2020 was a year to remember. Not a way in which a lot of us will want to. Nevertheless, with the absence of live shows for the majority of the year, we still managed to receive a selection of stellar albums from some incredible artists. A common theme perhaps was the effect in which both lockdowns and the pandemic were shaping the way we listen to those records, and how they were made.

It’s easy to forget that pre-pandemic, the industry was once again in arms about the criminal under-representation of women in festival lineups, and once again we received excuses as to why they haven’t been placed on the bills, let alone headlining. I came to this list through pure appreciation of the music we’ve all listened to this year, but I would like to highlight the incredible work of female artists in the industry, as seen in how they dominate this list, I hope that when festivals resume this too will finally be addressed/reflected in the bookings.

I present to you… our selection of the Top 25 Albums of 2020.

25.

None Of Us Are Getting Out Of This Life Alive_The Streets.jpg — **NONE OF US ARE GETTING OUT OF THIS ALIVE**
THE STREETS

Release Date: 10th July 2020
Label: Island Records

None Of Us Are Getting Out Of This Alive’ is the first collection of new material since The Streets fifth record ‘Computers and Blues’ nine years ago. This is not an album, that is coming at some point in the future soundtracking a Streets film. Labeled a mixtape, or as Skinner calls it an album of rap duets. Whatever you call this collection we’re just thankful Skinner has called an end to his extended hiatus. Returning rejuvenated, reinvigorated, and back on fine form. The result of creating a mixtape means you lack the cohesion of a singular project. The counter is a collection of music featuring some of the hottest artists from multiple scenes and genres. Opening with a surprise collaboration with acclaimed Australian psychedelic behemoths Tame Impala shows off Skinner’s flair for the occasional commercial pop-rap smash. The title track is a punk fuelled testosterone-filled riot of a duet with the ferocious IDLES. ‘I Wish You Loved You As Much As You Love Him’ is a self-worth R&B Garage anthem that evokes Katy B’s early success at the turn of the last decade.

Nostalgia and experimental beat flows and collaborations are constant. Whilst always solid, Skinner occasionally strikes absolute pure gold, notably on ‘You Can’t Afford Me’ with Ms. Banks which features superb, top of the game lyricism from the female rapper whose verse vastly overshadows Skinner, all pasted over a catchy funk-infused beat. Skinners falsetto pops up on ‘I Know Something You Did’, his wit shines bright on ‘Phone Is Always In My Hand’. The tape definitely starts to run out of ideas, with a slight dip in the latter half. Thankfully finding its feet for an inspired conclusion. There’s the nursery rhyme meets coastal boardwalk piano melodies of ‘Falling Down’, its spritely keys heavily juxtaposed by Hak Baker’s dark verses. ‘Conspiracy Theory Freestyle’ which talks drug-infused nutty ideas alongside a soulful hook. All concluding with Garage rave mega thumper ‘Take Me As I Am’ that turns the volume and tempo up for a frenzied finish.

Philip Giouras

24.

Charli_XCX_-_How_I'm_Feeling_Now.png — **HOW I’M FEELING NOW**
CHARLI XCX

Release Date: 15th May 2020
Label: Atlantic Records

After waiting years for 2019’s ‘Charli’, it was surprising, to say the least when Charli announced her fourth record ‘How I’m Feeling Now’. The ambitious project was created entirely in lockdown, a feat in itself, the situation however allowed Charli to experiment, creating an eclectic masterpiece in the process. The album opens with an explosion, ‘pink diamond’ is a mix of Dubstep, garage, and hip-hop slathered over experimental electric beats and bass drops. From that moment on, the album never lets up. Lead single ‘forever’ is euphoric and showcases what Charli does best, intoxicating pop anthems. ‘claws’ on the other hand proves Charli can create a hook out of absolutely anything as glitchy flourishes and vocoder tweaks have the words “I like” spinning through your mind like a tornado.

Charli has a distinct signature, that’s not to say a tag or a beat like a producer but an indescribable feeling she manages to evoke no matter the track. One that can be felt in the sways of ‘party 4 u’, the vocoder glitches of ‘detonate’, or the twinkling climax of ‘enemy’. ‘visions’ concludes the record. A perfect amalgamation of the entire album experience, Charli blends through styles, sounds, and feelings at 100mph. A delicate ballad that slowly unfurls into a monstrous and relentless beast of a dance track, eventually the sound of hard-hitting bass distortion fills your ears like the sound of sirens surrounding an illegal rave. I think it’s important to emphasize the word experience, from unprecedented interaction with fans to all-encompassing personal video diaries, the record became so much more than an album, evolving into what is sure to be personal memories for each listener. I think fans and music critics alike will remember where they were at emotionally, and physically during the lockdowns when they return to this fantastic piece of popcraft time and time again in the future.

Philip Giouras

This piece is an expansion of a blurb I wrote for GIGWISE - view the original here.

23.

Release Date: 2nd October 2020
Label: YG, Interscope

Their first full-length album from a four-year career, The Album is BlackPink’s debutante ball. Previous big hit singles like ‘DDU-DU DDU-DU’ and ‘Kill This Love’ merely feel like a long-winded windup in the light of their most recent release. Just barely a full-length album with eight songs, topping their previous extended plays by an extra three tracks, this short but sweet album nonetheless packs a punch. Full of the hip hop beats that made K-Pop what it is today, The Album is – almost – a ten out of ten. With boss-bitch anthems like ‘How You Like That’ and ‘Pretty Savage’ leading the way, the only real pitfall comes in the shape of Selena Gomez and their collaboration ‘Ice Cream’. Frustratingly catchy, Ice Cream is the closest thing to a skip on the whole album. It feels unfortunate that BlackPink unwittingly stood in the path of Selena Gomez’s attempt to distance herself from her wholesome Disney past. While not quite as garish without the Aguilara-esque music video, the combination of the catchy hook and bizarre allusions to both sex and ice cream leave much to be desired.

