HINDSIGHT'S 2020: The Year's Best In Music

A rapper revives pop-punk, a band's frontwoman takes root in solo ground, unnamed musicians group together to fight racial injustice, and a pop star plays with indie. 2020 is a year worth forgetting for many reasons, but to our eardrums, it may be one of the most memorable.

An average countdown list will save it's number 1 slot for last. Hence the term, countdown. However, seeing as 2020 was anything but average, doing things differently seems appropriate. How different? What about beginning this list with the first place category: Best Album. Now, don't go running away. I'm not done shocking you yet. To further the unconventionality of this, what if I tell you my top spot is shared by two artists (*gasp*). Now you really want to run, ay? Please stay though. The truth is the only really "shocked" one here was myself as to how satiated I was with great music all year long. While many industries and areas of life were forced into a drought during the pandemic, the well of music didn't only not dry up, but was overflowing with new and engaging projects. Music has saved us many times before, but this year was evidently special. I figured why not begin this list with what inspired me to compile it in the first place.

So, without further ado, the TOP SPOT TIE goes to TICKETS TO MY DOWNFALL, Machine Gun Kelly & PETALS FOR ARMOR, Hayley Williams. Their records have absolutely nothing to do with one another except in the way that I could not stop spinning either of them. Check out why, and then stick around to feast your ears on some more of 2020's best and most interesting offerings.

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TICKETS TO MY DOWNFALL, MACHINE GUN KELLY

MGK, or given name, Colson Baker, sold some tickets to go see his downfall. Interestingly enough, the view is not him doing any sort of falling. Instead, he's climbing charts, earning number 1 spots, and dating Megan Fox. So how exactly does a rapper make the best rock album of the year? While that recipe is not posted online anywhere, the secret ingredient here is a genuine love for the genre. (And okay, maybe being taken under the wing of pop-punk's long-serving authority, Travis Barker, also helped). While the rap world poked a little fun at Kells' decision to go guitar-driven, the guy has been dabbling in rock for a good part of his career. When he hit a low-point in 2020, Baker approached Barker with intentions to get kids excited about playing instruments again. Together, they set out to do that, and, in turn created a new era of pop-punk. The album was spearheaded by first single, Bloody Valentine, a power chord jam with a monster hook and simple riff that even the most musically-un-inclined could master. A time-machine back to emo days, skateboarding and mosh pits, the song is punk perfection. The whole work is a new breath for the genre while also rendering the listener nostalgic. Chorus of Forget Me Too is absolutely huge and could easily be at home on A Day To Remeber's Homesick record. Interlude Banyan Tree is equipped with whine-like calls about a girl à la Blink-182. Bonus track, Hangover Cure, makes reference to The Black Parade, and is high up on the list of great emo-love songs. As for Play This When I'm Gone, the song Kells wrote for his daughter, prepare to feel. A lot. Having the balls to put rap on the backburner paid off for Baker in front-to-back infectious bangers. Tickets not only holds its own in the pop-punk space; it rivals almost anything veterans of the scene have put out in the last decade. If that sounds like a diss, it's not. It's a celebration from another guy with a genuine love for the genre.

Check Out: Forget Me Too, Bloody Valentine, Title Track, Nothing Inside, Hangover Cure

