Likewise is a record full of little, unrelated moments that manage to create a world of their own when put together.
While how i’m feeling now is by no means Charli’s most genre-pushing work, nor an indication of the creative potential she has left, it will be remembered as a quintessential 2020 album.
Scott remains an improbably vivid writer both lyrically and melodically; throughout Silver Tongue, she takes desire and infatuation as her subject and icy synthesizers as her instrument of choice.
Sawayama is an exhilarating reminder of a bygone time when boy bands ruled all and commercialism ruled the boy bands. That era is long gone, but that particular brand of maximalist pop is back, only better now than before.
It Is What It Is isn’t so much a showcase for the bass, though. Instead, it functions more as a modern-day love letter to a certain bandwidth of the R&B spectrum that we would all do well to rediscover.
At just 36 minutes, it’s her shortest record thus far, but it’s simultaneously Marling’s most straightforward, musically simplistic record to date and her most beautiful release yet. Song For Our Daughter is comforting, serving as a warm blanket for us to hide under during this uneasy historical moment.
The record, with all its idiosyncrasies, will be remembered as a definitive piece by one of our era’s most important rock icons—a pop star as transgressive and rule-breaking as the legends of the ’70s and ’80s we take for granted now.
It trades Poem’s jagged punchiness for overflowing empathy, coalescing as a meditative and challenging album.
Coupled with some of the loosest, most pop-minded production of Snaith’s career, Suddenly becomes a glimmer of optimism, immaculate music for communal grief and celebration. In that, it’s the most vital album of his career.
Mitchell, Johnson and Kaufman zeroed in on their goal: to give ancient songs a contemporary twist, and to surround the timeless feelings expressed in those songs with drop-dead gorgeous string and vocal arrangements.
color theory is an astounding feat of lyricism as clever as it is devastating.
The result is a body of work that often feels indispensable. Isbell is a songwriter’s songwriter, but the songs that result are for all of us.
Perhaps the only thing more exciting than græ will be seeing where Moses Sumney goes from here.
Every Bad is the nuanced album that indie rock has needed for years.
His effort to overcome the body-brain gulf is more apparent than ever throughout No Shape follow-up Set My Heart on Fire Immediately, on which Hadreas loses control of not just his body, but his heart. As ever, his voice and music contort and warp in tandem with his anatomy.
Saint Cloud is the sound of Katie Crutchfield at her most conscious, comfortable and controlled.
Apple tackles a similar range of emotions on Fetch the Bolt Cutters that she has dealt with before, but in a new, fiercer way.