The endless innuendos are uncomfortable at best, peaking with Gomez’s suggestion that ‘you should double-dip’. But despite the lyrics and their awkward presentation, the song has charted well, placing it somewhere between ‘Milkshake’ and ‘Never Gonna Give You Up’ in the Meme of Music Hall of Fame. Luckily, the other collaboration on the album ‘Bet You Wanna’ (featuring Cardi B) is almost as much of an earworm and far more enjoyable. Upbeat and energetic with a fantastically simple instrumental, this is the catchy summer song the album needed. The single whose music video accompanied the release of the album ‘Lovesick Girls’ is the highlight of the album. More pop than hip hop, this is the most captivating of all the songs, with the best music video to boot, drawing back on the passion and tone of older BlackPink songs. But regardless of how the songs are ranked, The Album is certainly one that will go down in music history.

Abi Scaife

22.

SONG MACHINE:
SEASON ONE
’STRANGE TIMEZ’
GORILLAZ

Release Date: 23rd October 2020
Label: Warner

It truly feels like Damon Alban is unable to stop working. Hot off the heels of two Gorillaz albums these past few years, comes an unexpected third, which also acts as the opening season in a potential series of records. Like their 2017 comeback album ‘Humanz’, there is a clear focus on major collaborations. I have to admit after listening to the singles I could not see a clear direction and was worried about cohesion, but just one album playthrough later, the Gorillaz magic had me hooked and their vision became crystal clear. Whilst no strangers to a big name collaboration, it’s fair to say this is the groups biggest and boldest record to date, opening with a duet with the ever-elusive The Cure frontman Robert Smith on the politically charged, and aptly titled ‘Strange Timez’, a peculiar blend of disco and hip-hop sounds. Beck collaboration ‘Valley of the Pagans’ is equally peculiar and invigorating but mainly, like the majority of the record… just simple, good-hearted fun. It all feels carefree in the best sense of the word, every featured artist just gives their all to the project.

Like seriously, there’s a track with Sir Elton John discussing his old collectible classic motor which Damon sat in when it was gifted to his father’s friend (as Elton never paid his musicians in cash, rather antiques). The story like the track is bonkers in the best way. Album highlight ‘Desole’ see’s Albarn sing in French, a rarity in his career alongside the glorious tones of Fatouma Diawara on what sounds like the best single Disclosure never released. Like the title suggests, this album is a variety box of treats. Whether it be Kano or Slowthai, Peter Hook or Skepta. There is a moment for everyone to fall in love with this record.

Philip Giouras

21.

Release Date: 8th May 2020
Label: Atlantic

Lead single ‘Simmer’ set the scene for a surprise shift in Hayley William’s sound and direction, it was immediately clear this was not a Paramore record. Inspired by the likes of Radiohead, Williams placed an emphasis on a darker tone, a more measured vocal performance, plus a focus on cryptic and at times unnerving lyrics to craft her concept record. ‘Petals For Armor’ is an artistic triumph and feels like a rebirth in motivation, Williams has dispersed with expectations and simply focused on what makes her feel creatively stimulated. Split into three separate EP’s / chapters, there’s a desire to separate the fluid mixture of sounds on the record. The first chapter feels alternative and ambiguous ‘Leave It Alone’ is an inspired spiritual successor to Massive Attack’s ‘Teardrop’, it sees Williams drawing out her notes, like a whisper, over the sound of restrained and haunting strings. ‘Cinnamon’ and the previously mentioned ‘Simmer’ could easily slip into Thom Yorke’s Suspiria soundtrack due to their unsettling, horror aesthetic, but don’t be mistaken, their deeply compelling and hypnotic.

Considering Williams has spent nearly two decades as the frontwoman of Pop Punk group Paramore it’s not surprising to see those genres seeping through in the second chapter, albeit with a twist. ‘Dead Horse’ intimately tackles Williams’s depression and her divorce over a pop hook and subtly tropical instrumentation and percussion, it’s a revelation. The dark 80s influenced Electro Pop smash ‘Over Yet’ is another highlight and like ‘Dead Horse’ feels like the perfect bridge from Paramore’s excellent previous album ‘After Laughter’ to her new sound. ‘Roses/Lotus/Violet/Iris’ also see’s an impeccable team up with backing vocals provided by boygenius which features 2020s brightest star, Phoebe Bridgers. The third and final chapter is slightly more expansive in sound and style. ‘Sugar On The Rim’ owes a lot to Madonna’s ‘Vogue’ with its vocoder opening, the track a modern reinvention, with its effortlessly funky baseline eventually opening up into techno club percussion. Towards the conclusion of the record, we get the optimistic ‘Watch Me While I Bloom’ which feels like a message to critics and cynics in both her personal and professional life. The message is clear, Williams has found herself again and nothing will stop her now.

Philip Giouras

20.

Release Date: 14th February 2020
Label: Modular

Despite headlining Coachella, and having prominent slots at festivals across the world last year, unexpected forest fires and a possible change in direction meant we were left waiting almost five years for the aptly titled ‘The Slow Rush’. Much anticipated after Tame Impala’s incredible third record ‘Currents’ which catapulted the group, and mastermind Kevin Parker into the mainstream. It could perhaps be tempting with newfound stardom to continue on the path of least resistance, embracing ‘Currents’ success. Parker, however, is never one to stand still, and therefore ‘The Slow Rush’ sounds, unlike anything he’s created before. Deeply rooted in psychedelia, disco, R&B, and even British Acid House, merging countless decades of musical history into the records DNA.

Early single ‘Borderline’ received a remix more fitting with the vibe of the album, a contentious decision but one that seems to have paid off. ‘Posthumous Forgiveness’ is one of the most striking tracks of Parker’s career, incredibly emotive, starting almost in a place of anger, his vocals brimming full of resentment at the inability to reconcile with his late father. The bass and synths compound his agony as he sings “You decided to take all your sorrys to the grave”. Suddenly there’s a stark shift, the song evolves into a beautiful epilogue, Parker transcends grief, as he remises on what could have been. I feel the song requires such a paragraph because it’s the beating heart of what makes this record so spectacular. Alongside this there is ‘Breathe Deeper’ a slice of disco bliss that Chic would have been proud of, the funkadelic smooth hook of ‘Lost In Yesterday’ and the two-step tones of the Daft Punk influenced dance floor siren ‘Is It True’. Whilst it may feel like a more experimental and bold swerve than ‘Currents’, there’s a lot to love with ‘The Slow Rush’ for old fans and new alike.

Philip Giouras

19.

