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: 5 hours ago).
"This is the album I kind of expected this site to rank very highly.... I'm not saying I think it's amazing but if y'all are going insane over FKA Twigs and Fiona Apple then why sleep on this? I ask b/c I legitimately want to know. I'll need more listens to get an accurate read on this."Reply
"I've never been too keen on Four Tet's sound. Overall it was an enjoyable listen but there are brighter spots in the electronic space that are worth exploring."Reply
"Another excellent entry in Adams' recent string of stadium rock and heartland rock. The style suits him well, and adds strength and an edge to the tender lyrics. Recommended."Reply
"(Clean, professional, epic, varied, subtly ambitious, well-realized, piece of Pop ((in so many varied forms)) that never falls short of technical brilliance. Although it rarely blows me away or hits me on a personal and emotional level, its clearly a fucking major musical accomplishment.) This is...""(Clean, professional, epic, varied, subtly ambitious, well-realized, piece of Pop ((in so many varied forms)) that never falls short of technical brilliance. Although it rarely blows me away or hits me on a personal and emotional level, its clearly a fucking major musical accomplishment.)
This is a 73 minute glistening and bright tour-de-force of understated technical brilliance. A big, bold blend of so many sounds and such varied instrumentation that it requires (at least for me) several listens to grasp all the little details and subtle embellishments that lace this album. The elegant and stately way this album blends Psychedelic Pop, Progressive Pop, Neo-psych elements, exotic instrumental breakdowns and almost tropical moments of summery jazz pop, and dream pop and chamber folk and and and... is impressive. Wildly impressive on a technical level. However... despite its daring blends and clear creative brilliance I was, in all 3 listens, never blown away and never did my heart feel completely in it. It felt like I was an outside observer watching a true masterclass of pop without ever feeling that feeling that is what I come to pop for - empathy and that feeling of investment. The whole album is quite dignified and clean and professional. It is not , however, an emotional or even overly joyous experience.
With his 2016 album Those Who Throw Objects at the Crocodiles Will Be Asked to Retrieve Them, the album was similarly technically impressive, with the added bonus of being emotionally moving. The emotion exuded from that great (even, dare I say, modern CLASSIC) album was a boundless joy and vibrant, wide-eyed sense of jazzy exploration. This latest Bruno Pernadas, while being equally or maybe even more, technically accomplished does not ascend to the same heights as his 2016 record of renown. Outside of "Theme Vision", and maybe "Little Season I" I don't hear any transcendent tracks. All the tracks are beautiful and nicely done, only a few stick to my ribs, so to speak.
This may be one of those massive, important albums that I return to and later see is just one of those year-defining breakthroughs of utter excellence. For now I can say its brilliant and I like it, but its not a personal favorite of the year due to a lack of what I will call personality or personal investment."[+]Reply
"Coldplay's business plan nowadays: releasing always even more duller and just radio-friendly pop albums that work for pleasing stadium crowds and every once in a while dropping an album without big promotion that shows enough musicial craftmanship to keep Oldplay from entirely writing the band of...""Coldplay's business plan nowadays: releasing always even more duller and just radio-friendly pop albums that work for pleasing stadium crowds and every once in a while dropping an album without big promotion that shows enough musicial craftmanship to keep Oldplay from entirely writing the band off (eg. Ghost Stories and Everyday Life). This whole "we're not touring for Climate Crisis reasons" thing was just a greenwashing marketing gag to jump on Gretas bandwaggon - it was so clear that they have concert climate crisis figured out just in time for an album that requires stadium touring (the real reason for not touring was that Everyday Life musically woulnd't have worked in stadiums). So yeah, this album is as dull as expected. Colortura is the only decent to good song on here. And what's with all the fillers??? "[+]Reply
"Dec20. I just love the sound of these guys. The bridge between Nirvana and 2000s emo, with a good bit of punk thrown in. Not sure how such bleak lyrics and sounds can make me feel so good. They just express things so directly. If wallowing in mysery over 2020 or suffering from some anxiety, then ...""Dec20. I just love the sound of these guys. The bridge between Nirvana and 2000s emo, with a good bit of punk thrown in. Not sure how such bleak lyrics and sounds can make me feel so good. They just express things so directly. If wallowing in mysery over 2020 or suffering from some anxiety, then these guys have you covered.
