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taste-in-music · 3 years

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taste-in-music’s Year End Wrap-Up

Hello everybody! We’ve finally reached the end of 2020. While I’m glad to leave this miserable year behind, one of things that undeniably got me through it was the vast amount of awesome music we got. In past years I’ve made favorite album and EP lists, but this time around I’m going to tackle them all in one go, giving reviews on the projects that had some significances to me over the course of the year. I’m going to make a post for my favorite songs too, so keep an eye out for that in coming days. Now, without further ado, let’s get started, shall we?

folklore by Taylor Swift: This was an incredible year of growth for Taylor Swift. As much as I’ve enjoyed her past music, the way she constantly felt the need to address what people thought of her always irked me, (though after watching her documentary, I do understand why she did it.) It wasn’t Taylor Swift the public persona that was most interesting, I thought. It was Taylor Swift the artist, the songwriter, the storyteller. What I wanted was an album focused on that. This year, I got one, (well... more on that later,) and it’s my favorite project she’s ever done. The tales Swift spins on folklore span across love triangles, heiresses, and battlefields, and she nails each and every one. While the chilly indie-folk influence from the likes of Aaron Dessner and Justin Vernon is prominent, Swift’s warmth and charisma always cuts through the fog like a beam of sunlight. So yeah, this is my undeniable album of the year.

Fetch The Bolt Cutters by Fiona Apple: I only started listening to Fiona Apple last year and had thoroughly enjoyed her music, but this album cemented her as one of my favorite songwriters and performers of all time. Everything about Fetch The Bolt Cutters is so idiosyncratic yet fits together in just the right way, like watching an entire house being dropped from the sky and falling perfectly into place. It is a testament to the creative process, emotional honesty, and breaking free from all the cages you may find yourself in, whether they be societal, personal, or those of your own making. And in a year that was so isolating, it felt like Apple was whispering everything I needed to hear right into my ear, just when I needed it. In short, my boltcutters have been motherfucking fetched.

Punisher by Phoebe Bridgers: When Punisher was announced, I had no clue how Phoebe Bridgers would match the quality of Stranger In The Alps. Upon first listen, I wasn’t sure she had. By the fifteenth time I was listening to this album and every lyric was hitting like Cupid’s arrow to the jugular, I knew she’d surpassed it. Punisher presents a sonic scope that both comforts and crushes all at once, like with the upbeat yet mournful horns on “Kyoto” or the cathartic swell on standout “I Know The End.” In my opinion, Bridgers is one of the greatest songwriters of our generation in the making, and I can’t wait to see what the future brings for her. She may know the end, but she’s far from it.

SAWAYAMA by Rina Sawayama: This is the album I see becoming a new shorthand for the true potential of pop excellence, a cult hit that never got its time to shine but is beloved by pop music geeks to the ends of the earth, like EMOTION by Carly Rae Jepsen. SAWAYAMA so effortlessly blends diverse genres and influences like disco, nu metal, and arena rock, and it yet it remains cohesive due to Rina Sawayama’s sheer strength as a performer. She deserves a spot on the pop girlie hierarchy, and one near the top.

Future Nostalgia by Dua Lipa: I really enjoyed Dua Lipa’s debut album, but even I didn’t expect her to come through with such a fully realized, consistent, downright fantastic follow up. Future Nostalgia is a pop album that feels studied, like Lipa did her research of pop’s past as she made it. The result is an album that synthesizes several different sounds under her vision, one that is always trained ahead, and it simply slaps. In a perfect world, nearly every song on this album got spun off into a hit single.

evermore by Taylor Swift: 2020 was already my year of listening to Taylor Swift, (I went through her whole discography, cultivated a favorites playlist, and at the end of the year I was in the top 2% of her yearly Spotify listeners.) evermore was a lovely cherry to top it all off. While folklore enchanted me with its stories, evermore captivated me with its melodies. I haven’t been able to get snippets of this album out. of. my. head. for weeks now. It’s a bit less consistent than it’s older sister, (and likely to live in its shadow,) but there is still so much to love.