Release Date: 16th October 2020
Label: Book Records

For the past two decades, Matt Berninger has been creating music as the frontman of The National. While he’s released music with side projects before, this is the first time he’s released a full-length project that’s all his own. The past few years have seen The National slowly become a more collaborative project: last year’s incredible I Am Easy To Find in particular, featured a staggering amount of co-vocalists and features. On Serpentine Prison, Berninger strips it all back again. This is an album that was originally intended as a cover record in the vein of one of Berninger’s childhood favourites: Willie Nelson’s Stardust. It was through experimenting with those covers that instead inspired Berninger to craft fresh material. Spurred on by one of his musical heroes and album producer Booker T. Jones, he switched tack to a fully-fledged solo record.

The song that ultimately provoked Berninger and Jones to make the shift is the phenomenal ‘Distant Axis’ a brooding acoustic track that showcases Berninger’s unique vocal tone. Here’s a baritone that consistently hits introspective lows and the occasionally delicate high, such as when he pleads “if only you, if only you” during the track’s chorus, or in the emotionally charged “baby don’t lie to me” wedged into fellow album highlight ‘One More Second’. Title track ‘Serpentine Prison’ closes the record, a self-described epilogue of anxieties, created with unlikely inspiration from Dr. Zeus, in which Berninger embraces a rhythmic pattern, hypnotically drawing you into a bleak yet beautiful conclusion. Berninger has crafted an album that feels distinct from his other projects, but that’s not to say fans of The National won’t feel at home. From the incredible cover art to its nostalgic sound, Serpentine Prison has the feel of the masters of dark poetic beauty that have trodden the ground before him (Leonard Cohen, Nick Cave). Serpentine Prison may at times revel in the gloom among us, but there’s an undeniable beauty in the way he tells those stories.

Philip Giouras

This piece is an expansion of a review I wrote for GIGWISE, view the original here.

18.

Release Date: 21st August 2020
Label: Island, EMI

The Killers have continued to be one of the best live acts on the planet, but it’s hard not to feel like they’re still reliant on the early 00’s glory days, whilst their last few records have seen a string of solid singles, and not to mention the incredible and moving ‘Land Of The Free’, few have felt like true blockbuster albums in a similar vein of their early work. ‘Imploding The Mirage’ is an explosive return to form. Opener ‘My Own Soul’s Warning’ is spectacular, bringing all the bombast and flair that The Killers do best and then turning it up to 11. Without a doubt destined to join the pantheon of their best material. Whilst the record may peak with that first track, the rest of the album certainly is no slouch. ‘Blowback’ is a Tom Petty styled ballad, that delves into the huskier side of Flowers vocals. Lead single ‘Caution’ meanwhile is a raucous 80s inspired tour de force, an inferno of a song with a blistering chorus and a youthfulness in the glee emanating from Flower’s feverish performance.

‘Dying Breed’ meanwhile leans into the Western aesthetic oozing out of the record, a track destined for horseback rides through the Texan desert, unsurprisingly, Flowers’s new home state as the album’s recording environment has inevitably soaked into the record itself. There’s also unspoken showmanship evident on the record. ‘Imploding The Mirage’ the track, is as camp and cheesy as they come in terms of Rock toe-tappers, but the key ingredient in each song is a carefree joy. The Killers have finally turned away from taking themselves too seriously and embraced the elements we love the most from their music, the result is one hell of a comeback album.

Philip Giouras

17.

Release Date: 20th March 2020
Label: XO, Republic

I’ve long been an advocate of The Weeknd’s unique blend of dark R&B and mainstream Pop. I firmly believe that his previous release, 2018’s EP ‘My Dear Melancholy,’ is the epitome of his sound. Therefore you can imagine my expectations and hype ahead of the release of ‘After Hours’. Yet upon its arrival, I felt largely indifferent, whereas other records had gripped me during the early months of the pandemic, I felt distant to the dark atmosphere Abel Tesfaye’s latest LP wraps you in. So why is this on our Album Of The Year list then you might be asking? because sometimes great records unfurl themselves to you over the course of the calendar year. Where most albums notably front-load their record full of its hits, Tesfaye instead slowly drowns you in a moody soundscape of slow-paced electronic beats, shifting melodies, and ballads. ‘Alone Again’ perfectly balances heartache and the desire for self-destruction following it, ‘Scared To Live’ meanwhile shows a rarely displayed vulnerability and falsetto from Tesfaye, there’s an honest yearning for forgiveness layered over a beautiful love song.

The second act of the record is the most challenging to grasp, it’s uncomfortable to listen to a man succumb to his darkest desires ‘Faith’ is intoxicating in its destruction and steady rhythm, ‘Snowchild’ is borderline sleazy and it’s refreshing to see Tesfaye abandon cliche’s and restraint when describing the man behind The Weeknd. The album’s later segments blend 80s disco with modern R&B for arguably the best three-song stretch not just of The Weeknd’s career, but of the whole genre. ‘Blinding Lights’ is a luxurious, daredevil inducing thrill ride on a mission to captivate, with a silky smooth synth line more recognizable than any chorus of the last year. ‘In Your Eyes’ meanwhile is a disco-flavored, sax masterpiece designed to lure you to the dance floor, another example of The Weeknd being firmly on the pulse of modern trends, finally ‘Save Your Tears’ slinks along somewhere in-between the two but remains just as captivating. Once again, with ‘After Hours’ The Weeknd has reinvented himself and his sound. It’s a darkly delicious masterpiece but leaves the question… what’s next when you can’t possibly delve deeper?

Philip Giouras

16.

**A CELEBRATION OF ENDINGS**
BIFFY CLYRO

Release Date: 14th August 2020
Label: 14th Floor, Warner

Biffy Clyro has spent the past decade teetering on the precipice of becoming their generation’s Coldplay. Whilst maybe a harsh declaration, it is without a doubt that on recent records they’ve struggled to connect the sound that made them cult heroes with their newfound mainstream success. On ‘A Celebration Of Endings’ they’ve finally found the perfect balance and the result is a career highlight. There’s a fullness to their sound now, Simon Neil roars into your ears on rambunctious opener ‘North Of No South’, a seeming statement of intent to get back to their heavier roots. This is only amplified on the terrific and explicit ‘Weird Leisure’ as Neil reaches boiling point as he screams “You’re busted into pieces, you’ve polished off your cocaine, your face is fucking numb” on the riotous chorus. It’s enthrallingly infectious and you’ll find yourself shouting along by the end of the track.

