Listed below are the best albums of the 2020s (so far) as calculated from their overall rankings in over 59,000 greatest album charts. (Chart last updated: 4 hours ago).
"Renaissance has a lot of redeeming features, mostly how Beyoncé historicises the disco canon. However, it is also indisputably overhyped, a prime example of the way popstars of the 21st century post-album-distribution hellscape of streaming can waltz into mass critical appraisal with a single for...""Renaissance has a lot of redeeming features, mostly how Beyoncé historicises the disco canon. However, it is also indisputably overhyped, a prime example of the way popstars of the 21st century post-album-distribution hellscape of streaming can waltz into mass critical appraisal with a single foray into big concept driven "high art" full album. Beyonce has proven already with Lemonade that she can be more than a singles artist, so I don't want to suggest that it's entirely bad faith, just more that let's settle at pretty good at best rather than "revolutionary". Moreover, people are and will continue to attach other weirdly hyperbolic triumphalist tags to this – i.e. music as celebration of [insert your choice of really anything] – and that's nice and all, but this really only is somewhat convincing when Beyonce is looking back and celebrating 70s/80s black musicianship, a well trodden path in the last decade. Early tracks like Alien Superstar and Cuff it are perfect examples of modernised disco, they are genuinely fun songs to return to, but god the areas in this indulging in contemporary pop and trap trends, as if they too are – in a way – as iconic as Donna Summer ruin this. Energy is the first completely terrible song, exemplifying the worst of Beyonce-does-Jay Z nonsense. While Break My Soul's sudden interruption of it makes for a very fun opening of the single (which, when initially heard in isolation seemed very cringe), the irony in that opening sample is a little lost by Beyoncé doing it rather than James Ferraro. I think Renaissance starts to get back on track with Virgo's Groove, but the backend of this is littered with sleepfest tracks like Move and All Up In Your Mind, which honestly should have been binned (Virgo's Groove -> Pure/Honey would have been a nice transition). Summer Renaissance's celebration of I Feel Love, which should also retrospectively be a celebration of "Renaissance" – or a track that rationalises why Beyonce needed to do this – just ends up making me want to listen to the original 12" to be brutally honest. Beyonce is at her best in Renaissance when she is subtle rather than overt with the referentiality. It's a record that could open a window to the past for zoomers, but worst case this will date itself quickly."[+]Reply
"(Avant-Prog, Prog rock, Jazz rock, noise rock, ooooh babayyyy! Prog is back! - for a more cogent statement I’ll say that this is the best Prog rock album I’ve heard that’s been released in years. And it’s bloody brilliant almost the whole way through.) What a rock solid album. Feels like somethin...""(Avant-Prog, Prog rock, Jazz rock, noise rock, ooooh babayyyy! Prog is back! - for a more cogent statement I’ll say that this is the best Prog rock album I’ve heard that’s been released in years. And it’s bloody brilliant almost the whole way through.)
What a rock solid album. Feels like something significant. But maybe that is just the hype and me getting swept up in it. I have been delaying and delaying on writing any sort of comment on this beast. I have listened to it a dozen or more times. And I notice my opinions change with almost every listen. Sometimes I feel like saying hyperbolic things like “This is this generation’s In The Court of the Crimson King”, and sometimes I feel like this is a bit of an uneven and yet vibrant and exciting avant-Prog album for a new generation. I switch between feeling effusive love - and merely feeling strong, healthy respect. Haven’t landed yet on what my final thoughts are. Maybe only time can tell, after we have seen the progression of black midi, that Windmill scene, and underground rock in general over the next 3-10 years time. I don’t know.
I do know that “John L” is my song of the year so far. Something special it is, indeed. I know that “Marlene Dietrich” is gorgeous and features a brilliant subdued groove that I adore. I know that the 1-2 punch of “Chondromalacia Patella” and of course the masterpiece that is “Slow” never fail to blow me away, and sweep me up and away somewhere fresh and new. I’m confident that “Diamond Stuff” is beautiful if a bit too slow in its development and a bit anti-climactic. I know that “Dethroned” is very solid but one that hasn’t yet clicked with me fully. I know that “Hogwash and Balderdash” is excellent and the closest to the sound of “John L” that this album ever comes back to and I know it’s too short. And, finally, I think “Ascending Forth” is… a bit lost on me and for some reason, despite most people considering it a stand out track or even THE standout, I think it’s my least favorite song here. Of course “Ascending Forth” is still like, idk, 70% incredible. That is an indicator of how much I like this album through and through.
