Sufjan Stevens—The Ascension

To follow up the LP he released earlier this year with his stepfather, Lowell Brams, Sufjan Stevens is back with a true solo album: “The Ascension.” Written, performed and composed almost entirely on his own in quarantine, one might think “The Ascension” would be a stripped-down effort from this experimental folk icon. It’s the opposite. The album begins immediately with an upbeat electronica feel on “Make Me An Offer I Cannot Refuse,” a song that mounts in urgency as it progresses. “The Ascension” then takes a fluid turn with its second track, “Run Away With Me,” that entrances listeners in an overwhelming trance before shifting into Stevens’ utmost pop sound on single “Video Game.” The album proves Stevens can master a variety of different genres in one consistent effort; doing so on his own only adds credit to his genius. While some reviewers have lauded this effort on par with Stevens’ most acclaimed symphonic “Illinois” and “Carrie & Lowell” LPs, it’s not quite on that level. Still, “America” may be one of the most fitting endings to an album released in 2020, capturing to perfection the anxieties we’re all feeling no matter what side of the fence you land.

Deftones—Ohms

This band has always been a truly unique entity, not quite fitting into one particular genre. Deftones isn’t solely part of hard rock, nu-metal, industrial, black gaze, traditional metal or experimental rock, but all of them at the same time. Nine albums and 32 years deep, the band remains undefined and that is the genius that pushes them forward. “Ohms” makes this clear; with all its ferocity, it is still atmospheric and melodic. The album’s icy soundscapes swallow an anger underneath, which is unleashed only when completely necessary in order to take a song to new heights. Stephen Carpenter’s guitar tone is uniquely heavy and thick while Abe Cunningham complements each riff with creative precision through advanced percussive techniques. Chino Moreno’s haunting melodies mixed with murderous screams keeps the album moving along and teetering between beauty and anger. Frank Delgado and Sergio Vega add critical texture to an experimental feel, giving “Ohms” the breath it needs to live. Chino has said that on their previous effort, 2016’s “Gore,” Carpenter was not as much a part resulting in a less thrilling album. “Ohms” sees Deftones firing on all cylinders, which can also be attributed to the return of original producer Terry Date, who helped drive the band to success with their first four studio albums. Deftones is, and will always be, in a league of their own. “Ohms” keeps this iconic band ambitious, honest and unapologetic in their standing.

The Flaming Lips—American Head

On their 16th studio album, “American Head,” psychedelic icons The Flaming Lips tackle familiar themes—drugs, drugs and more drugs—but with maybe more accountability than in their party heyday. Eccentric frontman Wayne Coyne, now a father himself, discusses popping quaaludes in a movie theater and admitting he’s on acid to his mom, who he later apologizes to for dying on “Mother Please Don’t Be Sad.” On “American Head,” Coyne says he confronted some inner conflicts surrounding drug use, having lost many friends to it, that probably could have only come with age. We can hear the angst from him as he sings “Flower head / Now all your friends are dead / And their ghosts / Floating around your bed” on opening track “Will You Return / When You Come Down.” The warm and euphoric tones from Steven Drozd and crew, as well as contributors like Kacey Musgraves, are still prominently present throughout the album, reminding fans of why they were drawn to The Flaming Lips back when they were releasing hits “The Soft Bulletin” and “Yoshimi Battles the Pink Robots.” Though its a really strong record, especially compared to the band’s most recent LPs that haven’t quite lived up to their predecessors, to coin LCD Soundsystem’s James Murphy, it does feel like “American Head” leans on “borrowed nostalgia” and probably won’t be remembered as one of the band’s most essential listens.

Bright Eyes—Down in the Weeds, Where the World Once Was

As we weathered a year in turmoil, never has the existential dread that exudes from Bright Eyes’ music been more relevant—and, mind you, this was written pre-pandemic. At the onset of “Down in the Weeds, Where the World Once Was,” the emo darlings’ first album in nearly 10 years, Conor Oberst croons in his signature way, “I read God is dead, I shed some tears for him / But I swear on his grave I’ll never do it again.” But our despondent frontman is older, more mature—echoing the thoughts of many of his longtime fans, “Catastrophizing my birthday / Turning 40”—and he’s now endured divorce and a brother’s death since the release of Bright Eyes’ last LP in 2011, “The People’s Key.” There’s more hope, or at least acceptance, from Oberst, who seems content with who he’s grown into. “How imperfect life can be / Now all I can do / Is just dance on through,” Oberst sings. It’s a sentiment we can also hear in the ever-evolving music from bandmates Mike Mogis and Nate Walcott.