One of the most underrated facets to frontman Neil however is his ability to connect with a softer, more emotionally focused ballad, and ‘Space’ may just be the group’s greatest ever. His falsetto and Scottish charm both twinkle in this intergalactic love story, a yearning plea to a distant lover, it’s the group and Neil at his most vulnerable, and it’s captivating. Radio 1 fans are not left out either with the obligatory rock hit, in this case, the joyous ‘Tiny Indoor Fireworks’ which straddles commercial pop hit and future rock singalong at their upcoming festival sets, thanks to its diabolical and fevered instrumentation it falls into the right category. There’s also a smattering of alternative and very peculiar directions for some tracks, and it is very welcome. ‘Instant History’ sounds like a long lost successor to Pendulum’s epic ‘Immersion’ as it combines heavy vocals with a techno undercurrent. Finale ‘Cop Syrup’ is an experimental six-minute epic that somehow contains their heaviest highs and most subtle of lows. Biffy will continue to evolve, they’ll alienate and they’ll please in equal measure, but for the first time in a while, they’ve thrilled again.

Philip Giouras

15.

Release Date: 5th June 2020
Label: Insomnia Music

Confessional is the long-awaited sophomore record from independent singer-songwriter Janet Devlin. It’s been six years since her debut and nine since she left the shadows of The X Factor. Despite only being 26 she’s spent her teenage years battling alcoholism and depression, which form the basis of this incredibly open, honest, and powerful record. The beautiful and Gaelic influenced title track makes this clear from the outset, ‘Confessional’ isn’t just a theme or a title, it’s Devlin’s life, ‘So Cold’ immediately tackles her demons and those who didn’t understand what she was going through at such a young age. ‘Cinema Screen’ co-written with the incredible Lauren Aquilina balances spritely and fluorescent Gaelic instrumentation with sharp introspective lyricism, the struggle can be felt in the emotion Devlin pours into each track.

That’s not to say this is a completely bleak record, like life itself Devlin tackles her low points whilst shining a light on the highs. Whilst the opening half shows the darker moments and amongst Devlin’s struggles, the second half is more of a focus on her journey at present, full of optimism and finding herself in a stronger place, this is where some of the highlights of the record preside. ‘Big World Wide’ is a slice of joy, a blend of folk and pop with a cute melody that pushes an even wider smile across your face. Irish and Gaelic traditional roots also reappear throughout, ’Holy Water’ meanwhile is an uplifting and triumphant call to arms against her demons. It’s rare to find a record that feels so devastatingly raw and intimately beautiful. ‘Confessional’ is unashamedly Devlin’s story, yet it never feels insular, amongst the darkness it’s filled with hope, like a lighthouse beacon shining bright to help steer others who may be going through struggles of their own. A mix of poetic lyricism, beautiful odes to her musical roots, and fantastically crafted pop songs easily make this one of our favourite records of the year.

Philip Giouras

14.

Release Date: 13th November 2020
Label: Mecury Nashville

There’s just something about Chris Stapleton, a humble songwriter who spent the better part of a decade crafting No.1 hits for some of Country music biggest stars before finally finding his own feet as an incredibly gifted musician with the release of his 2015 debut Traveller, which I would argue is not just the perfect country album, but one of the best releases of the 2010s. His following two albums From A Room - Vol.1 and Vol.2 solidified his status as a country superstar, yet treaded steady ground. With ‘Starting Over’ it feels like Stapleton has reignited that fire in his heart we all fell in love with when we first heard ‘Tennessee Whiskey’. On the title track ‘Starting Over’, Stapleton sounds like a weary traveler, a highwayman down on his luck and feeling lost. It’s the perfect opener, a warm acoustic melody underpins Stapleton’s yearning verses. His almost sixth sense connection with his wife Morgan truly shines when they harmonise across the record (the romantic, first dance bound ‘When I’m With You’) but feels especially poignant here.

On the record we see all of Stapleton’s influences, he is not afraid to embrace bluegrass on ‘Devil Always Made Me Think Twice’. There’s full-on Rock and Roll with rollicking ‘Arkansas’ and even a touching orchestral epic with standout power ballad ‘Cold’, seriously Jeff Lynne himself would have been glad to craft this emotionally gripping Goliath of a track. That’s what runs through the entire album most noticeably, pure heart, love, and sincere sentiment. The point in case ‘Maggie’s Song’ is a tearjerker, if you have a strong emotional connection to the dog in your life then I’m positive you’ll be in bits listening to Stapleton recall the life of his beloved pup. As a songwriter, there is no finer in the whole of Country music. Ultimately, on his fourth record, Stapleton strikes the perfect chord between sincere emotion on a challenging present with a reflection on an incredible career. ‘Starting Over’ feels like a poignant new chapter for the star, and I can’t wait to see where it leads.

Philip Giouras

13.

Release Date: 26th June 2020
Label: Columbia

‘Something To Tell You’ was an incredible follow-up album for Californian sister trio HAIM. Unfortunately, it seems to have been lost to the musical ether as an underrated classic. ‘Women In Music’ itself has had a turbulent lead-up, first single ‘Summer Girl’ had been out for a year now and had its release curtailed by Corona taking the world & music industry by storm, When did it arrive however, I was overjoyed to discover it is HAIM’s crowning achievement. ‘Woman In Music, Part 3’ or WIMPIII as HAIM affectionately and hilariously shorten it to showcases a band who are putting the world to rights on their own terms. I think it’s fair to say HAIM’s signature sound is a blend of Rock Pop that diverts the chart but slips effortlessly onto the radio.

Accessible to casual listeners but filled with meaning and emotion if you look beneath their catchy melodies. WIMPIII is their artistic masterpiece, a natural evolution towards something deeper. Evoking a hazy 70s Californian rock classic whilst managing to far surpass some of those classic records of said period. Key themes such as depression (I Know Alone), loved ones battling cancer (Summer Girl), and sexism within the music industry (Man From The Magazine). Journalism, in particular, is rightfully called out. Effortlessly outstanding, Whilst the harmonies are as strong as ever, the sister’s individual pains, passions, and talents shine through intensely. Make no mistake this is a deeply devastating record. An unapologetic work of art that will mark the moment HAIM elevated themselves to headliner status, taking the mantle of being the Fleetwood Mac for the millennial generation.