I also love that these songs do flow. Like, this feels like a concise yet complete album statement, where each track logically rolls to the next despite at times featuring INSANELY massive changes in tone and style. Not sure how the guys in black midi pulled that off but they did.
I’m closing, I have a feeling this will be one of those memorable albums for years and decades to come. I hope it does become something of a classic as time goes on. For now, it’s too new for all that. But it is for sure amd without a doubt one of the few albums that managed to fully live up to my expectations (hopes more like) and, I think, the music fandom’s as well.
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"(Total masterpiece. Genres to describe this I guess would be post-industrial, Noise, with some kind of gospel spirituality mixed in. Anyway, that doesn’t really describe this album. Not very well, anyway.) What can I possibly say that will do this album justice? I don’t think I am capable. This a...""(Total masterpiece. Genres to describe this I guess would be post-industrial, Noise, with some kind of gospel spirituality mixed in. Anyway, that doesn’t really describe this album. Not very well, anyway.)
What can I possibly say that will do this album justice? I don’t think I am capable. This album is special. When I listen to HEY WHAT, it is an out-of-body experience. The detail contained within the “noise”, the way the sheer volume of the album rolls over me like waves, I feel like I am thrown into a storm in the middle of the ocean, and for a few seconds I fight it and I panic and I start to scream and cry. But then a voice reassures me that these tidal waves won’t cause me harm – not truly and not truly me -, and I am told to breathe and embrace the immensity of this place and this experience. I relax and I breathe and … I am fine, I am calm, I am free. The rest of the album is like a massive, Pacific-sized epic about modern life and spirituality. And unlike so many other unapologetically gloomy, bitter, and hopeless epics that seem to tackle this struggle, with HEY WHAT I feel love and I feel hope and I glimpse a way through this mess I find myself in.
Musically, production-wise, this album makes me laugh lovingly and in awe, because I just can’t understand how humans being of flesh and blood can go and create this. Like, how? This could be called “Noisy” and “Staticy” and “Loud” but I can’t really say that those words fit to describe even the most inhuman and loud and most intense moments in this album. These scratchy, buzzing, sonically overwhelming sounds never sound harsh or hard to listen to. Again, like I said at the beginning, I have no clue how to express what this sounds like to me. The machines present on this album are simply communicating, meshing, corresponding with the human voices and harmonies. When the harmonies and the machine sounds come together, in these artist’s genius hands, what you get is transcendent music of the highest caliber.
Just yesterday I was trading comments with the excellent fellow-BEA user buzzdainer. Buzzdainer mentioned about Chris Stapleton’s 2020 album Starting Over: “…for me it's the quintessential album for coping with the cruel realities of our current decade.” This description was excellent and I can see how Starting Over would have that effect. However, when I took a look and thought about what album for ME truly had such a significance in this current decade… I couldn’t think of one. The music I have loved from this decade thus far has been mostly powerful and cathartic in very different ways or, in some cases, very escapist. But no album as of yesterday had I heard that really uplifted me and helped me cope and find meaning and stabilized me in this current crazy world we live in.
Then just a couple hours later I pushed play on Low’s latest. By the time I finished listening the very first time I felt emotionally satiated, understood, fulfilled. And I felt spiritually uplifted and enlightened. This is probably the most uplifting piece of music I have heard this decade so far. It for sure is.
To list the specific tracks on here that I love or want to shout out seems like a silly activity. It is only silly for me because the whole album, start to finish, is the perfect example of a cohesive album experience. For example, I can point out (and – lol - I am about to) that the back-to-back majesty of the track “Hey” followed by “Days Like These” makes me legitimately weep with joy and some emotional mixing I still don’t understand. And that is true, I think Hey/Days Like These is some of the greatest music I have ever heard full stop. BUT I had heard “Days Like These” as a single and when I heard it in that out-of-context way, I thought it was a pretty song and it made me excited for the new album… and that is all I thought of it. But when I hear it now on the heals of “Hey” and also after the absolutely stunning build up to this middle portion of the album, it is cathartic, life-changing, inspiring and perfect. Every song here is special on its own but transcendent as part of the entire sweep of the album.
