Introverted-Picks: Top 10 Albums of 2020

How do I put this, delicately? 2020 has been a tumultuous tailwind of conf*ckery! Translation: it’s been a wild year.

Nevertheless Insighters, there was some really great music released during this period of life-threatening uncertainty. And I will be counting down my 10 favorite albums right here on this special, Christmas year-end edition of #FiveOnFridays.

As always with my year-end countdowns, consider whichever album you think should’ve made the list, but didn’t as an “honorable mention”.

Disclaimer: I haven’t listened to everything released this year. So, take it easy on me if I missed a gem or two.

Also, feel free to shoot me a tweet @Introverted242 or drop down in the comments which albums were your faves from this year.

Okay, without further ado, let’s get this thing in motion.

[10]

‘Positions’ – Ariana Grande

With less than year following her best work to date, ‘thank u, next’, Ariana Grande lessens her pop-trap mannerisms for a more mature R&B flair. Undoubtedly, this release serves as a favorite, particularly among the Mocha Grandes (AKA Ariana’s Black fanbase), and for good reason. Sentiments like “nasty” and the lingering “safety net” with Ty Dollar Sign only reinstate the notion that Ariana is really a R&B artist incognito.

Additionally, Grande performs well in previously unexplored territory. There’s the electro-house banger “motive” featuring Say So vixen, Dorisha Kitty, “love language” which flutters with these zany, Cirque-du-Solei-esque French horns, and the heartwarming, tear-jerking closer, “pov”, which highlights some of Grande’s most encapsulating songwriting to date.

Rest assured, there are still remnants of pop teething throughout the album. Take the arousing playfulness of “34 + 35”, the manifesting mantra “just like magic”, and the ear-wormy lead-single “positions”. Funnily enough, it’s like this album attempted to amalgamate the best of its two predecessors, but fell short due to not spending enough time in the creative oven.

Nevertheless, Grande’s vocals masterfully glide across the 41-minute album like butter on a warm, toasted bagel. With ‘Positions’, she stepped deeper into her maturity, further solidifying her role as a staple in today’s mainstream, music arena.

Holy Trinity: hair, love language, pov

[9]

‘The New Abnormal’ – The Strokes

As someone who’s very new to the musical stylings of The Strokes, I found myself completely enamoured with their latest release. ‘The New Abnormal’ finds Julian Casablancas and the band sonically floating across an unusual sea of alternative rock. Here the band feels like they’re tapping into uncharted territory with a sense of mastery.

Melodic and vocal risks appear one after the other, mostly paying off in the end. For me, each song emits something that feels familiar, while still distinguishing itself from its predecessor. With every listen, my appreciation for Julian’s whisper-goose vocals deepens. Also, the band does an excellent job of allowing listeners moments to get lost in the music.

Songs like “Eternal Summer” and “Why Are Sundays So Depressing” linger seemingly forever. But in an enjoyable, existential way. Stand out favorites “The Adults Are Talking” and “Brooklyn Bridge to Chorus” possess melancholic lyrics that flourish amidst a clandestine, yet danceable sound.

In truth, I only see myself enjoying this album the more I absorb it. Further, I see myself delving deeper into The Strokes’ discography.

Holy Trinity: The Adults Are Talking, Brooklyn Bridge to Chorus, At the Door

[8]

‘SAWAYAMA’ – Rina Sawayama

Channeling the essence of 90s Britney Spears in her standout single “XS”, Rina Sawayama quickly garnered the attention of audiences and critics alike. And rightfully so, I might add. Without a doubt, Rina served one of the most refreshing, tasteful, genre-bending debut albums, in quite a long time.

‘SAWAYAMA’ renders throwback pop imperialism cocktailed with the anarchhy of heavy metal, alt-rock, R&B, and electronic music to create an unforgettable listen.

There’s the cinematic, heritage-driven opener, “Dynasty”, which finds Rina yearning to escape family traditions and carve her own path in life. “STFU!”, a fusion of bubblegum pop and death metal that somehow works, “Comme des Garçons (Like The Boys)”, which bodes confidence and empowers women to not feel guilty for wanting opulence.

Although its unpredictable production makes it an album that demands multiple listens to really appreciate its lyricism, Rina’s songwriting abilities exhibit promise. Several tracks carry personable lyrics that almost camouflage themselves behind an unassuming, pop exterior.

So what am I saying in totality? Sawayama >>>> Ya baby mama. Purrrr!

Holy Trinity: Comme des Garçons (Like The Boys), XS, Tokyo Love Hotel

[7]

‘RTJ4’ – Run The Jewels

In the wake of COVID-19 and the Black Lives Matter movement that took the world by storm back in June, El-P and Killer Mike released their fourth studio album. ‘RTJ4’ ingeniously grapples with the world’s current climate. It personally and objectively dissects topics like racism, capitalism, educational slavery, religion, and of course, police brutality.