Philip Giouras

12.

Release Date: 31st July 2020
Label: So Far So Good

There was a level of expectation when it came to Irish Rock band The Corona’s sixth album with it being the follow up to their previous chart-topping record, and the first album created since their transition to a three-piece following the departure of guitarist Dave McPhillips. Whilst a lot of articles have focused on the group’s unfortunate name following the COVID pandemic, the spectacular sound of ‘True Love Waits’ should be your focal point. An album, full of delicate ballads such as ‘I Think We Jinxed It’ that revolves around your ears like a perfectly poised ballroom dance, title track ‘True Love Waits’ a track that manages to balance the juxtaposing feelings of hope and uncertainty perfectly, weaving them into a moving tale, and ‘Lost In The Thick Of It’ a melodic too and fro between lead singer Danny O’Reilly and Gabrielle Aplin, an outstanding duet, and hopefully the first of many for the group moving forward.

The group haven’t been afraid to expand and experiment with their sound as a trio, there’s a noticeable desire to make lead singer Danny O’Reilly both an intimate whisper in your ear for quieter verses, whilst also becoming a choir of emotion for louder climactic choruses. The perfect example being the ethereal ‘Haunted’, where O’Reilly feels like a wistful specter, whilst on ‘Find The Water’ his voice is a powerful driving force. The Coronas have long been a defining group in the Irish music scene, with ‘True Love Waits’ it feels like the trio is keen to expand further, I would not be surprised to see their stadium-sized sound becoming a global force in the near future following such a triumphant, emotional and endearing record.

Philip Giouras

11.

Release Date: 20th November 2020
Label: 1501 Certified, 300

It’s been an interesting year for Hip Hop and Rap. A large selection of heavyweights have taken the year off, leaving us anticipating records from Kendrick Lamar, SZA, Cardi B, and Beyonce. Filling the void is ‘Good News’ an album which might feel brazen to admit, but would have given any of the aforementioned titles a run for their money. Megan Thee Stallion firmly grabbed 2020 and said ‘this is my year’ if it wasn’t immediately apparent from her blockbuster collaborations with Beyonce ‘Savage Remix’ and the acclaimed track of the year ‘WAP’ with Cardi B. Pre-release, the attention surrounding the album was placed on the headlines regarding a shocking and frankly cowardly incident in which rapper Tory Lanez allegedly shot Megan in her foot, it was a display of toxic masculinity at its finest, and thankfully she drags him out to the trash where he belongs with scathing opener ‘Shots Fired’ before averting eyes to where they belong, on her incredible talent.

‘Good News’ is full of laser-focused lines and soon to be massive hits. ’Circles’ expertly interpolates Jasmine Sullivans ‘Holding You Down’ into an empowering, self-labeled ‘bad bitch’ anthem. Pop sneaks in on the catchy, fiery highlight ‘Outside’ and there’s a clever reworking of Eazy-E on perspective flipping ‘Girls In The Hood’. It’s a refreshingly explicit and sexually charged record from Megan with songs such as ‘Do It On The Tip’ and single ‘Body’ which embrace female empowerment, pleasure, and desire. It’s about time powerful women had their voices heard with some respect, and Megan is making sure you know that. There are also some stellar collaborations in which Megan refuses to be upstaged, ’Freaky Girls’ with SZA is a joy to behold, she goes bar for bar with Big Sean and 2 Chains on ‘Go Crazy’ and both Megan and Beyonce are singing from the same hymn sheet in the glossed up remix to Savage as Bey sings ‘I’m a bad bitch, she’s a savage, no comparisons here’. ‘Good News’ is a revelation, Megan takes no prisoners and has no regrets, her rhymes and bars are witty and precise, with intelligent beats and samples, this is a must-listen record.

Philip Giouras

10.

Release Date: 10th April 2020
Label: Cult, RCA

It has to be said, it’s a miracle this record even exists. The Strokes are a band notoriously conflicted with one another at times. It seems following their previous full-length record ‘Comedown Machine’ that their fuel tanks and tolerance for each other was empty. Hence a seven-year wait for a follow-up, it only takes one listen however to realise when the motivation is high, their firing on all cylinders, and in tune… then a rock masterpiece is inevitable. Opening with ‘The Adults Are Talking’, which features their strongest guitar melody in decades and Casablancas on full croon for the hook, it’s a showcase piece that is full of that trademark Strokes magic which captivated the world on their early 00s debut. Overall the record is significantly tamer than those early years. ‘Selfless’ is magical and more in tune with the mysticism of ‘Angles’, ‘Brooklyn Bridge To Chorus’ meanwhile is an utter joy to behold, synths blare out on a nostalgic trip back to the eighties, in a strange yet alluring mixture of A-Ha and The White Stripes.

‘Bad Decisions’ a reworking of Billy Idol’s ‘Dancing With Myself’ yet feels refreshed and invigorating in The Strokes hands. Our first taste of the album came in the shape of record standout ‘At The Door’, a moody, six-minute epic power ballad which feels both ethereal and stratospheric, Casablancas voice has never sounded so elegant and rich. Ultimately, the aptly titled ‘The New Abnormal’ heralds the resurgence of The Strokes, propelled by a mature sound and finally willing to take bold risks, the guys haven’t sounded this youthful and excited to make quality music in at least a decade.

Philip Giouras

09.

Release Date: 20th March 2020
Label: XL

Blue is a deeply symbolic colour, it represents tranquility, wisdom, intuition, and inspiration, all traits that can be linked to Lapsley’s incredible sophomore record ‘Through Water’. What makes it such a special album, however, is down to the multi-faceted nature of its tracks, Lapsley isn’t afraid to candidly open up and allow the darker shades of blue space to breathe, to acknowledge that the colour can also represent those often unspoken feelings of melancholy and sadness which she’s had to overcome. Just a slight glance at the striking album cover, and you have a clear picture of everything embodied inside the sleeve; a deep, dark endless abyss with Lapsley sinking below, yet seemingly reaching out towards you. ‘Through Water’ is an intimate account of Lapsley’s journey, masterfully intertwined with powerful global statements. As a great songwriter does, her lyrics paint a relatable picture that grabs and pulls you into her world. The title track, opener ‘Through Water’ pushes firmly outwards using the words of her father (a water engineer) to set the scene of our world, slowly crumbling. Its release couldn’t have come at a more apt time.

