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2020: The Year in Tiers - The Good

The 4th tier finds our good, not great entries - The Runners Up. Nothing to be ashamed of, these records are just missing that extra punch to put them over the top. Like Arby's. Love Arby's. But it's not like anyone on death row is asking for their last meal to consist of a Beef N Cheddar. Curly fries maybe...


#40. Columbus by Terminal Crush

Grey Gordon (of Kill Surf City, Wickerwolves, Parasitic Twins, Karloff, and well...Grey Gordon) debuts his latest musical endeavor with one of the most devastating records you're likely to endure anywhere this year. Which is quite the statement to make in the barren wasteland of 2020. "Indian Summer" is far and away the standout track, most successfully blending a subtle mix of power pop and indie rock guitar hooks to liven up the shoegaze repetition that wears little thin on the latter half of the album. Overall, it's a powerful reinvention for Grey who continues to flourish in yet another incredible outlet.


#39. The Light of the Well by Good Looking Friends

Between the cross sections of 90's alt rock, indie power pop and emo sparkle punk you'll find Brooklyn, New York's Good Looking Friends. At their best, on songs like "Euphoria" and "Leonard", you could easily mistake them as the millennial descendants of Harvey Danger and You Blew It. Which inspires a great deal of hope for where this band can go moving forward. Let's just hope they embrace their grittier side a little more and maybe ditch the synth tracks like "Lawman" that undermine the levity they otherwise carry.


#38. Saint Cloud by Waxahatchee

One of my favorite indie singer-songwriters of the last decade, Waxahatchee returns reinvented as an alt-country songstress and it's a welcomed change of pace from 2017's "Out in the Storm" and 2015's "Ivy Tripp", which felt pretty uninspired compared to her emotionally charged earlier records. And while the musical face-lift seems to breath new life into Kate Crutchfield, the lyricism still doesn't quite hit like it did on "American Weekend" or "Cerulean Salt". I'm excited to see where she takes this new sound but as for now, it still feels not entirely complete.


#37. This Land Is Your Landfill

by The Homeless Gospel Choir

The Homeless Gospel Choir was always one of those bands I'd hear a song or two of at a time but "This Land Is Your Landfill" is the first full length I finally listened to from start to finish. And while there's still some of the messiness that makes this feel like a value brand Jeff Rosenstock, tracks like "Art Punk" show a bit more depth than what I'm accustomed to hearing from THGC. And hell, who doesn't love a value brand dinner every once in a while?


#36. Rzeczom by Odraza

Polish black metal duo Odraza deliver a punishing onslaught of anguish and intensity but what sets them apart as one of the best metal records of the year is their knack for theatrical arrangements. Think Septicflesh without the overly dramatic orchestral accompaniment. Technically impressive, no doubt, but their ability to integrate sweeping themes and cascading movements throughout their punishing cacophony of chaos is what really stands out. Very intrigued for their next album.


#35. Krazy Karl by NNAMDI

After I found myself a little uncertain of Nnamdi's eclectic cocktail of genres in his debut LP, three months later he returned with an even greater display of his musical abilities. Without vocals getting in the way, this avant garde, math jazz odyssey takes you on an incredible ride that feels like The Dillinger Escape Plan trapped in an episode of Tiny Toons. Unexpected, erratic, and enthralling at every turn - Krazy Karl is an incredibly entertaining instrumental achievement.


#34. Simulcast by Tycho

Rearranging last year's "Weather" with warmer instrumentations and a more mellow delivery, surprisingly "Simulcast" brings about some of the best work Tycho has produced to date. The subdued packaging just feels infinitely more soothing and washes over you in a calmer, more invigorating manner. Fun yet soothing. Simple yet entrancing. In other words, exactly what you hope for in a chillwave instrumental album.


#33. Forgotten Days by Pallbearer

If you're not yet familiar with Pallbearer, take the stoner metal groove of High on Fire and mix it with the triumphant power doom of Magic Circle. Now while I wasn't a huge fan of their last effort, "Heartless", "Forgotten Days" has some of the best made to head bang heavy metal you'll find anywhere this year. The vocals were a huge weak spot on the last record but here the riffs are so overwhelmingly infectious that rather than stick out like a sore thumb, the vocals blend in seamlessly. There's still room for improvement but for me, this is the most complete record they've put out thus far and shows great promise that this band isn't done maturing their sound just yet.


