. Crucially, these surprising moments still fit with the overall album. This grew on me track by track.
It Is What It Is (Thundercat, 7 votes)– I mean, if you call your band Thundercat, you’re already halfway there with me. This seems to be a kind of jazz fusion sound, very mellow. It’s well done, but I can’t find a heart of anything that feels real or vital in most of it. It wasn’t until track four that I found the first song that really engaged me, and then not again for several more tracks. Really, critics?
Letter to You (Bruce Springsteen, 4 votes)– I’m a big Springsteen fan, but with a particular valence. I have a marked preference for the “dark” Springsteen of every other album (or so), when a certain pessimism and airing of fears and doubts boils to the surface. Thus, Darkness on the Edge of Town, Nebraska, Tunnel of Love, The Ghost of Tom Joad, and Magic, for instance. This album is definitely in that vein, which is not to say there aren’t surging anthemic moments (especially since the E Street Band is backing him here). But there’s a central preoccupation with aging, loss, and ghosts of memory, and Springsteen is in fine lyrical form wrestling with these themes.
Live Forever (Bartees Strange, 6 votes)– The muted musical background, swirling sound effects, and sweetly rough off-kilter vocals of the opening wove a spell. While beautiful, it would have been bad news if it all stayed in that low-key vein, but the next track went immediately up-tempo and rock-y and became almost a hardcore song by the end. The next one was like a beat-oriented indie rock song, the next after that in a neo-soul/hip-hop flavored vein. And so on, through a dizzying array of musical modes. All of this, tied together by a strong and surprisingly vulnerable lyrical voice throughout, makes for a very interesting listen. I well understand what it’s doing in the top 20!
Petals for Armor (Hayley Williams, 7 votes)– This solo venture by Paramore’s lead singer features electronic beats, strong clear vocals, and dark lyrics. There’s a kind of simplicity of the music, which is belied by the complexity of the lyrics and surprises in her vocal delivery. I’m not sure about this as a “best”, but it is a consistently interesting high energy listen.
So there we are, 10 down, 10 to go. Join me next time for 11-15!