Listed below are the best albums of the 2020s (so far) as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 7 hours ago).
"(A bit of an odd album. When I hear it, it's as real and tangible as that pond on the desert's horizon. And when the album ends, its as gone as ... well, that damn pond. Anyway, shitty attempts at poetic metaphor aside, this is a strangely gauzy, smoky, ethereal album that flows effortlessly and ...""(A bit of an odd album. When I hear it, it's as real and tangible as that pond on the desert's horizon. And when the album ends, its as gone as ... well, that damn pond. Anyway, shitty attempts at poetic metaphor aside, this is a strangely gauzy, smoky, ethereal album that flows effortlessly and then ends and leaves me feeling like I just had a beautiful dream but can't remember for the life of me what that dream entailed.)
This album is all over the fucking place. In a good way. The mix of dreamy pop soundscapes and experimental and jarring explosions just keeps me on my toes. The melodies and pop parts are pretty sick, the psychedelic bits are also consistently out of this world.
As happens with a lot of these types of surreal noise pop/neo-psychedelic albums, when ever I finish hearing this album I forget almost entirely every aspect of the album. Instead of clear ideas on what I justheard I tend to have a gauzy idea or conception of what the album was and how it flowed and what it was communicating. This is usually a bit of a downer, but in this case its mostly impressive. The way this albums sort of weaves these sounds in and out of each other and bridges disrelated elements with a sort of hazy smoke, the way the melodies are so sweet and bitter in the moment of listening and yet disappear as quickly as they go, its all quite impressive.
There are standout tracks and moments here, but I can't remember which even after 3 listens. The album flows so effortlessly track to track, each time I hear it I'm surprised when it ends, like "Wait, we just started! How can this be?!"
Overall, while this isn't on my Album of the Year shortlist personally, it does do things that no other album I've heard this year does better. "[+]Reply
"Glitch Princess is one of the most varied, creative and well structured pop albums I've heard. The PC music adjacent release, which sees production credits from Danny L Harle, Mura Masa and Yeule herself among others, contains a set of distinct and eerie tracks, with vocals and lyrics from Yeule ...""Glitch Princess is one of the most varied, creative and well structured pop albums I've heard. The PC music adjacent release, which sees production credits from Danny L Harle, Mura Masa and Yeule herself among others, contains a set of distinct and eerie tracks, with vocals and lyrics from Yeule that present and build on downbeat themes as the record progresses. My Name Is Nat Ćmiel is a fantastic opener. With its minimalist sound and direct approach in its lyrics, it sets up the emotional core that the record builds from. I'm amazed it's so low rated on here, the distorted vocals and withdrawn background electronics might have a repetitive feel to them, but they bring to the foreground lines like "I like to eat, but I don't like when it lingers on my body, I like to take up as little space as possible". From here the production gets much bigger, but Yeule's personality and struggle remain at the centre of the music. 'Don't Be So Hard on Your Own Beauty' and 'Bites On My Neck' stand out as the albums highlights. The former is built around an acoustic guitar, helping the track find a strange kind of peace as the vocal delivery sees one line come quickly after another, almost turning into a blur, the latter is one of my favourite tracks of the year, the euphoric feeling as the instrumental builds is phenomenal and they manage to pull it off twice. However, between these big tracks, you get something like 'Fragments', a track whose emptiness and distortion slows the middle of the album. These frequent changes of pace allow the individual tracks to shine for their own qualities without any risk of becoming overpowering or samey in the tracklist. Ending with the repetitive and dissonant 'Mandy' lets the album finish with a driving non-conclusion and is the loud and unsettling opposite of the opener. In a thought provoking and sometimes harsh album it refuses to offer an ending that neatly ties everything together."[+]Reply
"The music on this album is a real jam. Rolling Blackouts Coastal Fever have proven to be rising experts in that classic indie/punk jam rock. Reminds me a lot of Sonic Youth. I have trouble getting into their vocal melodies and lyrics, which has held me back from really loving both this album and ...""The music on this album is a real jam. Rolling Blackouts Coastal Fever have proven to be rising experts in that classic indie/punk jam rock. Reminds me a lot of Sonic Youth. I have trouble getting into their vocal melodies and lyrics, which has held me back from really loving both this album and their former. But the arrangements with their guitar work is excellent and so exciting."[+]Reply
"Listening to the complete electroacoustic work of Iannis Xenakis three times in its entirety has been a long journey through the cold, dark and threatening wasteland of hellish sonic regions, where all hope of encountering life is vain. The most impressive pieces are certainly Bohor, La légende d...""Listening to the complete electroacoustic work of Iannis Xenakis three times in its entirety has been a long journey through the cold, dark and threatening wasteland of hellish sonic regions, where all hope of encountering life is vain. The most impressive pieces are certainly Bohor, La légende d'Eer and Gendy 3. But above all, Persepolis, which evokes for me the inexorable approach of universal cosmic nothingness whose pitiless mechanics suck up, crush and disintegrate all the subtle forms of consciousness in a terrible agony.
The experience of this listening will have given me a better understanding of electroacoustics, a genre relatively unknown to me, and of the musical and sound evolution of the 20th century."[+]Reply
"(I am far faaaar from a fan or connoisseur of Hip Hop and especially not UK Hip Hop, but I really really enjoyed this brisk album.) I have to say I loved the production here and I thought it was consistently vibrant and there was always something cool happening to keep my ears engaged. The rappin...""(I am far faaaar from a fan or connoisseur of Hip Hop and especially not UK Hip Hop, but I really really enjoyed this brisk album.)
I have to say I loved the production here and I thought it was consistently vibrant and there was always something cool happening to keep my ears engaged. The rapping was solid as well, and while I don't pay attention to recent events with artists at all, I could hear that he was delicately working out his shortcomings and mistakes and thoughts on recent events in his career. Again, I don't give a fuck about that aspect, but as far as the lyrics and themes dealing with it he seemed to do well.
This is a genre that I have so little insight or background on I tend to just grade or rate based off my oblivious enjoyment. That is kinda how I initially look at all music, but with a genre I am a bit more familiar with I can connect the dots and critique things based off other listening experiences. Not so with UK Hip Hop. So, all I can say is I really liked this, I liked that all the songs are good and pretty rapid fire, I like the shortness of the album, the production and the flow. Really solid stuff."[+]Reply
"Now 26 albums deep, King Gizz intentionally returns to the boogie stylings of 2019's Fishing for Fishies to mine for more golden nuggets. Don't mistake this repetitious decision for an out-of-ideas misstep; this collection of fresh tunes flows as well as anything else in their catalog and is a we...""Now 26 albums deep, King Gizz intentionally returns to the boogie stylings of 2019's Fishing for Fishies to mine for more golden nuggets. Don't mistake this repetitious decision for an out-of-ideas misstep; this collection of fresh tunes flows as well as anything else in their catalog and is a welcome return to top form after 2023's good-but-uneven release calendar. If anything is to be criticized here, it's actually the production itself which is so raw that there's actually some hiss on the high end, evoking a feeling of throwing a tape in the deck and hitting the road with your buddies...On second thought, maybe that's an intentional decision, too. It's a damn great party record.
The weakest section of the album is actually probably the first three songs; the run of Field of Vision through Le Risque is as good as anything in Gizz's massive repertoire, and the album closes remarkably strongly as well. This is not one to be missed. "[+]Reply