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: 51 minutes ago).
"Laura's gotten better with each album, and so it is here, as this may be her strongest set of songs so far, despite lacking the experimentation of Semper Femina or her side project LUMP. It's a lush, melodic set of songs, on which I personally feel that Laura conveys more vulnerability than she e...""Laura's gotten better with each album, and so it is here, as this may be her strongest set of songs so far, despite lacking the experimentation of Semper Femina or her side project LUMP. It's a lush, melodic set of songs, on which I personally feel that Laura conveys more vulnerability than she ever has before - though there is sass and fire to be found too, particularly on the track Strange Girl. Case in point is the closer, For You, a simple acoustic ballad with a gorgeous, understated melody that takes the album out on a floaty cloud of warm feelings. Great album!"[+]Reply
"Just to clarify Will Butler departed AF AFTER this album was completed to actually spend more time with his young family and NOT jumping a sinking ship as some have claimed If indeed this is to be Arcade Fires final album its a fine fine farewell album after 2017’s complete misstep ‘Everything No...""Just to clarify Will Butler departed AF AFTER this album was completed to actually spend more time with his young family and NOT jumping a sinking ship as some have claimed
If indeed this is to be Arcade Fires final album its a fine fine farewell album after 2017’s complete misstep ‘Everything Now’
For mine this ones a contender for 2022 AOTY "[+]Reply
"So much of this years music has been a struggle to listen to, not this one, difficult second album it is not, spilling confidently from one track to another. Sounding distinctly more Alternative than last years Dogrel, a more morose tone is struck. Grian’s vocals are once more an oasis of origina...""So much of this years music has been a struggle to listen to, not this one, difficult second album it is not, spilling confidently from one track to another.
Sounding distinctly more Alternative than last years Dogrel, a more morose tone is struck. Grian’s vocals are once more an oasis of originality in a desert of fakers. Let me put that again, refreshingly original.
A Hero’s Death will see scenesters leave in droves as with most buzz-bands, but it proves Dogrel was no fluke and there’s more in the tank. Fontaines DC are gonna be with us for a while yet, they ain’t going anywhere."[+]Reply
"Circles is everything a posthumous album should be: fulfilling an artist's intended vision and completing the important final touches to a closing chapter when they're spiritually not with us."Reply
"I have been listening to the track Ruined since it dropped and it hasn't left my head since. Looked forward to the album dropping and it did not disappoint. Song for song, Adrianne Lenker makes it sound so easy and hard at the same time. I love her voice and the words she puts together. Her new v...""I have been listening to the track Ruined since it dropped and it hasn't left my head since. Looked forward to the album dropping and it did not disappoint. Song for song, Adrianne Lenker makes it sound so easy and hard at the same time. I love her voice and the words she puts together. Her new version of Vampire Empire completely knocked me over and prefer this version. No drums on album and you don't even notice... until you do, and it doesn't matter... early contender for AOTY."[+]Reply
"There are a ton of really cool ideas and textures here, but boy, for a record that's less than 40 minutes long, it's strangely exhausting. I've listened to it three times by this point, and I still can't say I totally understand what's going on here."Reply
"Diamond Jubilee is an epic of longing, sadness and joy. Across its 32 tracks it manages not only to hold such a high quality track for track, but also establishes and sticks to a clear musical identity. Tracks might vary in tone, instrumentation, vocal delivery or even whether there are instrumen...""Diamond Jubilee is an epic of longing, sadness and joy. Across its 32 tracks it manages not only to hold such a high quality track for track, but also establishes and sticks to a clear musical identity. Tracks might vary in tone, instrumentation, vocal delivery or even whether there are instruments at all, but it all seems to come from its own place, separate to anywhere else. I've always been fascinated by the ability some artists have in creating music that seems to come from a separate world, I'm thinking of artists like Joanna Newsom or the Microphones/Mount Eerie here. The latter stands out as an example of an artist who can significantly change their sound (think of the differences between The Glow Pt 2, Wind's Poem and Dawn) whilst maintaining a clear musical identity, it all evokes a rainy and wild pacific north west with a kind of mythological streak. The same thing happens on Diamond Jubilee. Stone Faces into Gayblevision into Dracula should be jarring in how the tracks vary, instead the common feel of these tracks coming from a gentle but sad place holds them together. A lot is down to the production, nothing's allowed to dominate too much, least of all the vocals, which still manage to be the centrepiece of each track.
I found the record a bit much to take on when it first released, often listening to the first dozen tracks or so and then zoning out a bit more with time. Since the bandcamp release I've got more in the habit of starting at different points and familiarising myself with each of the songs. I really recommend this approach to anyone who's finding the runtime an issue. Some of the real treasures here are the instrumentals and it took me a while to really appreciate them. Olive Drab is bold and energetic, it feeds beautifully into Always Dreaming's harps; Darling of the Diskoteque evokes empty spaces and past times; 24/7 Heaven lives up to its name, it's one of the most beautiful things I've ever heard (it's interesting how this record focusses more on heaven where What's Tonight to Eternity, a record which makes this sound like the top 40, was more concerned with hell).
