The 10 Best Albums of 2020
Before the world waves goodbye to this hellish year, the Afterglow Editorial Staff is revisiting the best albums 2020 had to offer.
Written by Afterglow Editorial Staff
Illustrated by Mark Yoder
The pandemic tried to kill the music industry, but several artists made the most out of the chaos in 2020. Check out the albums that helped redeem this year and make it a bit more bearable.
10. Heaven to a Tortured Mind - Yves Tumor
Image courtesy of Warp Records
Equal parts sultry hallucination and dystopian nightmare, Yves Tumor’s third album captures their descent into the uncontrollable grasp of toxic love. Opener “Gospel for a New Century” lights the dumpster fire of devotion with searing, triumphant saxophones, cavernous basslines, and Tumor’s brash drawl. From lowly shrilling synths to wailing guitar riffs, “Kerosene” is the ultimate seduction, and Tumor steps off the deep end. “Romanticist” overloads with desperate obsession and combusts into the erratic “Dream Palette.” In the latter, Tumor drones, “Our hearts are in danger” to which Julia Cumming’s gravel-y howl responds: “Tell me is this confidential love?” The suite packs in literal fireworks, discordant percussion, and atmospheric synths, encompassing love’s staggering ability to bend perception. While Tumor’s disorientation reflects their experimental sonic endeavors, they’re grounded by smooth, psych-rock inclinations — embodying the contradictions of an unhealthy relationship. At the convergence of art rock, soul, and psychedelia, Heaven to a Tortured Mind is a brain-melting welcome to the hellmouth of love for a year when everything’s on fire. — Laiken Neumann
9. Women in Music Part III - HAIM
Photo courtesy of HAIM Productions Inc.
Just when fans thought HAIM couldn’t get any better, the sisters decided to break all the rules. The result was their most intimate and experimental project to date: Women in Music Part III. In an interview with Apple Music, lead singer Danielle Haim stated that the group “didn’t care about genre or sticking to any sort of script.” The sisters’ ‘off-book’ approach is heard in the first seconds of the album’s initial track, “Los Angeles.” Succinct saxophone runs lead into a steady drum beat, serving as the group’s most jazzy song to date as they harmonize about their love for L.A. “Up From A Dream” begins with a highly-synthesized yawn, playfully interludes electric guitar riffs, video game-like reverb, beachy ambiance, and warbled vocals, finally crescendoing into the clammer of alarm clocks. “3 AM” ventures into R&B beats with an iconic voicemail which pays homage to the genre: “Hey, uh, what's up? / Just calling to see if you're still up / But straight to voicemail.” The intimate “Hallelujah” borders on gospel, with the sisters’ vocals beautifully overlaying airy guitar strumming; the group explores the melancholy of familial love and loss through sparse lyricism. Closer “Summer Girl” revisits “Los Angeles”’s hometown pride in a more low-key manner, with that same saxophone run sprinkled throughout Danielle’s repetitive “Do-do-do”s. Women in Music Part III’s unpredictable, sporadic nature is what makes the album so enjoyable. The project’s limitless bounds put the Haim sisters’ artistry to the test, and they passed with flying colors. — Samantha Paradiso
8. Circles - Mac Miller
Image courtesy of Warner Records
Posthumous albums have a reputation as commercialized, uninspired projects that have no regard for artists’ creative intent, but Mac Miller’s Circles is a rare gem that does its creator justice. With lyrics and instrumentals that closely follow the Pittsburgh rapper’s artistic vision, the record offers fans an intimate glimpse into his headspace during his final days. The album trades his typical lush R&B production for an acoustic sound to highlight the beauty of his vocals and lyrics. Playing with Miller’s minimalism, each track explores a different sound, like the zany synths in “Complicated” and ballad rock production of “Everybody.” Several songs contrast an upbeat tone with lyrics that highlight Miller’s lifelong struggles with mental health and addiction. Over a simple bassline and vibraphones, the rapper laments his inability to escape the directionlessness of his life in the titular track: “I just end up right at the start of the line / Drawin’ circles.” With its introspective lyrics, the record feels like Miller’s reconciliation with his woes, as he revisits his past relationship with Ariana Grande in “Blue World” and vows to prioritize his mental health in “That’s On Me.” Despite the album’s gloomy tone, closing track “Once a Day” reveals light at the end of the tunnel with the rapper’s final message to his fans: “Don’t keep it all in your head / The only place that you know nobody ever can see.” Circles is a treasure in Miller’s discography that celebrates his life and creative legacy through its personal, albeit heartbreaking, narrative. — C.S. Harper
7. Punisher - Phoebe Bridgers
Image courtesy of Dead Oceans