#32. Live Forever by Bartees Strange

Bartees Strange, the most exciting new artist of the year for me, effortlessly blends the sounds of neo soul and indie rock like only TV on the Radio before him has. The unique combination of styles is galvanizing and album openers "Mustang" and "Boomer" are two of the best singles of 2020. Which makes the fading energy on the latter half of the album all the more disappointing. Never the less, this is an astounding debut and one of the most promising indie introductions we've heard in some time.


#31. Stay Alive by Laura Jane Grace

Delivering another solo pit stop between Against Me LPs, Laura Jane Grace brings one of the best single song encapsulations of quarantine dread with "The Swimming Pool Song". The rest of the collection is a little scattered, but always enlightening and full of perspective. As far as solo efforts I'd say it's not quite as dynamic as "Heart Burns" but a little more insightful than "Bought to Rot".


#30. RTJ4 by Run the Jewels

Run the Jewels have always been a tad overhyped in my book but it's hard to ignore the poignancy of Killer Mike's politically charged lyrics and the timeliness of their delivery in the protest filled streets of summer 2020. "Ju$t" is the best song the duo have ever put out but as a whole, their 4th record feels very formulaic and between the select stand out tracks there's a lot of filler. As much excitement as there is around this duo, I think I'm ready to cut El-P's endless parade of dick jokes and get a straight Killer Mike solo album again. And one from Zach de la Rocha while we're at it...


#29. Swimmer by Tennis

It's hard to believe that the dream pop duo from Denver are finally hitting their stride a decade in but that's clearly the case for Tennis on their fifth full length, "Swimmer". An incredibly disarming and enchanting listen, tracks like "Tender as a Tomb" and "Echoes" are so passionate and sincere that it's nearly impossible not to be swooned by the indie darlings. No longer meddling in mediocrity, this is a massive step forward for a group I figured would have sizzled out by now.


#28. Quickies by The Magnetic Fields

Stephin Merritt is one of my absolute favorite songwriters of all time. But I understand why an album composed entirely of songs around 2 minutes or less would come off to most people as a throwaway. The gimmick of "Quickies" is admittedly much less ambitious than "69 Love Songs" or "50 Song Memoir" but that doesn't mean there aren't some incredibly innovative compositions to be found here. The somber ballad "The Day the Politicians Died" captures 2020 political fatigue beautifully while "My Stupid Boyfriend" and "Favorite Bar" carry the trademark quirky humor you've come to expect from the group. And with every song as short as their are, it's not hard to blaze through the 28 tracks (46 minutes total) without hitting getting hung up on the occasional misfire. Which is more than I can say for "Love at the Bottom of the Sea" or "Realism".


#27. Ultimate Success Today by Protomartyr

Leading the post-punk front for 2020 is Detroit's Protomartyr, with another solid addition to their growing discography of consistently captivating aggression through dissonance. The droning aura of dread delivered in the vocals is never too overbearing to weigh down the nervous energy buzzing through the sharp, infectious musical rhythms which continue to elevate Protomartyr passed the shortcomings of their genre contemporaries. There's a constant underlying edge and uneasiness that feels as if the band is always pushing against whatever box you're about to put them in.


#26. Welcome to Conceptual Beach by Young Jesus

Although "Welcome to Conceptual Beach" is Young Jesus' 5th full length, this was my first time listening to the group and may be my favorite new find this year. The eclectic blend of expansive instrumentation and soulful wailing vocals feels like Bon Iver meets This Will Destroy You. It's a joyous and soulful, meditative jam session with wavy guitar hooks slunk through boisterous chorus lines. My only gripe being that it ends way too quickly. Granted, the overall runtime is 46 minutes but the final 2 tracks make up nearly half the length on their own and drag on way too long. It just kind of runs out of steam after starting so remarkably, which is surprising for a 7 track LP.