On their latest effort, Oberst, Mogis and Walcott certainly don’t shy away from experimentation, proving Bright Eyes’ relevance still holds up 25 years after their founding. Case in point, the trio were able to elegantly incorporate bagpipes for the first time on an album, on track “Persona Non Grata,” and they all lean on the influence they’ve accrued from the solo and side projects they dabbled in during Bright Eyes’ hiatus. In an interesting turn of events, the band brought in Flea, the iconic bassist for Red Hot Chili Peppers, who Walcott toured with for a time during the break, and Jon Theodore from The Mars Volta and Queens of the Stone Age on drums. The famous collaborators revitalize the band and give it a fresh perspective. Meanwhile, Oberst even seems to take a page out of the Phoebe Bridgers handbook—who he recently toured with as Better Oblivion Community Center, one of his several side projects—with a more straight-forward approach to some of the songwriting. Still, Oberst leaves much up for interpretation, as he is known to do, throughout the album. “Down in the Weeds, Where the World Once Was” brings a progress-rock identity to the band while still giving diehard fans a familiar nostalgia that ensures Bright Eyes is still Bright Eyes, a group we fell in love with in 1995 when it was led by a wise-beyond-his-years boy questioning societal norms from his bedroom in his parents’ Nebraskan home.

The Killers—Imploding the Mirage

The Killers is a household rock name because of nearly 20 years, and now six albums, of honest songwriting, anthem choruses, ’80s synth-pop infusions and good ol’ Americana, Bruce Springsteen-inspired rock n’ roll.  On their latest LP, “Imploding the Mirage,” The Killers were faced with a difficult task: keeping their signature sound known and beloved by fans without lead guitarist Dave Keuning, who for the first time did not join the rest of the band in the making of this album. Bassist Mark Stoermer and producer Jonathan Rado did a good job filling in for Keuning on this record, as did a star-studded and talented cast of guests including Fleetwood Mac’s Lindsey Buckingham and Adam Granduciel from The War on Drugs.  Thanks to this, “Imploding the Mirage” manages to keep The Killers sounding fresh as well as familiar—a difficult balancing act many mainstream acts with all their members fail to achieve. “Imploding the Mirage” is yet another unique album deserving of its space in The Killers’ discography, which as a whole has aged graciously.

Nas—King’s Disease

Nasir bin Olu Dara Jones, better known simply as Nas, is a unique and iconic rapper; a staple in the game, who built up his flourishing career by helping mold and push rap music in ways once thought unimaginable. You’ll find this lyrical genius, who has been defining hip-hop since the early ’90s, on any credible “greatest-ever list.” On “King’s Disease,” his 12th studio album, Nas is as nostalgic as he’s ever been. He takes from a tough past growing up in Queens and does with that experience what he does best: use it to create an album that is all parts wise, relevant and necessary. While maybe not reaching the illustrious heights he himself set early on in his career, Nas’ “King’s Disease” still fits better into his discography than his 2018 Kanye-produced predecessor, “NASIR.” One fact will always remain the same though: Nas is an experienced veteran who deserves all the hype.

Glass Animals—Dreamland

English psychedelic pop outfit Glass Animals’ latest effort, “Dreamland,” gives listeners a fresh dose of dance and fun. Whether it’s reaching new success with peak positioning on the charts or seeing their name climb up festival lineups, Glass Animals has become a household name, reaching a pivotal point in their career. On “Dreamland,” one must ask though: do they innovate to pioneer their sound or do they try to replicate the past? It seems to be the latter with the group trying to capture an early carefree vibe but falling short with overly thought-out, forgettable radio melodies and cheap production tricks. “Dreamland” is still an enjoyable album to have on in the background of parties but it struggles to evoke depth or character to Glass Animals’ discography that would bring the band to the next level.