PETALS FOR ARMOR, HAYLEY WILLIAMS

She swore she’d never make a solo record, and we can thank her for dishonouring that. You know her as the powerhouse vocalist of the band, Paramore, and no, they are not breaking up, (she'll be the first to tell you). However, when intense unresolved personal turmoil took over her mental health, she needed to address it. Pushing herself out of her comfort zone, she accepted her need to be creating art even though her band was not ready for a new album cycle. Now, here we are discussing the ultimate success that is Petals For Armor, Hayley Williams' solo album. Utilizing a meticulous EP release strategy that began in January, Petals was one of the most captivating records of 2020 visually, sonically, and lyrically. Simmer, the breathing and brooding introduction to the project sounds and looks nothing like anything in Paramore's catalogue. It's subject deals directly with rage, but it's pulse ruminates right below boiling point. Capturing what internal anger sounds like, the alt-indie track never bubbles over. No outbursting yells, beaten drums, or distorted guitars- Just calm. simmering. rage. A "quiet thing" as Williams sings, "just lying in wait". Followup single, Leave It Alone, is an introspection about loss. Eerie string arrangements unsettle the track and Williams shares her fear of her loved ones passing. While both tracks are dark in palate, they are nowhere indicative of the rest of the album. An emotional and sonic journey from wrath and pain to calm and clarity, the record contains three sections that sound nothing like one another. Williams tried a lot here, and the genre experimentation proved to be a testament to her versatility as an artist. From the '80s pop of Pure Love, to the R&B hued Why We Ever, to the jazz-infused Taken, to the electro-alt of Creepin', to the atmospheric conclusion of Crystal Clear, the album could have been a disjointed mess. Instead, Williams excels in all her explorations and is the glue that bonds them together. Even rave-ready Sugar On The Rim, is not only something that we never imagined her dabbling in, but a star moment on the record. To ace all of these ideas, our heroine surrounded herself with caliber musicians that, to say the least, are a pleasure to hear throughout the project. After over 15 years of success with Paramore, stepping on solo territory must have been daunting for Williams; however, doing so allowed for the blossoming of some of the best music of her career. Wrap yourself in Petals For Armor if you haven't already. Thank Ms. Williams later.

Check Out: Simmer, Leave It Alone, Why We Ever, Sugar On The Rim, Creepin'

Best In Social Message: UNITITLED (BLACK IS), SAULT

Serving a blend of soul, funk, R&B, and Afrobeat complemented with gospel chants, '70s tints, and spoken-word, Untitled (Black Is) boasts compelling sounds and confronts important issues. The tracks are social comments on racism and oppression, but the record's overall tone comes out empowering and inspiring.

Check Out: Sorry Ain't Enough, Hold Me, Bow, Hard Life, Miracles

Best In Atmospheric: THIRTEEN, LOUIS PRINCE

Airy, experimental, rich, and drawing from jazz, Thirteen takes us on a breezy stroll with interesting turns. The record's contradictions are a treat - calm and manic, smooth and textured, simple and obscure. These sounds would have been coupled nicely with a sit by the lake and some pals this summer. Until post-pandemic, this album is a unique and uplifting backdrop to just about any activity.

Check out: Rive, Afterward, The Number Thirteen, Afternoon

Best From Recently Discovered Artist: PUNISHER, PHOEBE BRIDGERS

The album art pictures Bridges dressed as a skeleton, stargazing. Whether intentional or not, the contrast is a nice accompaniment to the music: Charming obscurity and candid thoughts atop an impressive backdrop. At times, Bridgers is so plain-spoken that you feel as if you were privy to a dialogue between her and a best friend. "Honest" simply doesn't cut it as a descriptive word here; many songwriters are honest. Bridgers is unrehearsed. One minute reminiscing about a tongue down her throat and the next, dissing Eric Clapton's saddest song all over the gentle acoustics of Moon Song. Although released in the summer, Punisher's listening experience is enhanced when enjoying it in the autumn, and not only because of Bridgers' choice of wardrobe. Standout track Halloween contains a wonderful lyric that makes you wonder how it hasn't been written before, ("baby, it's halloween and we can be anything"), and male back vocals haunt Garden Song in the best way. If you also want strings that will soar your mind to existentialist thoughts, wish hard on Chinese Satellite.