This album expresses to me; Humanity, Human Goodness, True Affection and Love and Unity winning and triumphing in the face of inhumanity, materialism, and the bleak ubiquity of the utterly unfeeling. This album is a treasure. I actually feel a deep appreciation and an immeasurable respect for and to Mimi Parker and Alan Sparhawk and BJ Burton for creating this album. It’s just what I needed to hear in days like these.
Now I know I have not really said much of anything in this “review”/rambling comment – I haven’t touched much upon the songs and the lyrics and the harmonies and the industrial manipulations and genres and all that. Well, sorry. But this album, more than any other this year (outside of perhaps By the Time I Get To Phoenix), really transcends words and clear description.
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"Yes that is the same sample White Town used, and being able to recognize it immediately makes me feel really fucking old. Anyways I actually really dig this! maybe doesn't quite have enough of the "Future" that's promised early on at least sonically (except on "Don't Start Now", which feels like ...""Yes that is the same sample White Town used, and being able to recognize it immediately makes me feel really fucking old.
Anyways I actually really dig this! maybe doesn't quite have enough of the "Future" that's promised early on at least sonically (except on "Don't Start Now", which feels like a laser'd-up version of one her earlier hits), but with nostalgia that for once sounds this, yes, fresh and purposeful it's hard to complain. Maybe because it takes more of it's ideas from late 70s disco-1980 disco and that turn of the millenium-to-early '00s stage when the dance hits had a more noticeable house influence, it doesn't just melt into another tired 80s pastiche that felt promised (except on the the aptly-titled "Physical", which is engaging enough to forgive anyways).
In many ways I'm reminded of last year's Dedicated, another album with a similar sultry-yet-sinewy sound that had a lot of similar influences and that musically was very attractive... but always felt like it was missing something, or that it just wasn't a good album for Carly Rae personally, as much as I love her dearly. Now it seems clear that it needed that kind of larger-than-life swagger that's also slyly circumvent about when to push the music deeper into the surface that Dua provides here. It's one snappy velvet-rope of a release, with only one truly forgettable moment ("Hallucinate"), that works pretty seamlessly as a singular sound but also (I can't stress this enough) how it finally reminds the pop world about the beauty of brevity. This is not some turgid 18 track dumping ground, trying to tick as many streams and find it's way onto the highest number of playlists as possible, at 37 minutes it almost never loses it's steam or feels un-neccessarily flabby, where nearly every moment she knows exactly what she's doing and how best to maximize the potential of each track without over-doing it....
... well, usually. Unavoidably it feels like we just can't have a constiently immaculate pop release that can simply announce it's importance based on the music alone, now everything has to have it's obligatory Very Important Message moment. The problem here (the offending number "Boys Will Be Boys") is that it feels like it both wants to be a button-pushing conversation starter but also end up feeling as blandly inspirational as a latter-day Pink or Alessa what'shername track, which means you get big orchestral arrangements (yes, and a fucking choir too) with simplified sloganeering lyrics- delivered in Dua Lipa's coolly detached prescence that hitherto has worked so well but at this moment guarantees any attempt at a provocation useless. Even if it was secretly intended as the most basic cheeky kiss-off. When the album should've been enjoying an ecstatic victory lap or a more organic swell to a thundering closer, this becomes a limp attempt at political relevance that brings nothing new to the table and hammers the ending flat in the process (in many ways the album could've ended with the more early 00s hip-hop influenced "Good in Bed", not dissimilar in themes but less blandly preachy and a far more congenial way to go out).
