The Line of Best Fit's Best Albums of 2020 Ranked

Dark Hearts has a scattering of stellar moments–and one could even argue that its highpoints are some of Annie’s best to date.

An album that delivers on all fronts, from the ratatat of drill or the swinging hip-hop beats, EDNA explores as much as it uncovers more sides to its voice.

Haim’s statement on Women In Music Pt. III is a confident and emboldened departure from feeling like they have something to prove.

After stripping everything down on her ballad heavy Joanna, pop’s favourite kink, Lady Gaga, has returned to the electro-pop suite with Chromatica, a record no one could have expected even from someone who so full of surprises.

Mordechai offers a rich, meditative escape from the world, something more welcomed than ever in the current climate.

Future Nostalgia is an artist in total control. It’s built on such an addictive carefree spirit that it’s hard not to let loose and go with it.

Whilst not as loud or as brash as their self-titled debut, So When You Gonna… is a record that shows Dream Wife bolder than ever, asking questions and opening doors that few are willing to look at. It asks you what you want and challenges you to go after it.

I Break Horses construct a vivid and spacious cinematic world on Warnings.

With Petals For Armor Williams reclaims her story and starts anew: she is her own saviour.

Made in the wake of 2017’s Glasshouse, an album where she felt encumbered by commercial expectations, Ware answers with twelve fiery cuts which are brighter, salacious and disco to the core.

Chockful of jazz that embraces you in a familiar feeling, Source is akin to an old friend you may not see for a while, but whenever you do, the world feels that little bit brighter and it’s as if no time has passed at all.

This is an album of Swift at her most knowing, pushing away the tabloid fodder that has often surrounded her artistry and magnifying the talent she's been honing her entire life.

After the last notes fade to black, the ghost of Someone New continues to haunt you — it’s an utterly unforgettable record.

JAGUAR is another step forward for a career that’s been toiling and honing. Monét's moment won't be soon before long.

It’s hard not to lavish Owens with praise here, but atop Inner Song’s exceptional track list and an underlying message based around acceptance and healing, Owens uses those experiences to expand into a wider array of exploration and storytelling.

He is a true, wonderful artist that seems – on this evidence – to be on a one-man mission to take country out farther into the wilderness that its ever been.

Visions of Bodies Being Burned, like its predecessor, is macabre and monstrous in all of the ways that your leering curiousity would have it. It’s a taut exploration of hatred and hostility, one which stands shoulder-to-shoulder with its demonic older brother.

We’re New Again is sonically updated for the 21st century, but still firmly rooted in jazz, soul, and blues — musics of protest and radical defiance rather than the disillusionment and solitude the original I’m New Here transmits.

From the sharp synth stabs of “Bit Of Rain” to the distorted reflections of album closer “Awful”, all led by Rodriguez’s fantastic vocals, I’m Your Empress Of is a funky, generous and vibrant record.

Big Conspiracy is an album that certifies J Hus as one of the most influential artists in UK music.

Healing Is A Miracle is a magical album whose depths reveal themselves slowly even if the record itself (at only 34 minutes) disappears in the blink of an eye.

RTJ4 is Killer Mike & El-P’s masterstroke. This is musical evolution for moral, social and political revolution, the group now creating anthems in the pursuit of tolerance, respect and unity.

Despite their relative youth, Ungodly Hour is a timely reminder that Chloe and Halle are built for this moment in R&B music.

Densely built and brightly produced, with gleefully obtrusive guitar swells and vocal yelps sparing for the spotlight; this is very much an unashamedly pop record.

Despite Hadreas’ growth as an artist and as a man, the fifth Perfume Genius album functions in a similar way to the second; a singular and complete photograph of a mindset and time, with a strain of sadness at its core. Hadreas may be uncompromising but stubbornness has its rewards: few albums feel as distinct or as complete as his.

Rough and Rowdy Ways is a magical, threatening and ultimately challenging metaphysical exhibition of a writer’s limitless talent riding roughshod over convention.

On Sumney’s arresting and remarkable new double-album græ, he now challenges the idea of us as standardised, binary beings.

Punisher is that rarest of beasts. A record that grows with each listen, that takes it’s time for its stories to unravel, and that wears its love of literature on its sleeve as comfortably as it does its love of music.

The Baby is an incredibly self-aware pop record that proves Samia’s not a baby anymore.