Check Out: Chinese Satellite, Halloween, Punisher, Graceland Too, Garden Song

Best In Rap: MUSIC TO BE MURDERED BY & MTBMB (SIDE B), EMINEM

This veteran (or God) is showing no signs of slowing down. In January, he gave us an

Alfred Hitchcock themed release that was dark in palette and rapid in fire. (Godzilla cannot be contended with). A week before Christmas to conclude 2020, he surprised us with SIDE B of the project which slays just as hard (Dr. Dre's Discombobulated is a blast from the past). Granted, both sides do have some filler, but that's the case with even his most loved records. He may revisit some topics frequently, but the criticism that the guy has nothing left to say?... Not quite. He's got lots. Most controversial track of both releases, Darkness, takes mass shootings head on by writing from from the perspective of the shooter. Listeners got all up in arms about this, and at surface level, it's easy to assume Em was just going down shock-value lane. What those more sensitive souls probably don't realize is that Marshall is just as fed-up with violent catastrophes as they are. He just has a bit of a different way of showing it. Instead of asking for thoughts and prayers, he hopes to shock you enough to render change. The video for Darkness concludes with a notice encouraging viewers to vote and, in turn, alter gun laws in the United States. Critics enjoy painting Em as the monster, but controversy just comes with the territory of his record cycles. If you hate rap, and you hate Eminem, don't listen to this. Mr. Mathers will tell you himself: "This album was not made for the squeamish. If you are easily offended or unnerved at the screams of bloody murder, this may not be the collection for you. Certain sections have been designed to shock the conscience, which may cause positive action. [...] Murder in this instance isn't always literal, nor pleasant. These bars are only meant for the sharpest knives in the drawer." In other words, proceed with caution.

Check out: In Too Deep, Lock It Up, Godzilla, Book Of Rhymes, Discombobulated, Gnat, Killer

Best In Much-Needed Good Vibes: CHROMATICA, LADY GAGA

Enter the electropop world of Chromatica. One thing is certain about it's population: They want to DANCE. And in these interesting times, it's hard to object to such an uplifting proposition. A consistent work that is equally singalong-worthy as it is dancefloor-ready, Gaga's 6th record transports us to easier times in sweaty clubs and sunny pool parties. Intrigued by the 3 orchestral interludes that section out the album, this was the first Gaga record I listened to front to back. Released at the end of May, Chromatica's timing was a reprieve of good energy that was lacking during the pandemic's first wave. Also the soundtrack to my buddy's (socially distanced) birthday in June, is was spun to exhaustion that day, and probably also would have been at all the parties we wished we were having.

Check out: Fun Tonight, Rain On Me, Babylon, and the wonderful production of Chromatica II transitioning to 911.

HONORABLE MENTIONS

SOUTHSIDE, SAM HUNT

Keeping the genre-bending take on country consistent with his first full-length release, Hunt doesn't reinvent anything here, but more draws on what he does well: Catchy smooth outback hits laced with hip-hop and R&B seasoning. In other words, banjos and fiddles can continue to share space with spoken-word verses in Hunt's world. Also, 2017's memorable single, Body Like A Backroad, calls this record home.

Check out: Drinkin' Too Much, Kinfolks, Breaking Up Was Easy In The 90s, Downtown's Dead

WEIRD!, YUNGBLUD

A young English gender-fluid lad from Doncaster, Yungblud, out the gate is a natural role model for LGBTQ youth and just about anyone feeling outcasted. The self-identified pansexual's mantra to fans is to be themselves. On Weird!, he is precisely, and unapologetically, doing just that. Even the record's cover art is about making peace with all versions of who we are (7 personalities of Yungblud are depicted). As for the music? Put on Strawberry Lipstick for British punk rock at its best; passion pours into the verses and choruses combust with unwavering enthusiasm. While the album contains a few tracks more difficult to get into, the message is loud and clear: Be yourself, loud, proud, and if you're in Yungblud's army, you're never alone. Self-love comes first, and rock & roll is always there for you. Besides, everyone knows that there's nothing more punk rock than not giving a f*ck about what anyone thinks. "Welcome to the Freak Show".