My Morning Jacket—The Waterfall II

On their newest LP, “The Waterfall II,” My Morning Jacket give us everything we’ve come to expect from these psychedelic rockers: swooning melodies, catchy sing-alongs, ’70s-inspired experimental rock and multicolored layers to get lost in. Plus, the band’s eighth studio album provides an accompanying effort we didn’t know we needed until now to 2015’s fan-favorite “The Waterfall.”  The new album is cut from the same cloth but isn’t just a collection of B-sides, as one might assume ahead of listening. “The Waterfall II” stands entirely on it’s own. It might not completely reinvent the wheel but, on this newest LP, Jim James and co. are fresh and content in reveling in their signature sound that they crafted and perfected over the last two decades.

Phoebe Bridgers—Punisher

A great songwriter turns personal experiences into meaningful musical material. A great songwriter who remains relevant throughout their career—the gold standard toward which all artists strive—will continuously challenge themselves and evolve to keep their audience engaged. On “Punisher,” Phoebe Bridgers’ latest and only second LP, the 25-year-old L.A. native does just that, showing she has the true makings of a great. Leaning on her star-studded cast of past collaborators and fellow songwriters to help her push the boundaries and spawn the creativity and excitement a critically acclaimed record needs, “Punisher” delivers. Her impressive list of contributors includes folk icon Conor Oberst, the other half of Better Oblivion Community Center, one of Bridgers’ many side projects; Julian Baker and Lucy Daucus from another of Bridgers’ side projects, Boy Genius; breakout artist Christian Lee Hutson; and countless others. All of Bridgers’ endeavors—including, following in Oberst’s footsteps by founding her own record label, Dead Oceans—have guided the Elliot Smith diehard fan to define her sound, which comes across less apologetic and more confident on this second LP than on her debut, “Stranger in the Alps.” On “Punisher,” Bridgers allows an atmospheric euphoria to envelop her brilliant songwriting in a warm blanket of sonic perfection. The arrangements on the album are careful not to clash while the flow and track listing is smooth and makes for an easy listen. “Close my eyes, fantasize, three clicks and I’m home,” Bridgers coos at the start of the final track on the album, “I know the end.” (We can all relate to that desire to get back to the comfort of our homes.) The album then triumphantly ends by bringing back her famous collaborators, all singing along with her amid a sea of horns, drums and strings. Bridgers is a sponge soaking in all she’s learned and bursting with all she’s experienced, seemingly ready to take on the world one project at a time. We’re here for it.

Neil Young—Homegrown

“Homegrown” by Neil Young comes to us in 2020 as an instant classic. It’s reminiscent of the past and fitting of today; a message in a bottle from the elder hippie generation that washed ashore just when we needed it. Comprised of unreleased material recorded between 1974 and 1975, we get another glimpse into a young Young; at this time, still figuring out his place in music and the world. The anxieties, uncertainty and despair that come with those growing pains is felt through Young’s lyrics like “All your dreams and your lovers / Won’t protect you / They’re only passing / Through you in the end.” “Homegrown” is another folk masterpiece for this icon, while maybe stopping short of being on par with his most acclaimed LPs such as “After the Gold Rush” and “Harvest.” And while “Homegrown” embodies Young’s signature folk roots, it also has some interesting turns. One such turn is the minute-long tangent about a glider crash, on “Florida,” which then smoothly transitions into the melancholic track “Kansas.” Notably on “We Don’t Smoke It No More,” Young gives us raw and bluesy, good ol’ rock ’n roll—something that so clearly gives away this album’s 1970s’ manufacturing; that coupled with Young’s flower power love-is-free thinking which exudes from lyrics like “Love is a rose but you better not pick it / Only grows when it’s on the vine,” which Linda Ronstadt actually made famous through her 1975 cover. “Homegrown” is subtle, stripped down and an essential, relevant piece of work that we can all be thankful for having finally been released.