The 10 track, 34-minute record, whilst brisk, is an enthralling listen. Lead single ‘Womxn’ with its celebratory synths and earworm of a chorus simply bursts with pride. Other highlights include ‘My Love Was Like The Rain’, the utterly incredible ‘Ligne 3’ and a breathtaking, Bon Iver styled, almost Jazz in nature instrumental ‘Liverpool Leeds Canal’. Stripped-back conclusion ‘Speaking of the End’, is a piano-led ballad that brings the album full circle. It pieces together all ‘Through Waters’ elements. Combining the darkness and the loss of change with dreams of a fresh start, the hope of a new beginning. It’s rare for an artist to be able to sharply portray their artistic vision in such a way that a listener can feel the emotion carved into every beat and lyric. Lapsley however, does this with ease. ‘Through Water’ is an incredible accomplishment.

Philip Giouras

08.

Release Date: 27th November 2020
Label: RCA

Miley Cyrus generated a fan and media frenzy in October after releasing a series of incredible and varied cover tracks. Whether it be Blondie’s ‘Heart of Glass’ or ‘Zombie’ by The Cranberries, she’s seemingly thrown the concept of sticking to what you know (the Pop genre) out the window and just embraced the music she loves. Whilst this isn’t the first time Cyrus has pushed away expected Pop sounds and followed her heart (see 2017s ‘Younger Now’ and 2015s ‘Dead Petz’), this is by far the largest departure away from the bubbly sound that made such an established icon in 00s Pop. The signs for a new, rockier Miley have been shining brightly over the last 18 months, her 2019 Glastonbury performance for example incorporated covers of renowned heavy classic rock songs from Led Zeppelin and Metallica (the latter, she is preparing a covers album of). Released back in August lead single ‘Midnight Sky’ has continued to climb the charts, and it’s easy to hear why with just a single listen. It immediately has the sound of ‘a hit’ but interestingly not one from this decade. It oozes in nostalgia and fuses disco rhythms with New Wave synths, like a forgotten gem from Blondie’s back catalogue, it’s an unforgettable earworm.

What at first felt like a series of experimental singles eventually evolved into her seventh album ‘Plastic Hearts’. The New Wave vibe of ‘Midnight Sky’ ingrained into the records DNA with its bold, edgy cover art which screams ‘Cyrus goes Punk’. She may be riffing on nostalgia, but the single noticeably left her feeling inspired to make fresh material, which has been spearheading a chart revolution and striking a chord with music aficionados of all ages. ‘WTF Do I Know’ has that spark and attitude long missing from female pop, think early Pink or Avril Lavigne, but on steroids. ‘Plastic Hearts’ the title track meanwhile is finger snappingly catchy.

It’s worth noting the idea of invoking Pop’s past has been done so successfully this year by Dua Lipa with her sophomore release ‘Future Nostalgia’. The two Pop powerhouses collaborating on the epic ‘Prisoner’, the pair make the track feel effortless, their chemistry magnetic as they riff off each other in the best 90s Pop song to never exist as it blends Rock, Disco, Punk, and Pop simultaneously. It’s not the only powerhouse collaboration on the record, Billy Idol and Joan Jett introduce themselves to a new generation with unbarrelled displays of energy, talent, and youthful exuberance. Miley is a surprisingly equal match to the pair and her joy at performing alongside her idols is clear to hear.

Whilst detractors and music snobs may sneer at Cyrus encroaching on the holy pantheon of Rock and Alternative music with her Pop stylings. The album far outweighs any potential critics, ultimately Miley Cyrus’s chameleon ability to adapt and change is what has crafted her into such a captivating star for well over a decade now. I for one hope her rock phase continues because ‘Plastic Hearts’ electrifying to listen to.

Philip Giouras

07.

Release Date: 23rd October 2020
Label: Columbia

The term ‘legacy artist’ seems condescending, the mere name implies the musician is past their best. It is, for the most part, the case though, it’s statistically more likely for a legend of decades gone by to rely on older hits and release music long past their creative peak, with a notable few exceptions. Springsteen surpassed any notion of past his best with his country-styled solo album ‘Western Stars’ last year, full of emotive storytelling and beautiful orchestration it was his finest material in a generation. He’s now only gone and followed it up a year later with a raucous E-Street reunion that evokes their 70s prime. With age and members of the E-Street passing in recent years, comes a tussle with mortality. Somber opener ‘One Minute You’re Here’ echoes these sentiments, in a touching tale of love, loss, and isolation. The stripped-back approach highlights both strength in Springsteen’s tone as well as his ability to sing a ballad like a soothing lullaby, with a delicate touch. At its heart, however, this is a rock album, beating hard with stadium anthem energy. The title track, ‘Letter To You’ with its yearning, the singalong chorus is bursting with epic instrumentation, a country-styled guitar melody mixed in with a jazz-infused solo break.

A selection of tracks Springsteen had created, pre his debut also appear here (“If I Was the Priest”, “Janey Needs a Shooter”, and “Song for Orphans”) but you’d be hard-pressed to tell which, the whole record has a timeless quality. ‘Burnin Train’ and ‘Rainmaker’ for instance are rock epics that both give ‘Born In The USA’ a run for its money. ‘House Of A Thousand Guitars’ meanwhile, is one of the greatest songs of Springsteen’s career, a tearjerker power ballad, with an impeccable composition that slowly builds in emotion and gravitas. It may be nearly fifty years since his debut, but Springsteen is still capable of creating influential records, ‘Letter For You’, like ‘Western Stars’ last year, are modern masterpieces that shouldn’t be missed out on.

Philip Giouras

This piece is an expansion of a blurb I wrote for GIGWISE, view the original here.

06.