I’m Allergic to Dogs! by Remi Wolf: This EP is so much goddamn fun. It’s a blend of many different sounds, indie pop, electronic, maybe hip hop, I think reggae at points? It’s such a colorful, textured, quirky listen bristling with energy and undeniable hooks. “Woo!” conquered my Summer, and months later the bridge of “Photo ID” conquered TikTok. Keep your eye out for Remi Wolf in the coming year, she’s going to make a big splash.

Good At Being Young by Charli Adams: Good At Being Young was the first EP this year that I could not get enough of. It drifts through dreamy indie-pop sounds, with melancholic guitars and cloudy synths, and Adams has a deep vocal timbre that delivers tales of adolescent tribulations with just the right amount of wistfulness. Overall, it builds the perfect soundscape for a late-night drive.

Cape God by Allie X: Allie X has been keeping us FED with content. It seems like only yesterday that Super Sunset came out, and yet her output remains impressively consistent. This album has impressive highs, some lower moments, but the danceability, duets, and enticing darkness under its shiny pop veneer make it a record you won’t want to skip.

La vita nuova by Christine and The Queens: Perhaps the biggest flex of 2020 was Christine and The Queens dropping a fantastic EP and accompanying short film right out of the gate. The grooves on this are infectious, wiry, and air-tight, (the Caroline Polachek feature was another added bonus,) but that doesn’t mean there isn’t plenty of emotional weight too.

Lighter by Donna Missal: This was one of my most anticipated albums of the year, and it’s hard to determine whether it disappointed or not. I think the only thing holding Lighter back is that This Time was such a formative album for me, (my favorite of 2018, to the uninitiated.) In fact, this album flows way better than This Time, more cohesive with its storytelling and more consistent in folk-rock sound. And, of course, Donna Missal’s vocals stun on both the bangers and the ballads.

SURF by BLACKSTARKIDS: There was no record this year that was more instantly likeable than this one. The blend of low-fi indie pop and hip hop makes for a whirlwind of sunny fun and youthful malaise that would make the perfect soundtrack for a road trip to the beach. Standouts include the opening track “SOUNDS LIKE FUN,” the chill “WIGS,” and blissful title track “MUSIC TO SURF TO.”

The Baby by Samia: I’ve had my eye on Samia since “Milk” dropped years ago. Seeing her live sparked my belief that she was an indie darling in the making, and The Baby confirmed that she definitely was. The lyrics on this album mix quiet contemplation with just enough sardonic wit and raw emotion throughout a varied selection of sunny rock bops and gut wrenching ballads. If you enjoyed Punisher, then I can’t recommend this enough.

Season 2 by Nasty Cherry: Nasty Cherry is a group that I will not stop rooting for. Their EP from last year showed their potential for nailing monster hooks, but this sophomore effort shows just how versatile they can be. This EP covers everything from Dylan Brady produced hyperpop to early-2000s reminiscent pop rock to emotional balladry, and they pull it all off flawlessly.

A Little Rhythm and a Wicked Feeling by Magdalena Bay: This album became a fast favorite way late in the year, there is such a sweetness to Magdalena Bay’s music that makes it stick in your brain like a piece of blue raspberry bubblegum. This EP is spacey, catchy, and filled with electronic synthpop mastery, with countless catchy hooks that’ll make you feel like drifting and dancing all at once.

Miss Anthropocene by Grimes: The bubblegum bombast of Art Angels fully redefined my taste in pop years ago, so I was fascinated to see how Grimes would follow it up. On Miss Anthropocene, she leans into darker, more industrial textures, but also anchors it back to Earth with acoustic touches and some of her most introspective lyrics to date. Grimes painted a version of a world on the brink of disaster on this album, a picture that was hypnotically beautiful. And in a year where the word was a certified disaster, that was strangely comforting.

Plastic Hearts by Miley Cyrus: I’ve been wanting Miley to go rock for so goddamn long, Plastic Hearts was bound to make this list by pure validation alone. But what can I say? This breed of glossy 80s rock suits Cyrus’s rougher voice so well! I hope she stays in this lane a bit longer, but as we know, she’s one of pop’s most chameleonic figures. Only time will tell.