Check out: Strawberry Lipstick, The Freak Show, God Save Me, But Don't Drown Me Out, It's Quiet In Beverly Hills

FOLKLORE & EVERMORE, TAYLOR SWIFT

Taylor Swift has always written from the heart. That formula is unchanged here except for one critical detail: Instead of drawing narratives from her own experiences directly, she developed characters and wrote from their viewpoints. Evermore, the followup work to Folklore, stays within the same theme as it's older sister. Neither is a better record; instead, both are enhanced by having each other. The albums are warm, cozy, indie-folk in tone with Western hints. Their triumphs span beyond comforting quarantine tracks though. Complementary storytelling weaved into both records has positioned Swift into a new league of songwriter. Ivy holds the project's prettiest chorus and This Is Me Trying contains a second verse I have not stopped revisiting since release.

Check out: Ivy,This Is Me Trying, Exile, The 1, Peace

PLASTIC HEARTS, MILEY CYRUS

The most unexpected artist to find in my Recently Played, let alone in a year's wrap-up article, is Miley Cyrus. All outlandish antics and B-rated pop tracks aside, I just was never much a fan of her vocals. While Plastic Hearts contains some filler, one can't help but recognize that Miley seems to be in her element on planet rock&roll. Although my affinity towards her voice has not taken a complete turnaround, the '80s synth pop and retro-punk backdrop of the album is a great theme, and brings out the best of her rasp. Kicking it with Billy Idol and Joan Jett doesn't hurt the project either. The post-chorus of Night Crawling is infectious, and the soft strums of High are ready for a filled venue to chant over them. Well done, Ms. Cyrus. Welcome to the roster of artists that have changed my mind.

Check out: Night Crawling, High, Bad Karma, Gimme What I Want

COLOR THEORY, SOCCER MOMMY

I saw Sophie Allison open for Paramore on tour in 2018, and her growth is evident on her sophomore album. A nostalgic nod to '90s and early-2000s pop songs, Color Theory is an unpolished production, and that's part of it's charm. The record's raw sound may transport a listener back to simpler times of cassette tapes and after school episodes of Boy Meets World, but it's lyrics are heavier. Illness and depression are some of the topics that Allison tackled. Color Theory keeps an even pace throughout and is melodically unvarying. The lack of sonic peaks and valleys can feel repetitive, but sometimes, repetition soothes the soul.

Check Out: Circle The Drain, Bloodstream, Stain, Crawling In My Skin, Lucy

SINGLES & EPs:

RECKLESS PARADISE, BILLY TALENT (Single)

Punchy, catchy, and using a formula that works for them, the song is a plea to take action and fuel change: "Your thoughts and prayers can't fix the pain". If 2021 brings a BT album drawing from this track, we'll be lucky.

FOREVER (GARAGE VERSION), MUMFORD & SONS (Single)

A guitar-driven revamp of their already excellent and elegant love tune from their 2018 record, Delta. This take gives a new life to a track that didn't need one, but is nonetheless delighting to hear.

COPYCAT KILLER, PHOEBE BRIDGERS (EP)

Four tracks from Bridgers' full length are stripped to stunning renditions of themselves and rely on arranger Rob Moose's heartfelt strings.

ZAFARI, ZAC FARRO (EP)

A light and lively selection influenced by reggae. This made learning to cook new dishes in quarantine fun.

SELF-SERENADES, HAYLEY WILLIAMS (EP)

Only three songs long, but enough time to get a glimpse of what quarantine sounded like in Williams' home: Raw & beautiful. Find Me Here offered a soothing conclusion to 2020.

HALLOWEEN IN HELL, MACHINE GUN KELLY, TOMMY LEE & VARIOUS ARTISTS

A collection of tunes that originated on the Audio Up podcast episodes throughout the month of October, this was an excellent way to miss and mourn the idea of hosting a Halloween house party. Climb and Empty Souls are standouts.

SPECTRA, COURAGE MY LOVE

This poppy seven song work from the Canadian band is infused with synthesizers and '80s references.

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What were your music highlights of 2020? What were the letdowns?

Thanks for reading, and hope your beginning to 2021 is sonically interesting!