In Punisher’s search for meaning, Phoebe Bridgers unleashes her youthful wisdom with such a glaring, deadpan recognition of life’s uncertainties that she must have lived it a thousand times over. The L.A. native’s second album constantly nods at human absurdity with specificity and self-awareness, whether it’s through Bridgers’ seemingly fruitless arguments in “Moon Song” (“And we fought about John Lennon / ‘Til I cried”), or her use of the 2003 killing of a fan at Dodgers Stadium as a metaphor for her obligatory devotion to a tired romance in “Halloween.” Bridgers arrives at Punisher with a refined musicality: lush emo folk haunted by whistling synths and orchestral flourishes, with successful sonic detours into banjo-based Americana tale “Graceland Too” and the two-part crescendoing coda, “I Know The End.” A sudden descent into dire yet victorious apocalypse, the latter track boasts Bridgers’ radical acceptance of life and death with a primal scream into the void. Nine months into the global pandemic, her lyrically nonchalant surrender in the midst of sonic explosion embodies our forced settlement into present day’s chaos, growing more relevant each day: “I turned around, there was nothing there / Yeah, I guess the end is here.” Now, more than ever, Bridgers is comfortable in purgatory. — Laiken Neumann
6. Petals for Armor - Hayley Williams
Photo courtesy of Atlantic Records
Hayley Williams is best known as the flamboyant and energetic lead singer of Paramore, but after overcoming personal conflicts regarding her divorce and depression, she introduces a new side of emotional vulnerability in her solo debut, Petals for Armor. From expressing rage in “Simmer” to finding self-actualization in “Crystal Clear,” Williams creates a stunning listening experience through comforting instrumentation and heartening lyrics. While Paramore’s fifth album After Laughter touched upon her internal struggles, she takes it a step further and defines her solo sound with a dismal aesthetic. The album is divided into three unique segments — each represents Williams’ navigation through heartache and immaculate revelation. She starts with exploring dysphoric notions associated with her depression by using layered vocals and restrained melodies and eventually finds her way to inner peace. The songstress takes the opportunity to play around with metaphors, such as through floral imagery representing personal growth in “Roses/Lotus/Violet/Iris” and “Watch Me While I Bloom.” Williams also showcases her daring capability to experiment with new musical styles heard in the synth-heavy track “Sugar on the Rim” and the melancholic “Why We Ever.” Petals for Armor is a beautifully curated album filled with jarring emotions and conquering narratives, serving as another remarkable musical accomplishment for Williams. — Keylee Paz
5. Future Nostalgia - Dua Lipa
Image courtesy of Warner Records
Dua Lipa created one of the purest pop records of 2020 with her second album, Future Nostalgia — but with a project intended for night clubs, group hangs, and disco dancing, 2020 had other plans. Despite the circumstances, Lipa managed to transport us to an alternate dimension through her striking new sound and stunning accompanying visuals, taking inspiration from ‘80s influences and aesthetics. Title track “Future Nostalgia” showcases the artist’s feat for witty lyricism (“My name’s on the tip of your tongue / keep running your mouth,” “I can’t teach a man how to wear his pants”), all while backed by funky synths. Other tracks such as “Don’t Start Now“ and “Levitating” incorporate addictive beats that you can’t help but dance along to, even if it’s just in your bedroom. The album also tells a variety of stories, from tracks like “Boys Will Be Boys,” which addresses the unfair gender expectations that women face, and “Break My Heart,” a groovy descent into the intoxicating anxiety of a new romance. Throughout the album, Lipa encourages women to be independent, express their sexuality, and stand up for themselves. With Future Nostalgia, Lipa avoids a sophomore slump, and instead produces her best piece of work so far. - Gabriela Ruiz
4. Ungodly Hour - Chloe x Halle
Image courtesy of Parkwood Entertainment
Through glimmering ensembles, mystifying visuals, and one eternally shapeshifting tennis court, sisters Chloe and Halle Bailey provided a soothing balm to the searing summer of 2020. The duo’s sophomore effort saw them come of age both physically and sonically, breathing new life into the R&B ballad with meticulously layered production and lush harmonization. But despite their newfound strides into young adulthood, the lasting chemistry between the sisters remains the key element to this powerhouse project, with the duo flexing their producing skills in addition to their established vocal prowess. Ballads like the majestic “Wonder What She Thinks of Me” see impressively complex performances from the duo as they fluctuate between independence and harmonic reliance, while tracks like the stunning “Ungodly Hour” shimmer — almost glow — with total self-assurance. On the album title’s significance, Chloe puts it frankly: “Love me at my worst. Love me when I’m not the best version of myself. … If you want all of me, then you need to come correct.” As the Baileys continue to navigate the glory of being grown, they demonstrate just how good it can feel to fully invest in oneself. — Zoe Judilla