Where Does The Devil Hide by Zella Day: I have been patiently awaiting new Zella Day music ever since getting hooked on Kicker back in 2017, so this was one of my most anticipated releases of the year. This EP sounds nothing like Kicker, and I couldn’t be happier. It shows Day leaning even more into her influences from the past, (the 60s/70s vibes are intense with this one,) but also breathing a refreshing new life into them.

SOUL LADY by Yukika: When I imagine the ideal of pop music, what it would sound like in a perfect world, this is what it sounds like. SOUL LADY is full of pristine, glossy production and catchy hooks that feel like they’ve come down from the clouds. I’ll admit that I can have trouble forming a connection with music when I don’t understand the lyrics, (it’s something I’m working on,) but this album cleared that hurdle with ease. If you’re curious about city pop or K-pop this is a great place to start.

Heaven Is Without You by Love You Later: Give me lush pop production and heartbroken lyrics finished off with a heaping helping of nostalgia and I’ll eat it up with a spoon. Love You Later has been feeding my addiction to this genre for years, and this latest helping is particularly sweet.

IN A DREAM by Troye Sivan: Troye Sivan has always supplied the bops, but it was about time that he started experimenting with his sound a little bit more. This EP offers some harder-hitting electronic textures, but also the addictive hooks that’ll keep you coming back for more.

Ungodly Hour by Chloe X Halle: These women are so TALENTED! If there is any word I’d use to describe this album it would be “effortless,” the harmonies, grooves, and chemistry between Chloe and Halle feels so natural and free-flowing. Charisma just rolls off of them in droves, I see full-blown stardom and several Grammys in their future.

Watching You by Robinson: This EP was one of the first on this list to arrive this year, and it still hits months later. Robinson’s confessional lyrics work wonders over the buoyant pop grooves, and “Don’t Say” remains one of the best pop songs of recent years.

Manic by Halsey: I respect Halsey for dipping her toes into a myriad of different genres, (synth pop, rock, hip hop, and acoustic balladry,) but it does make for a jumbled listening experience. Still, I appreciate that this album features some of Halsey’s strongest tracks and writing to date, offering greater experimentation and emotional imtimacy than album’s past.

We Don’t Stop by Aly & AJ: Should this count? It’s more a compilation of their past EP and singles... I don’t care, I’m counting it because there’s some new stuff too. This is an excellent display of Aly & AJ’s pop prowess in recent years, the hooks, vocal chemistry, and shimmery production are undeniable.

Under My Influence by The Aces: The Aces returned in 2020 with a more laid-back, groovier record than their debut, exploring a wider variety of sounds. They’re as magnetic and likeable a group as ever, each member giving it their all, but I think I’ll return to the debut more often.

Strangers/Lovers by Dagny: I’ve been anticipating a longer Dagny project, as she’s been drip-feeding us singles for a while now. This was a lot of fun, with Dagny pairing her upbeat earnestness with stories of romantic tribulation. While the hooks aren’t as memorable as her past offerings, there is still so much to enjoy. Lead single “Come Over” and “Let Me Cry” are my favorites.

DUALITY by Tatiana Hazel: I came across this via recommendation on Tik Tok and it’s a solid pop record! The music is swooning, synthy, and tinged with disco and Latin influence. The record doesn’t waste a second of its runtime, clocking in at less than half an hour and grooving the whole time.

After Hours by The Weeknd: The sonic palette of After Hours is so engaging, a neon-drenched blend of synthwave, electropop, and R&B. I’ve always felt lukewarm on The Weeknd’s musical persona of brooding, villainous party monster, so the strongest moments on this album tend to be when he subverts that in some way. Still, in full, this album is an undeniable force of smash hits, stadium-shaking ballads, and cinematic flair. I can’t wait for his Super Bowl performance.

Petrol Bloom by LAUREL: It’s no secret that this year was chock-full of 80s revival albums (there’s what, five others on this list?) LAUREL wasn’t an artist I was expecting to go in that direction after the brooding folk pop of her debut album, but her deeper timbre works great alongside the synthy soundscapes.

positions by Ariana Grande: I’ve just come to expect that nearly all of Ariana Grande’s albums are going to be growers to me. My first listen to positions was underwhelming, but the songs have grown on me more and more. This album feels like being let in on a giggly, fun slumber party with Grande and her friends. I wouldn’t call this her strongest album by far, and while I tend to prefer when she favors the more powerful parts of her range, (and her enunciations could still use some work,) there is a lot of good material here.