Bob Dylan—Rough and Rowdy Ways

Older. Wiser, perhaps. Absolutely still relevant; there is no question about that. Bob Dylan, at 79 years old, is still putting out work that matters and that builds on his acclaimed discography. With his 2020 LP, “Rough and Rowdy Ways,” the folk pioneer and Nobel Prize winner puts another critical piece of music out into the world. Unlike some of his famous peers, Dylan’s latest album does not feel like a compilation of old thoughts from a fading artist resting on his laurels; “Rough and Rowdy Ways” is Dylan’s 39th album and yet it is still evolving and exploring new ideas. This is not something Dylan has always accomplished through his later work. On “Rough and Rowdy Ways,” Dylan confronts his own thoughts on mortality; a topic the artist has been opening up about in recent interviews including for The New York Times, in which he also discussed how he’s been leaning on past experiences to inspire his new work. These feelings come through on tracks like “Black Rider,” where he talks about his soul “in distress,” his mind “at war” and “being on the job too long.” Dylan sings in his raspy signature way, “You’ve got what they call the immortal spirit.” “Rough and Rowdy Ways” is proof that Dylan is one icon with an immortal spirit. Music would have suffered a loss without this album.

Run the Jewels—RTJ4

As social injustice protests take hold of the nation, one could argue Run the Jewels’ fourth LP, “RTJ4,” couldn’t have come at a more apt time. It’s an album made for a revolution—it documents our current events, forces us to question our own moralities and ultimately, hopefully, it will help drive change. In times that can feel divisive, no one fuels the righteous fire while provoking unity quite like hip-hop duo Killer Mike and El-P. The two, operating as Run the Jewels, have made a career of pushing the envelope politically, socially and musically. Their albums always feel ahead of the curve, and demanding of immediate attention. “RTJ4” does not sacrifice any of the raw energy that we’ve come to love and expect from Run the Jewels. Rather, Run the Jewels’ latest LP takes everything that was exceptional from their previous efforts and builds on it; adding more intensity and rousing anthems than even the three albums that came before. Clocking in at just under 40 minutes, “RTJ4” does not waste time, but instead makes every moment count. Every track on the album was critical in making it the instant classic that it now has become. Killer Mike and El-P are now four-for-four in releasing quality albums; which only solidifies their brilliance. Venom is back in hip-hop.

Perfume Genius—Set My Heart On Fire Immediately

On the opening track, “Whole Life,” Michael Alden Hadreas, better known as Perfume Genius, croons “half of my whole life is done” in an introspective, contemplative manner—setting the stage for his most honest LP: “Set My Heart on Fire Immediately.” While it’s his fifth studio album, Hadreas says this is the first effort in which he wrote about real people. That personal element pierces through the album with raw emotion that can’t be ignored. “Jason,” a standout track, seemingly tells a story of an unbalanced young romance with such honesty and in such a dreamy headspace, it pulls listeners in and let’s them hang there like lovestruck teenagers. While “Set My Heart on Fire Immediately” might lack some pivotal left turns like songs “Grid” and “Longpig” brought “Too Bright,” it brings out the confidence and maturity from Perfume Genius we’d only hope to see from our favorite artists coming up in their careers. Hadreas has come into himself entirely and managed to accomplish a major feat with “Set My Heart on Fire Immediately”—he created a timeless album that will stand alongside the greatest classics.

The 1975—Notes on a Conditional Front

Criticized by some as pretentious and hailed by others for its innovativeness, “Notes on a Conditional Front” debuted to mixed reviews. The fourth studio album from English pop rockers The 1975 is overly ambitious but what some fail to realize is that’s the beauty of it—it’s a wonderfully chaotic collage that should be appreciated as thus. On their latest effort, The 1975 took calculated strides to evolve their music and escape the silo of pop mainstream success. From incorporating thrash and grunge and employing the brilliance of indie darlings Phoebe Bridgers and FKA Twigs (as well as teen climate activist Greta Thunberg), “Notes on a Conditional Front” proves The 1975 are more than one-trick ponies. It’s clear this band is ready to take leaps and we’re ready for it.

Moses Sumney—grae

With this masterful double album we anxiously awaited to receive in full, Moses Sumney is defining himself as a burgeoning star within the indie music world. This multi-instrumentalist folk soulster is as patient with his sound on “grae” as we fans had to be in waiting for the second half of the album to drop. On only his sophomore LP, Sumney expands on the signature, breathy textural tones he gave us on his debut full-length album, “Aromanticism.” Through “grae,” Sumney is refined and yet more bold. He pushes the boundaries a bit further, experiments and doesn’t lean as heavily on guitar as he did on his previous effort—making “grae” a true avant-garde classic. On this album, Sumney is very thoughtful in his arrangements and it will take the listener to realize the devil is in the details.

