Top 100 Music Albums of the 2020s by JamesMowbray 
- Chart updated: 12/20/2021 20:45
- (Created: 12/20/2021 20:21).
- Chart size: 100 albums.
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This is how you use percussion. Across every track here there's something brilliant going on with the drums, hand claps or dog barks. Tracks like 'Newspaper' probably make this most obvious, where the drums dictate the pace and tone across the whole song. There 's this really harsh and overbearing drumbeat all through the first portion of the track, giving things a massive feeling of weight, even though the drums and the vocals are the only things here. As things progress the drums get faster with each vocal change but it's done so smoothly that you barely notice. This builds tension throughout the track until, right at the end, they start to fade completely, so that only a faint guitar is left. It's such an eerie effect.
You get such a different effect in something like the opening track. It starts off with a very regular set of handclaps and light drumming for a few seconds, but it's when this simple arrangement stops that you see its effect. It brings such as tightness to the first few seconds, that when it gives way it lets the piano that takes over completely soar. No more percussion appears until late in the track but at this point it doesn't dampen the freer feel of this track. Instead, the drum rolls, along with the strings, give a massive sense of presence by reinforcing Fiona's voice. The drums feel like a natural reaction to the vocals, not a steady rhythm that pens them in. Finally, when things go haywire right at the end, the drums and vocals fall apart together letting the piano take control. What an opener.
The most ambitious effects take place on 'For Her'. When the lyrics first hit, there's no percussion at all which, along with the sweeter sounding vocals, gives off a misleading, lighter mood. On the surface this gives off the same free feel that 'I Want You To Love Me' had. Of course, the lyrics are giving off a completely different vibe. The clashing of these two moods give off a really disturbing effect. This builds when the drum do kick in. It brings us back to these harsher rhythms that seem to actively compete with the vocal harmonies. Soon after, the drums pick up a more playful and sped up style, only adding to the confusion. There's incredible skill in not making this sound like an absolute mess. Things really take a turn the moment you hear the lyric "Good morning, good morning". The drums slow and reach their heaviest, just as you hear the line "You raped me in the same bed your daughter was born in". It's one of the most disturbing and succinct lines about evil you'll ever hear but it's not just the lyric itself that carries this weight, the track has been building from the start to make this line hit as hard as possible.
You can hear these incredible techniques across every track of 'Fetch the Bolt Cutters'. With this level of lyricism, songwriting and album structure it might seem crazy to only talk a bit about the percussion, but for an album this dense, you can only get across how good this album is by talking about each part in detail. There is already plenty to read on all those aspects and there'll be plenty more to come. It's just so refreshing to see a record use percussion this successfully, when it is so often used in such basic ways, even on great albums. It also says a lot about the quality of Fiona Apple's discography, that I kind say for sure this is her best album.
You get such a different effect in something like the opening track. It starts off with a very regular set of handclaps and light drumming for a few seconds, but it's when this simple arrangement stops that you see its effect. It brings such as tightness to the first few seconds, that when it gives way it lets the piano that takes over completely soar. No more percussion appears until late in the track but at this point it doesn't dampen the freer feel of this track. Instead, the drum rolls, along with the strings, give a massive sense of presence by reinforcing Fiona's voice. The drums feel like a natural reaction to the vocals, not a steady rhythm that pens them in. Finally, when things go haywire right at the end, the drums and vocals fall apart together letting the piano take control. What an opener.
The most ambitious effects take place on 'For Her'. When the lyrics first hit, there's no percussion at all which, along with the sweeter sounding vocals, gives off a misleading, lighter mood. On the surface this gives off the same free feel that 'I Want You To Love Me' had. Of course, the lyrics are giving off a completely different vibe. The clashing of these two moods give off a really disturbing effect. This builds when the drum do kick in. It brings us back to these harsher rhythms that seem to actively compete with the vocal harmonies. Soon after, the drums pick up a more playful and sped up style, only adding to the confusion. There's incredible skill in not making this sound like an absolute mess. Things really take a turn the moment you hear the lyric "Good morning, good morning". The drums slow and reach their heaviest, just as you hear the line "You raped me in the same bed your daughter was born in". It's one of the most disturbing and succinct lines about evil you'll ever hear but it's not just the lyric itself that carries this weight, the track has been building from the start to make this line hit as hard as possible.
You can hear these incredible techniques across every track of 'Fetch the Bolt Cutters'. With this level of lyricism, songwriting and album structure it might seem crazy to only talk a bit about the percussion, but for an album this dense, you can only get across how good this album is by talking about each part in detail. There is already plenty to read on all those aspects and there'll be plenty more to come. It's just so refreshing to see a record use percussion this successfully, when it is so often used in such basic ways, even on great albums. It also says a lot about the quality of Fiona Apple's discography, that I kind say for sure this is her best album.
Year of Release:
2020
Appears in:
Rank Score:
3,233
Rank in 2020:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
56Total albums: 1. Page 1 of 1
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Top 100 Music Albums of the 2020s composition
| Artist | Albums | % | |
|---|---|---|---|
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| Arca | 4 | 4% | |
| Sewerslvt | 3 | 3% | |
| Dltzk | 2 | 2% | |
| DJ Sabrina The Teenage DJ | 2 | 2% | |
| Black Dresses | 2 | 2% | |
| Backxwash | 1 | 1% | |
| Billie Eilish | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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47 | 47% | |
| |
24 | 24% | |
 |
10 | 10% | |
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6 | 6% | |
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5 | 5% | |
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4 | 4% | |
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1 | 1% | |
| Show all | |||
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| Top 100 Music Albums of the 2020s | JamesMowbray | 2020s decade chart | 2021 | |
| Top 100 Music Albums of the 2010s | JamesMowbray | 2010s decade chart | 2022 | |
| Top 100 Music Albums of the 2000s | JamesMowbray | 2000s decade chart | 2019 | |
| Top 100 Music Albums of the 1990s | JamesMowbray | 1990s decade chart | 2019 | |
| Top 100 Music Albums of the 1980s | JamesMowbray | 1980s decade chart | 2018 | |
| Top 100 Music Albums of the 1970s | JamesMowbray | 1970s decade chart | 2024 | |
| Top 100 Music Albums of the 1960s | JamesMowbray | 1960s decade chart | 2022 | |
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Top 100 Music Albums of the 2020s ratings
87/100 (from 1 vote)
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Showing all 1 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
95/100  | 09/06/2024 01:26 | thepurplemartin | | 82/100 |
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95/100
From thepurplemartin 09/06/2024 01:28
Wow, such a detailed list and very insightful thoughts. Totally agree about Whole Lotta Red, I think people call it Carti’s Yeezus because that’s the closest comparison to draw from. WLR immediately dictated the new prevailing tone of trap music and Yeezus was the album that did that in the early-mid 2010s.
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