#25. Printer's Devil by Ratboys

"Printer's Devil" storms out of the gate, blazing two of the best power pop singles of 2020 with "Alien With a Sleep Mask On" and "Look To". But then suddenly the album's momentum falls off a cliff, as the softer alt-country acoustic tracks that follow, dry up all of the energy and excitement the previous songs established. And sadly the record never recovers. It's not bad, just not nearly as exhilerating. I really wish they had fully embraced the larger, louder, faster and fun direction they kick the album off with instead of reverting to the terrain they've already covered previously. Still, this record shows huge growth and immense promise for what's to come if they can continue to develop.


#24. It Is What It Is by Thundercat

Any bass enthusiast that hasn't familiarized themselves with Thundercat, DO SO IMMEDIATELY. This dude is immensely talented and his brand of quirky psychedelic acid funk makes him the closest thing we've seen to a millennial George Clinton. "Dragonball Durag" is probably the best encapsulation of what Thundercat has to offer and "It Is What It Is" is the most cohesive album to date. It's a fine line to walk, given the smooth and care free aesthetic embodied here, but this finally feels more like a record than a collection of jam sessions.


#23. Innocent Country 2 by Quelle Chris & Chris Keys

For an hour long hip hop concept album, "Innocent Country 2" is remarkably consistent. Especially in the latter half, after hitting a slight lull in the mid section. But the unbelievably smooth and lush production carries this project so well you'll hardly notice. The only detractor really is the cheesy Mad Max style skit that opens the album. "Sacred Safe" and "Mirage" are must listen material and help to make this one of the best rap albums of 2020.


#22. Punisher by Phoebe Bridgers

I really wanted to love "Punisher" but as unfair as it might be, I couldn't keep myself from comparing it to Phoebe's indie dream team collaboration with Conor Oberst from last year, "Better Oblivion Community Center". "Punisher" has plenty of bright spots and Bridgers remains one of the most talented lyricists on the planet but instrumentally this felt very limited. "Kyoto", "Chinese Satellite" and "I Know the End" are all remarkable in their own rights but overall the record left me wanting a more complete sound that I never really got. She's an incredible talent but this still feels like she's finding her footing and how to best utilize her strengths, but I think the best is yet to come for her.


#21. King's Disease by Nas

I didn't hate Nas' 2018 Kanye collab "NASIR" but listening to "King's Disease" reminded me of exactly what it was missing. The classic New York production fits his flow so much more smoothly and really allows for a much more immersive experience. There's no rush, just a free flowing, chilled out cruise with a living legend as he continues to expand open his already impressive catalog of 20+ years as one of hip hop's most noteworthy talents. "Ultra Black" is an all timer and the best track he's put out since the '90s.


#20. Ohms by Deftones

On "Ohms", Deftones return with another hypnotic ass kicking marathon that feels like a heroin induced fever dream. Wavy, harsh, and full of aggression - Deftones haven't been this in your face for a while and it's welcomed return to form. Closing out the album, the title track is the highlight and sends you out on such a high note it's nearly impossible not to spin the whole the damn record over again. On a side note: are Deftones kinda low key the biggest shoegaze band of all time?


#19. Anime, Trauma and Divorce by Open Mike Eagle

Since 2014's "Dark Comedy", Open Mike Eagle has been one of the most unique voices in hip hop. But this time around, OME takes us on an introspective journey through heart breaking emotional turmoil and soul searching like only 2020 can force upon you. The result is perhaps the most vulnerable rap album you'll ever hear. Simultaneously wrestling with a deteriorating relationship, a failed record label launch and a cancelled TV show - "Anime, Trauma and Divorce" adds perspective and insight to an artist pushing through the lowest of lows. The back to back to back combination of "The Edge of New Clothes", "Everything Ends Last Year", and "The Black Mirror Episode" encapsulate loss, grieving and despair with a sense of dark comedy like only Open Mike Eagle create.


#18. Set My Heart On Fire Immediately by Perfume Genius

From the devastatingly stark and wavering introduction on "Whole Life", Perfume Genius sets the tone perfectly for a gutting tale of loss and desire. And as melancholy as that might sound, the bouncy chamber pop elements balance out the desperation and longing in a much more fun and relatable fashion. Look no further than the record's standout single "Without You" for the perfect example of exactly that - a lush pop ballad wrapped in gut wrenching despair.