These tracks chronicle across a sound that epitomizes the phrase ‘in a lane of its own’. In under 40 minutes, this album unleashes upon listeners like a speeding car that has no breaks! Banger after banger, I found my brain working overtime to keep up with the profound lyricism, charismatic flows, and uncompromising production.

Nonetheless, from my first and only listen thus far, I can tell this going to be an album I will only grow to adore overtime. Likewise, it’s an album that requires multiple listens to truly appreciate its timely messages and ruminate on its juggernaut subject matter.

Truthfully, the only reason I think this album ranks where it is now is because I’m just getting into it. I know Run The Jewels fans, shame on me.

Holy Trinity: walking in the snow, JU$T, pulling the pin

[6]

‘Plastic Hearts’ – Miley Cyrus

Before this release, I wouldn’t go out on a limb and pen myself as a major fan of Miley Cyrus’ music. Don’t get me wrong now, she has some enjoyable bangers in her catalogue. However, I can’t say I used to drown in anticipation with every project set to release. But with ‘Plastic Hearts’, things swiftly changed.

For starters, the singles leading up to this album were simply superb. The anthemically dark, glam-rock of “Midnight Sky” followed by the soft-grunge, rock duet “Prisoner” featuring Dula Peeps placed this album on my musical radar. Needless to say, Miley did not disappoint, offering a blend of 80s/90s pop-rock with some occasional country curve balls.

The latter of which culminate beautifully, showcasing Miley’s vulnerability and crippling self-awareness. “High”, “Angels Like You”, and “Golden G-String” are all prime examples of Miley’s powerhouse vocals and her ability to evoke emotion in listeners.

In contrast, the album’s rock contributions make for an energetic, hell-raising time. “Night Crawling” with Billy Idol, the entrancingly frisky “Gimme What I Want” , and the odd moans on “Bad Karma” with Joan Jett all mesh well to form this sonic tapestry of pop-rock classics.

That said, ‘Plastic Hearts’ is Miley meddling in a sound she was destined to explore; throw in some palpable songwriting, moving vocals, plus killer collaborations, and you’ve got yourself one of the best throwback albums of the year.

Holy Trinity: Prisoner, Night Crawling, Midnight Sky

[5]

‘Fetch The Bolt Cutters’ – Fiona Apple

Fiona Apple delivered one of the best written albums of 2020. Not only does ‘Fetch’ come after an 8-year musical reprieve, but right in the middle of a pandemic. The quirky collection of songs fit the quarantine aesthetic of the year perfectly.

Apple herself made most of it at home, meddling with nearly any object that made a noise that stuck. It’s this kind of looseness that gives the album an unpolished quality that’s simultaneously badass and genius.

Accompanying the nonchalant production are raw, raspy vocal performances that showcase Fiona’s skill and grit. The album opens with the spellbinding “I Want You To Love Me”, which ends in Apple going full orgasmic-dolphin-mode — it’s a strange, yet enjoyable moment.

The riveting, rock number “Shameika” plays thereafter, which finds Apple recalling an imprinting act of encouragement from a old, school mate. To level the momentum of the former is the melancholic, yet moving title track which makes you empathize with a childhood upbringing you yourself may not have experienced.

The rest of the album attributes Fiona’s lyrical genius. Indeed, whether she’s “spread[ing] like strawberries or climb[ing] like peas and beans”, nearly every song offers a memorable line. Her temperament shifts continuously throughout the tracklist, somewhat exploding then quickly simmering on the near-psychotic musings of “Cosmonauts”.

In all honesty, if Fiona is going to come back from purgatory with music like this each time, I don’t mind the wait at all.

Holy Trinity: I Want You To Love Me, Shameika, Fetch The Bolt Cutters

[4]

‘Limbo’ – Aminé

With this being my introduction to Aminé, I went into the album open-minded. “This is, this is that shit that you like… How you wanna say this right… This is, this is like some sh*t you go and pick your homie from jail with” mouthed the Portland rapper on the album’s opener “Burden”. Instantly, I was pulled into the world of ‘Limbo’ with Burden’s funky, old-school production. It literally sounds like Super Mario getting kicked repeatedly in the sack.

Certainly, the album ribbons influences reminiscent of old-school Kanye and Jay-Z. Aminé embodies his influences, while still injecting his own personality into the mix. Songs like “Shimmy” and “Compensating” with Young Thug ooze swagger and get a little silly at times.

Nonetheless, I felt deeply connected to Aminé’s particular brand of humor. Said humor isn’t flat-out funny; it’s an acquired taste — a little dark, existential, but provides a lot of prospective. Reminds me of an introvert with a blog I know. Take the monologue at the end of “Fetus”, where Aminé discusses how people tend to sidestep kindness for materialism. And how that in turn leaves you undeniably unhappy and hollow on the inside. It’s something serious to think about, but Aminé’s use of analogies make it funnier than it should be.