3. The Slow Rush - Tame Impala
Image courtesy of Universal Music Australia
Kevin Parker was our Valentine this year, gifting his fourth studio album to all on Feb. 14, nearly one month before collective chaos ensued in the form of a global pandemic. The album tells prophecies of sorts, as the opening track “One More Year” features the brilliant line, “We’re on a rollercoaster, stuck on its loop-de-loop / ‘Cause what we did one day on a whim / Will slowly become all we do.” Though the multi-instrumentalist kept true to his roots in neo-psychedelia, The Slow Rush turned out to be a surprisingly funky disco album, taking the pop-injection heard on Currents to a whole new level with synths and piano à la Kylie Minogue or Mariah Carey. The transition discouraged some of his longtime fans who were hoping for a call back to Tame Impala’s rock ‘n’ roll beginnings. However, spending a nine-month period in living rooms across the world with ample time to dissect the groovy LP allowed audiophiles to recognize some of the best production work in Parker’s repertoire. “Borderline” enthusiasts felt a new kind of heartbreak when Parker replaced the original version with the album version on all streaming platforms, but all has been forgiven. The melodies throughout the album are profoundly dreamy and really do “Glimmer,” which made energizing standout tracks like “Lost In Yesterday” and “Is It True” the perfect soundtrack to the first few months of quarantine. This year was a whirlwind, but this album will go down as a nu-disco classic. — Micaela Garza
2. Sawayama - Rina Sawayama
Image courtesy of Dirty Hit
A quick listen of British-Japanese singer Rina Sawayama’s debut and self-titled album quickly reveals that she’s exploring different characters — a fake infomercial actress, a drunk middle-aged Japanese man, and a passive participant on a date with a yellow-fevered white man. And the lead track on the album, “Dynasty,” in which she boldly proclaims, “Catch me before I fall” and “The pain in my vein is hereditary” alongside a tantalizing guitar and vocal run, sets those characters onto a backdrop of 2000s rap. Follow-up song “XS” matches “Dynasty”‘s energy, immersing listeners in a glitzy world of capitalism as the song stretches into the hyperpop genre. Sawayama’s impressive vocals channel such distinct emotion throughout the album, no matter how intense the accompanying instruments. “Love Me 4 Me” is the typical feel good anthem, “Bad Friend” is the song played on a hot summer day drive with the windows down, while “Commes des Garçons (Like The Boys)” provides the booming bass needed to get through a long night in the club (whenever those return). Sawayama, above all, finds Sawayama bending genre and sound as she finds her place as one of the most innovative artists at work today. The album’s final song encapsulates Sawayama’s flexible nature into words; it spins a classic Beethoven riff into a message of the disposability of her appearance — like a “Snakeskin.” – Andrew Zhang
1. Fetch the Bolt Cutters - Fiona Apple
Image courtesy of Epic Records
Fiona Apple knew we needed her. As the virus-stricken world shuttered in the spring, the famously reclusive artist emerged from an eight-year hiatus with a record simultaneously chaotic and refined — a curious, immersive offering to brighten our forced free time. A patchwork of off-kilter rhythms and homemade instrumentation, Apple’s fifth album — like all of her projects — deals in trauma. Yet, here, the singer’s brutal honesty comes with a newfound air of triumph. “Shameika said I had potential,” she sings in “Shameika,” a love letter to an elementary school classmate whose in-passing pep-talk stayed with her. Delirious, circular piano halts at the line, Apple’s incredulous pride in the memory on full display. “She got through to me, and I’ll never see her again,” she quavers gratefully (though, months later, the women reunited, gifting the world with a collaborative new song in another 2020 bright spot). Women’s relationships are central to Fetch The Bolt Cutters, an album rooted in righteous anger and solidarity. Among barking dogs and chairs-turned-drums, a chorus of voices decorate Apple’s percussive traverse through the figures who shaped her. Cara Delevingne’s supportive “whatever happens” lightens the freedom-fighting title track; Maude Maggart’s eerie “ooh”s haunt the Kavanaugh-inspired “Newspaper;” Apple’s multi-tracked harmonies overwhelm the deceptively catchy assault story “For Her.” With a resumé as compelling as this one, we can only hope Apple won’t take another eight years for her next release. But then again, Fiona knows what’s best for us. — Carys Anderson
Honorable Mentions: It Is What It Is - Thundercat, Folklore - Taylor Swift, Kick I - Arca, What’s Your Pleasure? - Jessie Ware, Ultra Mono - IDLES
While 2020 will surely not be missed, we can thank these projects for helping us manage the chaos. Here’s hoping the new year will bring happiness and healing to us all.