Release Date: 27th March 2020
Label: Warner

With her self-titled debut, Dua Lipa swiftly rose the charts to become a pop behemoth, going from playing iconic small 300 capacity venues to 20,000 capacity arenas in a single record cycle. Whilst her talent, an ear for a pop smash wasn’t in doubt, where she would go next certainly was. It turns out the answer was in pops past, specifically disco. ‘Future Nostalgia’ is as you guessed, full of progressive pop hits crafted by looking back towards 80s disco, synths, and flares. Spearheaded by a piece of perfect pop ‘Don’t Start Now’, the record as a whole is a statement of intent from Dua. She’s crafted this record with a singular vision and concept, the result is an incredibly cohesive record that begs to be replayed, despite releasing at the front end of the year, amid the first lockdown, it feels just as relevant sounding equally impeccable as we approach the winter period.

Highlights include workout anthem ‘Physical’, a spiritual successor to Olivia Newton-John’s 80s smash, proving Pop and exercise will always be a match made in heaven no matter how guilty you feel about it. Fun flows through the record with the sugary sweetness of ‘Levitating’ and the divine ‘Hallucinate’. Personal highlight ‘Break My Heart’ oozes in sass and there’s even a poignant reminder of the regular inequality women face every day in the scathing ‘Boys Will Be Boys’. Ultimately with this Disco inspired gem, Dua Lipa has combined retro grooves with forward-thinking and progressive lyricism to craft an absolute masterpiece. Within just two records, Dua Lipa has established herself as Pop royalty. Not just one of the greatest pop stars of her generation, but of all time. ‘Future Nostalgia’ is living proof and I can’t wait to hit the dance-floor with her in 2021.

Philip Giouras

05.

Release Date: 24th July 2020
Label: Republic

Any reader of our site will understand, we are avid lovers of The National. We are constantly astounded by the instrumentation and production of Aaron Dessner. Therefore, it should have come as no surprise to find out that Taylor Swift, no stranger to a strong melody is also a fan. What did come as a surprise however, was that the pair have been working together during lockdown to create an alternative folk album. A strange combination when spoken out loud perhaps? But I struggle to put into words just how genius this pairing is both sonically and lyrically. It feels like Swift has been building to this point for years, her ballads are usually highpoints for her pop masterpieces. Last year’s ‘Lover’ for example was full of beautiful arrangements and softer songs. ‘folklore’ is perhaps a radical departure for some, its rare to see an artist as revered in the pop realm as Swift to go so dramatically indie. Like every moment in her career Swift refuses to adhere to norms or boundaries and the music industry once again is better for it.

‘cardigan’ sets the tone early on, Dessner’s distinctive arrangements underpin Swift’s romantic, poetic and noticeably mature lyrics. Whilst autobiographical love stories appear, for once Swift feels like a narrator, a storyteller of sorts unravelling a series of folk tales. ‘the last great american dynasty’ is an all time Swift highlight (that gauche line is an example of Swift’s incredible use of vocabulary). Not to mention the astounding ‘seven’ which feels like a culmination of the album’s themes and sounds wrapped up in a glorious package. Justin Vernon (Bon Iver) features on a touching duet ‘exile’ which sees the alternative icon return to his ‘Forever Emma’ style of performance, a rarity for sure. Vernon’s touch can be felt on the glitchy synth’s of ‘peace’, a mellow and heart-wrenching ode to a loved one. There are a few misfires ‘hoax’ and ‘mad woman’ lack identity, but overall I have been unable to switch ‘folklore’ off. Swift subverts expectations and succeeds once again.

Philip Giouras

04.

Release Date: May 29th 2020
Label: Interscope

Serving Eurovision realness with a toast to the clubbing life, Gaga’s Chromatica explores all the angles possible within the pop genre. Taking the pop crown from Charli XCX’s head, Gaga has been reinstated as the right honourable queen of pop. Originally scheduled for April, the album’s release was delayed for seven weeks, due to the rona (COVID-19 pandemic). The long-awaited album is nothing like Gaga’s last encounter with the charts with A Star Is Born. This album takes on it all, from dance, EDM, synth-pop and of course a sprinkle of electropop. Each song on this album deserves to be framed and put in a museum because they are all uniquely stunning and incredible. I am not normally one for interludes or even listening to an album all the way through, but this masterpiece is an exception. As soon as you hear the low hum of the strings you know that this album is about to set you free.

With having not one but three successful singles released, or should I say leaked, prior to the albums full release every little monster knew that this incredible feat was gong to be nothing short of stunning. With featured guest vocals from Blackpink, Ariana Grande and Elton John, only Gaga could form such a brilliant cohort to create this work of art. She even managed to get Elton onto an EDM slammer in ‘Sine from Above’ of which has the drop of the century leaving you wanting more. Along with having the positives of upbeat dancefloor fillers, the album tackles quite a lot of difficult subjects. Themes surrounding mental health, the trauma of sexual assault and self-worth weave their way in and out of the album throughout creating such a safe environment for reflection and self-evaluation. Chromatica has made a stamp in the music industry that the likes of haven’t been seen for a while, and I doubt they will again. Its release will forever be a historic moment and at least something incredible, positive and downright iconic has come out of this pandemic, eh?

Charlie Hall

03.

Release Date: 23rd October 2020
Label: [PIAS] Recordings

Keaton Henson wasn’t expected to return to music, at least not in a traditional sense. After releasing the seemingly conclusive one-off single ‘Epilogue’ in 2016, it seemed that Henson, a notable recluse and introverted musician would return once again to the shadows. Whilst he did reappear shortly after for the release of an instrumental, experimentative and orchestrated record Six Lethargies, performed in full at the Barbican, it’s been over four years since he’s released a record of new singer-songwriter material. Monument is born out of a life-altering, shattering experience; the slow decline and death of his father after a decade-long illness. The result is a candid, devastating catharsis that demands your attention. Henson gets deep under your skin: his voice, his words manage to connect with the emotions we try to bury, try to bottle up inside. Anyone that’s experienced that specific slow grief, anxiety about the inevitability of an illness that is slowly tearing away at a loved one will feel deeply struck by ‘Prayer’. Each time Henson sings “I’m losing you” it feels like a gut punch. The album up to this point has been patient and methodical: ‘Prayer’ is a turning point in which Henson truly indulges himself in the melancholy, sinking the listener into his pain with him. The result is a wordless cacophony of orchestration and emotions.