'Routine Pain' serves as a good summary of what you are going to get here. Endearingly heart-crushing. 'Self-Destruction (As a Sensible Career Choice)', despite its (literally) bleak lyrics has a bounce to it that reminds me of someone like Spraynard. 'The Generation Loss' is the kind of great song The Menzingers are noted for, but also finishes much like a Spraynard song. 'Losers' was an instant favourite. The desperate cries of 'Optimism (As a Radical Life Choice)' wormed its way into my head. I don't feel that down, but I can recall times when I would have loved to have this song playing. Holy shit - the lyrics to 'Losers 2'. Another that just hits all the bad feels in a good way
This is beautiful in its own dark way, but perhaps a little too depressing over the whole album. It certainly is an album for 2020. Still, I dug it. 4/5"[+]Reply
"For me when a beloved artist calls it a day its like a death in the family, and so it goes the great Midnight Oil sign off forever with the excellent ‘Resist’ My love affair with Midnight Oil goes all the way back to 1981 when I “loaned” my sisters cassette tape copy of ‘Place Without a Postcard’...""For me when a beloved artist calls it a day its like a death in the family, and so it goes the great Midnight Oil sign off forever with the excellent ‘Resist’
My love affair with Midnight Oil goes all the way back to 1981 when I “loaned” my sisters cassette tape copy of ‘Place Without a Postcard’ and peaked with their iconic 1987 masterpiece ‘Diesel and Dust’ and equally iconic ‘Blue Sky Mining’ three years later which would close out MO phase one. Admittedly the quality dipped during MO phase two with a couple of duds, then seemingly out of nowhere MO phase three emerged energised, angry and with plenty to say in 2020 with ‘The Makarrata Project’ (my 2020 album of the year cruelly denied ARIA top honours) and afore mentioned ‘Resist’
Lyrically Garrett is back to his on point scathing best here taking a staple to sea-levels (“Rising Seas”), river pollution (“The Barka-Darling River” Australia’s third longest river), rain forest destruction (“Tarkine” / Tarkine rainforest Tasmania Australia ), fossil fuel (“At the Time of Writing” and “To the Ends of the Earth”), destruction of the Great Barrier Reef (“Reef”) and land rights (“Lost At Sea”). This isn’t their best work as some reviews have claimed but its defiantly in their best 7 albums
This album also sits as a tribute to band member since 1987 Bones Hillman who sadly passed away just prior to its release and whom receives album credits here for bass and vocals
“Who left the bag of idiots open?”
“Who drank the bottle of bad ideas?”
“Who drew the last drop from bottom”
From The Barka-Darling River
Peter Garrett misses no one on the way out "[+]Reply
"In before this record get torn to shreds by this site. People are acting like it's Solar Power 2.0. It's not. It sounds a lot like you'd expect from Kevin Parker and Danny Harle although I'd say it sounds a lot closer to "Dua Lipa on a Tame Impala track" roughly the slow rush era, than it does an...""In before this record get torn to shreds by this site. People are acting like it's Solar Power 2.0. It's not. It sounds a lot like you'd expect from Kevin Parker and Danny Harle although I'd say it sounds a lot closer to "Dua Lipa on a Tame Impala track" roughly the slow rush era, than it does anything to do with any of the recent Caroline Polachek records.
It was not as good as it could have been and not as bad as everyone is making it out to be. It's decent, and more importantly, it's palatable and short. It's better than TTPD just by virtue of I don't want to listen to 2 hours of evermore b-sides.
Hopefully Dua Lipa is not done yet as she basically didn't take any risks on this. It's not awful but it's not going to push forward the boundaries of synthpop."[+]Reply