A lot's been made of the record's sadder elements, which it does evoke powerfully, but I also find it very romantic. There's a sense of love unfulfilled, by separation or otherwise, but the feelings of emotional closeness are still there. Tracks like All I Want is You or Kingdom Come are really good examples of this, they are ostensibly sad songs, but there's a warmth that comes through, either from Pat's vocals or the instrumental sections, which are often just as revealing. I've recently had to move away from my partner for work and there's a sadness to it, but in those moments of longing you have the time to really appreciate someone for who they are and there's a weird kind of joy in that. It's this type of conflicting emotion that Cindy Lee manage to evoke in so many different ways across Diamond Jubilee, a record that seems to take you to another place."[+]Reply
"When considered as a whole, this album is a sprawling trip into an otherworldly stream of consciousness. Sometimes lulling you blissfully, other times urging your body to be moved with emotion. The already established featured artists on this record adapt perfectly to the cross-genre blending, ne...""When considered as a whole, this album is a sprawling trip into an otherworldly stream of consciousness. Sometimes lulling you blissfully, other times urging your body to be moved with emotion.
The already established featured artists on this record adapt perfectly to the cross-genre blending, never being overstepped by production & never fully taking on too much of the spotlight.
Just riding the sonic wave & playing their part within the music."[+]Reply
"Enjoyably listenable pop. Tons of disco and soul influence on the writing and sound. Just a good modern take on that whole genre. Not innovative or avant garde, just really listenable."Reply
"(A near-perfect Indie Folk album that is so much more than just an indie folk album that it feels silly dropping that name/genre/tag on it. It’s still peak-Sufjan - somehow after over 20 years and it’s just a life-affirming, beautiful, escapist work of intense beauty) It’s a good feeling having a...""(A near-perfect Indie Folk album that is so much more than just an indie folk album that it feels silly dropping that name/genre/tag on it. It’s still peak-Sufjan - somehow after over 20 years and it’s just a life-affirming, beautiful, escapist work of intense beauty)
It’s a good feeling having another Sufjan Stevens work to digest and listen to over and over. Also the harmonies and the input from his musical partner here, De Augustine, are excellent. The two of them have made a spiritual, beautiful in every way, gem of an indie folk album. I love it.
My appreciation grows each time I listen. Sufjan has always been an artist that I considered to be a melodic genius. Specifically in his more low key releases, and more acoustic albums, such as Carrie & Lowell and Seven Swans and big chunks of Michigan, he has always had this brilliant way of creating melodies and harmonies that are unabashedly beautiful. His more epic, huge sounding songs and albums are also brilliant, just not quite as much my personal taste/preference.
The only artist I always thought was Sufjan’s equal in being able to create memorable, familiar, warm and engaging melodies seemingly forever and with ease, was Elliott Smith. And this connection is more clear than ever on this album. Specifically on songs like “Murder And Crime” and “Lost in the World”. The former really does sound like peak Smith, it’s incredibly sad and moving. I also find it fascinating that despite having a somewhat similar style melodically (especially on those more Smith-esque tracks) it’s clear that Elliott and Sufjan are VERY different people and artists. There is not the same abyss-dark sadness on these or any Sufjan song. He is more optimistic and whimsical even at his darkest. Just a thought, and a detour.
On the whole, in sort of bland general terms, this album is great. It’s beautiful, it works as a complete album experience, it’s consistent and it’s a beautiful length as well. If you know me you know I have a bias for shorter and more compact albums generally. While I recognize the genius at work with Illinois, Michigan, Age of Adz etc, each of those classic Sufjan albums just - for me - felt too long. This album is a breezy, beautiful escape. It has its emotional highs and lows and its struggles and it’s loves and it’s fantasy themes and all that…. All in 46 or so minutes. Brilliant.
I don’t know what the distribution of contribution was betwixt Sufjan and Angelo. Otherwise, I would make more mention of Angelo’s work. He has a fine voice and creates beautiful harmonies and if this album is any indication, he can stand up alongside a GIANT in modern music quite well. Which is impressive. I plan on learning more about what this collab actually entailed.
The stand tracks are numerous and again the album as a whole works damn well. I actually feel like the second half is stronger ( despite the first half being absolutely stunning with that opener, “Return to Oz” “Olympus” and the brilliant gem of a title track.). Or l, at least the second half is equal and more to my taste vibe-wise. On side 2 “Murder and Crime” and that run of 4 yea is to end the album are just… *chef’s kiss-mixed-with-a-swoon*
In closing, this album is just about the most bracing breathe of fresh air I can imagine. Right as the beautiful Autumn coolness started setting in, I got this life-affirming album, this deep, musically and lyrically rich album, and I will never forget the feeling of listening to it the first couple times while sitting outside in a breezy 60 degree afternoon. It was magical. And the magic hasn’t gone away after 6-7 listens. I think this is an album I will come back to a lot and move higher and higher in my personal rankings and opinions as I do. It’s maybe, close to, my fave Sufjan Album. This and Carrie & Lowell personally are my faves of his - while having love and respect for most of his other projects (that I’ve heard… he has done ALOT). I just have a soft spot for soft, folkie, harmony-rich, almost S&G-style Sufjan. Anyway, What a beautiful, heavenly album. "[+]Reply