Twisted inside this instrumental outpouring are voice messages, from family videos perhaps. You hear Henson’s father speak lovingly to his son “Keaton, wave to daddy” and the air leaves your lungs. It’s one of the single most heart-breaking moments we’ve endured whilst listening to music. If there are indeed stages to grief, the following track ‘While I Can’ is the process of recognizing the situation, accepting a ticking clock, and releasing that emotion. The sound of loud pounding drums melded in with acoustic twangs in the chorus provides a stadium rock, Fleet Foxes styled explosion. A complete juxtaposition to ‘Prayer’, it’s the cathartic deep breath before a scream. Crucially, however, it’s a pivotal moment for the album and story as a whole as Henson segues from anger into an acknowledgment of his grief.

Whilst death is the heaviest and most noticeable theme on the record, there are also so many beautiful and surprising moments scattered throughout. ‘Husk’ feels like an ode to the long lost ballroom love song, a rhythm that would fittingly soundtrack the first dance at a wedding. Opener ‘Ambulance’ is a touching and scene-setting contemplative look inwards that explores Henson’s struggle with imposter syndrome even a decade down the line from his debut album: “I’m half a songwriter, half a man, not fully either”. The album is filled with raw emotion in each track. ‘Bed’ is an utterly sobering experience; in ‘The Grand Old Reason’ Henson sounds at the brink of tears as each word struggles to leave his lips “I’m just so f**king sorry that you’re afraid”. It’s an incredibly hard and challenging listen, especially going through the album in a complete singular listen, but it’s one of the most rewarding and emotive experiences of the year. “I’m empty, but doesn’t it sound so good?” sings Henson early into the record, and honestly, has one line delivered such an emotive and powerful reflection of an entire record before? Now excuse me as I wipe away a tear and press play once again.

Philip Giouras

This piece is an expansion of a review I wrote for GIGWISE, view the original here.

02.

Release Date: 10th April 2020
Label: Chrysalis

Laura Marling has been creating sublime and critically acclaimed records for over a decade now, despite this, I was not expecting just how beautiful and exquisite her seventh record ‘Song For Our Daughter’ would be. Whilst lost in the haze of a daunting first COVID lockdown, I found peace and tranquility in Marling’s soothing songs to her figurative daughter. Marling’s vocals sound like honey over her most captivating guitar melodies yet, the combination of her impeccable instrumentation and the luxurious string arrangements of Rob Moose result in both an intimate and personal record, as well as one that at points sweeps up your emotions in a whirlwind of orchestration. Over 10 cohesive tracks, ‘Song For Our Daughter’ flows like a gripping novel you refuse to put down. Marling floats from defiant and strong on ‘Alexandria’ and ‘Hold On’, towards remorseful and pondering regrets on ‘Only The Strong’ and ‘Blow By Blow’. The record’s focal point ‘Song For Our Daughter’ provokes deep feelings of emotion, unparalleled to any release this year with its sweeping and cinematic crescendo.

Marling’s words are poetic beauty, falling off the tip of her tongue and into your ear like honey. A seasoned songwriter who is simply a master of her craft. ‘The End Of The Affair’ is a poignant reminder of her talent and tone, the falsetto in its conclusion is piercing in its delivery. Whether stripped back and acoustic or flourishing with orchestration each song shines, the mark of a true wordsmith. There have been many comparisons to folk legend Joni Mitchell, her career trajectory not too dissimilar to Marling’s, but rather than compare I’d simply note that the same captivating energy which flows through Mitchell, resonates through Marling too. It’s a blessing to witness Marling flourish once more, there are not enough superlatives in the world to describe my admiration for this album, and I haven’t even mentioned it’s shining crown, the closer ‘For You’. The final track sees Marling let down all her guards and defenses with the purest of love songs, it’s the sweetest of moments, dedicated to those we hold closest. No song nor album could be more poignant during these strange times.

Philip Giouras

This piece is an expansion of a blurb I wrote for GIGWISE, view the original here.

01.

Release Date: 18th June 2020
Label: Dead Oceans

Phoebe Bridgers hasn’t stood still since releasing her acclaimed debut album ‘Stranger In The Alps’ back in 2017. She spent the following few years touring the record, whilst also creating other acclaimed collaborative side projects boy genius (Bridgers, Julien Baker, and Lucy Dacus) and Better Oblivion Community Centre (Bridgers + Bright Eyes frontman Conor Oberst), all of which included their own periods of live performances. During this intense period of creativity, Bridgers spent the time on the road crafting her sophomore record ‘Punisher’, which without a doubt is the finest album I’ve had the pleasure to listen to all year. Powerful, deeply personal, and haunting ‘Punisher’ grabs you from the first track and doesn’t let you go until it’s explosive and cathartic final moments. Lead single ‘Kyoto’ is the most ‘festival ready’ and traditional alternative anthem. It has an ear-worm of a melody that is propelled forward by Bridgers gorgeous falsetto, the spritely hook disguising the dark and unsettling tale at its centre, that of Bridgers battling her imposter syndrome. It’s just one example of what Punisher does so well, a mixture of brutal honesty and heart on sleeve lyricism that makes her songs so captivating, engaging, and emotionally devastating.

Punisher’s production and narrative remain consistently at a high standard throughout, one long narrative which flows effortlessly through moods and tales with the occasional flair or twist in production to firmly keep your attention and the tears flowing. Punisher relishes in a dark ambiance, the deceptively devastating title track, the yearning optimism yet bleakness of ‘Chinese Satellite’ or the surprising country stylings of ‘Graceland Too’. Each track is unique but no less mesmerising. It astounds me how the record has managed to resonate so profoundly with me, from start to finish I was absorbed into the dark and introspective world Bridgers has created. The record gradually builds towards an underlying emotional climax you don’t even sense coming. Six-minute finale ‘I Know The End’ opens isolated, slowly paced, and stripped back, but then… those horns come in. The tempo rapidly builds to a frantic pace, Bridgers signals the end IS near. Her delicate, angelic tone is replaced by a guttural punishing scream, a demonic expulsion of the album’s pain and sorrow, by the time Bridgers lightly chuckles, breathing menacingly into your ear. You’re drained… but you’re pressing play to go through it all over again.

Philip Giouras

This piece is an expansion of a blurb I wrote for GIGWISE, view the original here.

Top 25 Albums of 2020

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