#17. Down in the Weeds, Where the World Once Was

by Bright Eyes

After a 9 year hiatus, Bright Eyes returns with their first record since 2011's "The People's Key" and honestly they haven't missed a beat. This isn't a nostalgia trip, it truly does pick right up where their last record left off while continuing to evolve their sound even further. Conor Oberst is one of the most gifted songwriters of our generation and it's such an honor to have him back behind the moniker that made him an indie-folk icon. "Dance and Sing" and "Tilt-A-Whirl" are among Bright Eyes' best tracks to date and inspire hope in Oberst being able to hit the ground running now that Bright Eyes are back.


#16. The Great Dismal by Nothing

As much as I absolutely loved the grungy alt-rock direction Nothing took on their last record, seeing them revert back to the slower shoegaze dream pop lane here on "The Great Dismal" was a tad disappointing. But the more I listened to it, the more I found what made me fall in love with "Dance on the Blacktop" was here as well, just not quite as blatant. The production is actually a big step up and tracks like "Say Less" and "Catch a Fade" find the band infusing both the ethereal haze of shoegaze and potent buzz of '90s inspired alt rock to form something new altogether.


#15. Don't Waste Your Anger by The Smith Street Band

The Smith Street Band was sneaky great in the 2010's and it seems they're kicking off the roaring 20's in much the same fashion. Which can be both a good and a bad thing for a band 10 years and five LPs into their musical careers. There's definitely a slower, more somber tone to "Don't Waste Your Anger" which can leave you feeling the band plateau a bit but the standouts "I Still Dream About You" and "Profiteering" are as strong as anything they've put out. But it's hard to argue that the tried and true formula couldn't benefit from some expansion at this point.


#14. you'll be fine by Hot Mulligan

I wasn't a huge fan of Hot Mulligan's 2018 debut "Pilot" but on their sophomore effort, they've grown by leaps and bounds. Packed to the brim with angst ridden anthems and gritty pop punk charm, this is the kind of record that should elevate this band into being a genre staple for years to come. The balance of soft spoken emo ballads and raw impassioned, yet bouncy pop hooks is handled masterfully and the ingenuity on tracks like "SPS" and "BCKYRD" display an ability to grow beyond the influences they wear so proudly.


#13. Coriky by Coriky

The Evens' Ian Mackaye and Amy Farina return with Fugazi bassist Joe Lally for a simplistic, yet irrefutably infectious debut as Coriky. Post-hardcore indie rock with the playfulness of a Ted Leo delivered in the minimalist appeal of a 3 piece garage band, each track has it's own unique melody and slow burn hooks. And while I was hoping for a little more in the lyrical content, this is still a remarkable album from a living legend still endeavoring to produce insightful new music in inspired and unexpected new places.


#12. Stare Into Death And Be Still by Ulcerate

Currently, in just about every facet of music, pop sensibilities are thriving. Electronic, rap, punk, indie, even metal - which makes it feel like we get less and less abrasive and intensely dissonant records like this one every year. Which is a shame but after the death metal mall core phase of the late 00's, I kinda get why. However, with "Stare Into Death and Be Still" Ulcerate has delivered a phenomenal crossover of technical death metal and atmospheric sludge that has to be heard to believed. It's remarkable how well the record flows for how dense and smothering the guitar tones are. The percussion is absolutely next level intensity and the title track "Stare Into Death And Be Still" is a fucking knock out. If I could only listen to 3 metal albums from 2020, I'd just put this duder on repeat.


#11. After Hours by The Weeknd

Carrying over that late night synthwave energy from Uncut Gems, The Weeknd has returned with the best pop album of the year in "After Hours". Granted, it starts off a little slow, but the finale is absolutely legendary. The 1-2-3 punch of "Blinding Lights", "In Your Eyes", and "Save Your Tears" are possibly the best 3 pop songs of the year. The buzzing neon 80's aesthetic elevates The Weeknd passed being an underutilized talent and into a full blown pop star. Definitely one of my most unexpected favorites this year, "After Hours" has revitalized The Weeknd as one of the premiere voices in mainstream pop music.


View the Rest of the 2020 Year in Tiers Here:



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