Fiona Apple—Fetch the Bolt Cutters

A freak on the keys. A subtly piercing storyteller. Fiona Apple is like no other artist and she’s back just when we needed her most. With “Fetch the Bolt Cutters,” the acclaimed singer-songwriter delivers a refreshing yet empowering LP for the age of quarantine. It’s been eight years since we last heard from Apple, and we can almost feel the pent-up energy on her latest effort; like she’s just been waiting for the perfect time, when we’re all on the brink of insanity, to grace us with more of her essential work. “Fetch the Bolt Cutters” is a perfect piece of theatrical artpop to add to her discography. Apple might be the only person who can deliver punchy, whimsical, enlightened, sarcastic and wonderfully delightful songs all in one. Always universally loved, it seems Apple swooped in at just the right time to give the world something to obsess about when it feels like nothing is worth obsessing over. Apple tells us she “won’t shut up” and thank god for that.

The Strokes—The New Abnormal

On their first album in seven years, The Strokes embrace their beginnings through the lens of an older and wiser version of themselves. “The New Abnormal” incorporates various genres spanning new wave, glam rock and disco, moving these New York City basement rockers past their origins. The spirit of The Strokes’ signature sound still echoes through on this newest effort in a way that is reminiscent of the band’s first decade. Yet, the indie pioneers possess a maturity beyond their adolescent years on “The New Abnormal.” The album ages The Strokes like fine wine; therapeutic, smooth and just what we needed as we adapt to a new “abnormal” in the age of COVID-19.

Yves Tumor—Heaven To a Tortured Mind

The rising experimental producer, Yves Tumor, is back with a thrilling addition to his increasingly impressive and eclectic catalog. We already knew this Miami born composer could push the boundaries of progressive electronic music—proven through his 2018 acclaimed LP, “Safe In The Hands of Love”—but we didn’t quite know what he could do for psychedelic soul music. “Heaven To a Tortured Mind” is an explosion of ambition and one giant leap for rock and roll, which has over the years become labeled as a struggling and stagnant genre desperate to find it’s footing. Yves Tumor has effortlessly consumed an art-rock persona with confidence on his latest album, taking inspiration from indie pioneers who came before him while still helping redefine the genre.

Childish Gambino — 3.15.20

In the midst of a quarentine, Donald Glover’s alter-ego Childish Gambino released a brand new LP made perfect for us to pass the time in a fun and care-free alternate reality. Where previous albums like “Camp,” “Because the Internet” and “‘Awaken, My Love!'” had discipline, “3.15.20” moves through tracks more like a mixtape than a full length LP. Childish Gambino doesn’t reinvent the wheel on his latest effort but offers an illuminating soundtrack that is both charming and timely.

Empty Country — Empty Country

Joseph D’Agostino is at it again with “Empty Country,” his first venture since the dissolvement of Cymbals Eat Guitars in 2017. Created with D’Agostino’s wife, Rachel Browne; Zoë Brown of Field Mouse; and frequent collaborator-friend Charles Bissell of The Wrens, we can clearly hear the collaboration of close-knit friends and family on this album. “Empty Country” doesn’t test the limits like Cymbals Eat Guitars did. Still, what we’re left with is a more well thought-out and intimate album that breathes its influences, members and predecessors in a refreshing way.

Code Orange — Underneath

Code Orange is back with their unapologetic fourth LP, “Underneath.” These Pittsburgh natives are confident and ready to spread their colorful wings—blending metalcore, industrial, dance metal and post hardcore. “Underneath,” another great example of metal albums pushing the traditional limits of its genre, has plenty to offer including aggressive breakdowns, catchy sing-alongs and seemingly effortless signature time changes. The use of keyboards, programming and electronic percussion pushes this album higher up the totem pole than if it had just been a compilation of very well-written songs, which it touts too. Code Orange’s expansion into new territory on “Underneath” makes for a creative and interesting listen but lacks the cohesion one looks for in an effort that is roaming unknown waters.