While that might be a bit of a dissapointing post-script (nobody goes to the club awaiting a scrapped-together lecture at 1:57 am), it doesn't destroy the appeal of what came before it. I think it's best to temper expectations somewhat as the over-praise has been a bit unavoidable (in these apocalyptic times anything this sleek and sexy and well-produced and get-the-bootstraps-kicking is bound to get that treatment), and whether this does end up delivering on the initial promise of being the start of something big or just a great little pop capsule in it's own right I can't imagine it will ever stop sounding this exquisite in the... *tongue out* Future. "[+]Reply
"You love to see it. An album that I enjoyed enough to write two pages of the track by track breakdowns on. All my favorite songs: This song could’ve flown under the radar in the grander scheme of Weezer tracks but the orchestration is really what pulls everything together. The complex chords are ...""You love to see it. An album that I enjoyed enough to write two pages of the track by track breakdowns on.
All my favorite songs: This song could’ve flown under the radar in the grander scheme of Weezer tracks but the orchestration is really what pulls everything together. The complex chords are so emotional and gosh dang those horns in that last section of the song are amazing. Lyrically it also does a really good job of just prepping you for the theme of the album. This is the only song that examines the idea of people being draining so you look for a way to escape them which is actually really interesting in the larger scheme of the album.
Aloo Gobi: This song sort of takes a look at the monotony of daily life and the anger that comes from wanting your life to be something greater than it is. The song starts with the bombastic orchestra but throughout the songs, the strings pop in and out. Notably on the second verse you really just have piano and vocals to sort of capitalize on the minimalism of daily life. And that refrain of “What is happening to me” speaks volumes from the delivery to the way the instruments accompany it. SMOOTH TRANSITION INTO
Grapes Of Wrath: Now knowing that Rivers is tired of the monotony of his life it makes perfect sense that he would like to take a route of escapism. In this case, that’s through listening to audiobooks. You think he cares? He just don’t care.
Numbers: The heaviest hitter on this album for me. Starting off with really somber strings as Rivers sings about being too short for the team and having an IQ too low for poetry. An obvious knock at his critics that as recently as last week when my favorite songs came out, shot at Rivers for rhyming “bad, sad and mad”. As this line is read our man Pat comes in clutch with the drums to give the song some more drive that is really fitting. After the refrain of “numbers are out to get you”, we are greeted to an amazing soaring chorus reflecting the pain of these criticisms but countering them by seeking solace in others and I think that’s the beautiful message of this song. In the end, the critics are just numbers in a machine and they can’t do anything to come between real feelings between real people.
Playing My Piano: Once again returning to the idea of escapism but this time through music. It’s hard to tell if this is a romanticizing of getting lost playing music for days or a criticism of himself for wishing he could spend more time with his family. Honestly, I don’t see why it can’t be both. It’s a great thing to lose yourself in what you love but you can’t lose sight of the other things that are important in your life. However, this song does a great job of showing what that journey of playing music is really like. It starts off with slow, really heartfelt melodic lines but shifts into a more forward and driving direction as the chorus kicks in and the lyrics reflect just how much he’s getting into playing. “Pounding out the bass singing out the tune, never see the sun like I’m living in my room” incredibly relatable lines for anyone who’s gotten lost in music. The second verse is more of a reflection of once you’re already in that groove as opposed to the start of your sessions.
Mirror Image: This one is a pretty straightforward love song but I think placing it after Playing My Piano makes a ton of sense especially with my theory of that song being a criticism of himself. That’s not even taking into consideration the last few seconds of THIS song where Rivers says something to the extent of being shut out of heaven. That’s a pretty heavy statement to make just once for a few seconds on this album and I honestly don’t want to speculate too much as to why he’d say this but it’s interesting nonetheless.
Screens: The opening piano and strings are instantly catchy and help get the ball rolling for this track. I do like what they were trying to do lyrically on this track but I don’t think it lands as much as the other tracks do. Rivers takes more of “my mate is going through this thing” when actually he’s talking about himself and really everyone I guess. I just don’t think the idea of losing yourself to your phone is shown as great as it is on the rest of the album and this track is especially over before you know it. I like it but it doesn’t make as much of an impact as it could’ve with some more length and personal lyrics.
Bird With A Broken Wing: Along the lines of Eulogy For A Rock Band, we’re taken on a retrospective journey through the musical career of Weezer. I believe the broken wing referring the multiple critical failures the band has had behind them. The cat also is a reference to those same critics who put them down. Through all these experiences though, Rivers hasn’t lost his drive to sing what he has for the world, and I’m so grateful for that. The world is a better place because of his drive to create music for us. I think this song also would’ve been stunning as a closer but I don’t mind that they chose a different one.