Humor aside, this album has several highlights. The teary-eyed tribute, “Mama”, the sly come-up on “Woodlawn”, and the monstrous braggadocio of “Pressure in My Palms” with slowthai and Vince Staples. Ultimately, Aminé delivered my favorite Hip-Hop/Rap project of the year. ‘Limbo’ was a brilliantly cohesive sophomore effort and makes me anticipate what he does next. Needless to say, I’m now officially an Aminé stan.

Holy Trinity: Burden, Shimmy, Pressure In My Palms

[3]

‘Chromatica’ – Lady Gaga

Amidst a global pandemic, Gaga re-emerges with pink hair to remind Little Monsters everywhere how to dance our sorrows away. From start to finish, Gaga delivers disco, house, electronic-pop bangers across the board. Sucking the nutrients from her debut-ingrained, dance roots, Gaga declares “Earth is cancelled”.

Immediately transporting you to a new world is the ambient catharsis of “Alice”, which follows the album’s cinematic opening, “Chromatica I”. Afterwards, a slew of pop ragers ensue – the synth-pop electrolyte “Stupid Love” , self-sabotaging, robo-pop banger “911” (which transitions iconically from “Chromatica II”), and the cosmic resilience channeled on the Ariana Grande duet, “Rain On Me”. The song itself epitomizes 2020 with its message of enduring the hard times and expressing gratitude for life itself.

Other noteworthy collaborations were the lightning-conjuring “Sine From Above” with Elton John and who can forget the cultural crossover with popular K-pop girl-group, BLACKPINK on the clubby “Sour Candy” – a track that only grows sweeter over time.

All in all, Gaga produced her most emotional and aesthetically pleasing era to date. Certainly, ‘Chromatica’ pulls the strengths from ‘Artpop’ and ‘Born This Way’, without actually reaching the heights of the latter, but still managing to win listeners over with its cohesivity, timing, and healing effect. Who said Gaga wasn’t still the Queen of Pop? Because “That’s gossip!”

Holy Trinity: Alice, Rain on Me, Babylon

[2]

‘Future Nostalgia’ – Dua Lipa

2020 found a lot of artists borrowing sounds from earlier eras in music, most notably the 80s and 90s. But no artist executed the revival trend this year better than British-pop star Dua Lipa, affectionately called Dula Peep.

Indeed, ‘Future Nostalgia’ creates an inescapable blend of pop production that pays homage to what the genre used to be and paints a picture of where it’s going. Which makes the album’s title extremely apt.

Track after track, Dua delivers expectantly over some of the smoothest, funkiest, and riveting sonics this year. Lead-single “Don’t Start Now” finds Dula Peeps overcoming a breakup in full disco fashion. “Physical”, which samples the classic Let’s Get Physical by Olivia Newton-John, descends on you like Batman over Gotham City at night! Likewise, who can resist the pulsating magnetism on the mood-elevating “Levitating”?

The album delves mainly into love and relationships with a splash of feminism on the girl-powered closer “Boys Will Be Boys”. Overall, Dula Peeps’ sophomore effort was one of the best this year and helped to solidify her place as one of the main pop girls of this generation.

Seriously, with the amount of gleaning and polishing this album took, coupled with its impeccable rollout, she honestly deserves Album of The Year at the 2021 Grammy Awards Show.

Holy Trinity: Don’t Start Now, Levitating, Pretty Please

[1]

‘Ungodly Hour’ – ChloexHalle

Never have I considered myself a R&B enthusiast. My musical palette always leaned heavier towards the pop and alternative genres. That said, these young ladies exceeded my expectations and delivered my album of the year for 2020.

Released on the same day as my debut poetry book, My So-Called Quarantine, ‘Ungodly Hour’ finds Chloe and Halle on a journey of becoming. They’re calling out the f*ck boys, saying goodbye to baby mamas, dealing with anxiety, loneliness, and offering encouragement throughout it all.

This album is jam-packed with danceable, heartfelt numbers one after the other, with soaring vocal performances. “Forgive Me” snares with attitude and newfound power while “Baby Girl” empowers through light, spacy production that bangs. “Do It” is a club-ready banger and the title track “Ungodly Hour”, is an ethereal masterpiece of R&B and house. It’s the cherry on top of an otherwise incredible tracklist.

Impressively, the sister-duo never overshadow each other, they shine uniquely on each track. “Don’t Make It Harder On Me” coupled with “Wonder What She Thinks Of Me” are records that truly highlight their raw, vocal talent. Indeed, with melodies and harmonies straight from the ether, ChloexHalle not only delivered the best album of 2020, but also carved a new, interesting lane for the genre of contemporary R&B altogether.

Holy Trinity: Ungodly Hour, Do It, Lonely

[END]

Did you enjoy today’s countdown? Have you given these albums a listen? What’s your Album of the Year for 2020? 

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