THE ALBUM by BLACKPINK: We may just have to stan. I checked this out after watching their Netflix documentary, and while this breed of cacophonous, in-your-face electropop isn’t something I can listen to all the time, the hooks and charisma are undeniable. It certainly makes me feel like a bad bitch whenever I’m working out.

Kid Krow by Conan Gray: Conan Gray burst onto my radar offering dreamy tracks rich with teen malaise and suburban restlessness, and a good amount of that initial appeal carries over onto this album. Kid Krow has both a larger instrumental scope and more stripped-back moments. In the end, it still feels like Gray is finding his voice as an artist, but he's giving up great bops to jam out to as he does.

Petals For Armor by Hayley Williams: Hayley Williams is one of my favorite vocalists, so seeing her venture out for a solo project was exciting. This album offers a mixed bag of danceable jams, emotive moments that showcase Williams’s powerful voice, and a few skips. But overall it showcases Williams’s strength as a performer as she tackles her past with vulnerability and versatility.

Apart by LÉON: Oh, man. This one was kind of disappointing. For context, LÉON’s self-titled debut was my favorite album of last year. This follow-up is by no means bad, but every song on her first album was instantly memorable. This one, not so much. LÉON’s vocals are beautiful, and there are some stand-out tracks, but I don’t see myself returning to this nearly as much.

Blush by Maya Hawke: Maya Hawke’s Blush was to my 2020 what Tōth’s Practice Magic and Seek Professional Help When Necessary was to my 2019, (and that makes sense, as they’ve collaborated in the past.) This album is so blissful and nonchalant, and Maya Hawke has a gentle, soothing voice that feels wise beyond her years. While the writing isn’t as hard-hitting as, say, the Phoebe Bridgers album, sometimes I just want to listen to something that could rock me off into a dream world. If you like folksy, down-to-earth ballads, you’ve got a solid collection of them right here.

Dedicated Side B by Carly Rae Jepsen: Of course Queen Carly would pull through with B-sides for Dedicated, did we expect anything less? Jepsen’s brand of controlled yet carefree shimmery poptimism drenched in 80s nostalgia that never fails to put me in a good mood. This album has some lusher, more tropical instrumentation than Dedicated proper, but works great alongside it.

Missing Person by Kelsy Karter: To the Plastic Hearts fans out there, your homework now is to give this record a listen. This rock album presents pop hooks, but a lot of reckless rock fun too. Kelsy Karter has so much irresistible swagger and carefree spirit as a performer, speeding through the emotional highs and lows like she’s burning rubber in a cherry red Cadillac.

how i’m feeling now by Charli XCX: I’ll admit, this album was a bit abrasive to me on first listen. But tracks like “anthems” and “forever” made me return, and it’s a huge grower. If you listen closely, you’ll find the sugary-sweet hooks and relatable sentiments nestled deep in the crunchy hyperpop textures, begging to be discovered and eventually loved.

Jaguar by Victoria Monét: If you enjoyed positions, then check out the debut from one of that album’s most prominent co-writers. Jaguar’s concise collection of silky R&B slow-burners show that Victoria Monet’s is a superstar in her own right.

Some great albums I listened to that didn’t come out this year: Blue by Joni Mitchell, BLACKPINK IN YOUR AREA by BLACKPINK, I Need to Start a Garden by Haley Heynderickx, Plastic Beach by Gorillaz, Out in the Storm by Waxahatchee, 7 by Beach House, Dummy by Portishead, Lovers Fevers by Babygirl, and Red by Taylor Swift.

Whether you liked, reblogged, or commented on a post, sent me an ask, or interacted with this blog in any way, thank you so much for all the support throughout the year! I can’t express how much I appreciate it.

What were your favorite albums from this year? Did I miss anything? Send me an ask and let me know. I’ll tell you my thoughts, or put it on my to-listen-to list if I haven’t heard it.

Here’s to 2021! May it clear the extremely low bar set by this year.

#album #EP #album of the year #album recommendation #taste in music 2020 faves #taste in music

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