Dead Roses: I honestly don’t know what to say about this one. It’s a little more abstract lyrically than the other songs or maybe I’m just stupid. I’ve got some ideas about the lyrics but it’s all very speculative. I do really like the line “beat you until you beg to live” but I’m not confident enough about its meaning to say anything other than, it’s a good track but it could’ve been longer.
Everything Happens For a Reason: I don’t know why this had to be its own song especially since it leads straight into here comes the rain but hey…. Everything happens for a reason.
Here Comes The Rain: A really happy go lucky song about how even after a bad day, good things will come your way. Very fun but once again, not as heavy-hitting as other tracks.
La Brea Tar Pits: A really bitter-sweet way to end the album. Sonically it’s got a resolute and accomplished sound to it but the lyrics reflect a recurring fear of fading into obscurity. This is shown the best at the chorus as the lyrics describe himself sinking to his death and desperately asking for help, yet the strings sound as if there’s nothing to be scared of and that everything will be alright in the end (where have I heard that before) As he continues to sink though we return to the idea of getting help from others. Asking to be thrown a rope as he’s sinking and how the skills of someone else can help him get farther. Then as the album closes we are left with just the orchestra slowing down and resolving into a beautiful chord.
Conclusion: When this album is acting at its most concise it’s insanely touching. The ideas of taking a step away from your obsessions to spend time with those you love and learning to balance the two is an eternal idea that we need to hear. Sometimes life is boring, sometimes people are difficult, and sometimes you get kicked down, but there’s always something or someone good that will come along. Sometimes it’s the love of your life, and sometimes it’s just a really good book. The flow of this album is also something to commend. Everything feels in its right place and while other tracks shine much brighter than others, that doesn’t make the weaker ones bad at all. Also, orchestra and Weezer were meant to be.
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"Very quirky and playful. Polachek excitedly ruffles around in her toy box of production tricks. Those whistles, chirps and finger snaps gilding the beat of “Bunny is a Rider” dropping right into the flamenco strings of “Sunset”, then the echoing quartz crystal pops of “Crude Drawing of An Angel”,...""Very quirky and playful. Polachek excitedly ruffles around in her toy box of production tricks. Those whistles, chirps and finger snaps gilding the beat of “Bunny is a Rider” dropping right into the flamenco strings of “Sunset”, then the echoing quartz crystal pops of “Crude Drawing of An Angel”, then the dazzling synth sparks of “I Believe”. It’s like after every track she does a little spin in the air and switches costume. It is a boisterous plunge of a record."[+]Reply
"Love this strategy of having 12 songs that are all good and interesting, performances that are tight and dynamic, and production that's organic and warm and punchy. More artists should try this because it might make their music good."Reply
"I'm still listening to this, so I'll update this review in a little while, but Weyes Blood has been slowly working on her craft over the years and is working herself into the generational pantheon. A contemporary artist making "classic" songs is rare, so I'm sure the anti-pop elite of this site s...""I'm still listening to this, so I'll update this review in a little while, but Weyes Blood has been slowly working on her craft over the years and is working herself into the generational pantheon.
A contemporary artist making "classic" songs is rare, so I'm sure the anti-pop elite of this site should have no problem shipping this, and for good reason: she delivered again."[+]Reply
Arthurknight | Helpful? (Log in to vote) | +6 votes (6 helpful | 0 unhelpful)
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Mercury | Helpful? (Log in to vote) | +7 votes (7 helpful | 0 unhelpful)
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ExTeaSea | Helpful? (Log in to vote) | +10 votes (10 helpful | 0 unhelpful)
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cestuneblague | Helpful? (Log in to vote) | +3 votes (5 helpful | 2 unhelpful)
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Keatownrodriguez | Helpful? (Log in to vote) | +6 votes (6 helpful | 0 unhelpful)
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viquel | Helpful? (Log in to vote) | +5 votes (5 helpful | 0 unhelpful)
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HoldenM | Helpful? (Log in to vote) | +3 votes (6 helpful | 3 unhelpful)
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corenfro | Helpful? (Log in to vote) | +6 votes (6 helpful | 0 unhelpful)
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