The Weeknd — After Hours

After four years of anticipation, The Weeknd returns with his much anticipated follow-up to “Starboy.” “After Hours” is a linear collection of well-produced songs with a few highlights which sound watered down compared to the depth of its hits-heavy predecessor. The Weeknd stretched the boundaries on “Starboy” and now he is careful not to cross them on “After Hours,” which makes for a less ambitious endeavor. The Weeknd’s latest effort is more reflective, more mature, older and wiser but makes us wonder if that is what we really needed from this artist.

Soccer Mommy — Color Theory

Soccer Mommy returns after two years with her latest dose of honesty, “Color Theory.” Sofia Regina Allison—older, wiser and more confident—still brings the same elements that made her last LP, “Clean,” so memorable and fun loving. Yet, something’s different. With age comes experience, and disappointment, and thus has naturally made Allison jaded, evident through the sentiment behind her most recent work. The album flows effortlessly but lacks the hope and playfulness of “Clean.” The arrangements are more unique and complex, the songs more cohesive, and you’re left wanting more by the end of “Color Theory.” Through a collaborative effort by the young band to edit more thoroughly, revise and tighten up loose ends on the next album, Soccer Mommy can be thrust even further ahead of the indie pack. They’re well on their way already.

Against All Logic — 2017 – 2019

Nicholas Jaar is out with his latest album under Against All Logic, his fourth effort under that moniker since 2018, when “2012-2017” was released. A bit darker, more sporadic, frantic and uneasy than its light and carefree predecessor, “2017-2019” reflects the time period in which it was born. The album incorporates a lot of percussion to give it almost a tribal feel, and emanates a certain skittish wariness that is unique to this effort. Still, Jaar created “2017-2019” unmistakably within his perfectly crafted Against All Logic discography, and none other. Against All Logic is a more up-tempo, straight forward, maybe even approachable outfit of Jaar’s in comparison to the psychedelia of co-project Darkside or the patient artist we get from projects under his own name. “2017-2019” is another enjoyable listen within that sphere.

Caribou — Suddenly

“Suddenly”—the fifth album from Canadian composer, musician Daniel Victor Snaith—is an eloquently complex synth-pop effort. It comes across purposeful with its samples, scarce and impactful. There are no glaringly wasteful moments—a feat for any artist, and one he doesn’t always necessarily nail on his albums. He explores the boundaries of electronica and neo-pschedelia, making “Suddenly” an album to certainly explore.

Destroyer — Have We Met

Destroyer’s “Have We Met” takes off strong. “Crimson Tide,” the first track on the album, might be the best song of this year. Destroyer, led by Dan Bejar, has been able to evolve continuously from the 1990s, when the Canadian rockers got their start, to today with “Have We Met” progressing even from his recent 2015 “Poison Season” and 2017 “ken” efforts. To fans of The War on Drugs’ “Lost in the Dream” and Future Islands’ “Singles” of 2014, “Have We Met” is right up your alley. Dan Bejar is mostly able to reinvent himself on each album he creates but he always emanates a very distinct theatrical, ’80s-esque vibe that you probably either love or hate.

King Krule — Man Alive!

“Man Alive!” is the fourth LP from English singer-songwriter Archy Marshall as King Krule. A welcome extension to acclaimed 2017 predecessor “The Ooze,” King Krule’s latest album is another solid work of jazz, psychedelia and alt-rock told from that gloomy, desperate teenage persona conjured by Marshall.

Grimes — Miss Anthropocene

Grimes’ “Miss Anthropocene” is a collage of past works that morph into a new futuristic identity for this Canadian artist. She takes daring left turns on this album with ease, flowing effortlessly between bass-centric beats to acoustic dream pop, song by song. The album is punchy, fresh, exciting; still quirky but more polished than we’ve ever heard her. On “Miss Anthropocene” Claire Elise Boucher brings her full self front and center. She illuminates feminism and embraces the dystopian future she champions in her personal life. The album is honest and a current snapshot of where Grimes is as a person as well as an artist.

Tame Impala — The Slow Rush

“The Slow Rush,” Kevin Parker’s fourth LP under his Tame Impala outfit, is more accessible than previous efforts “Currents” and “Lonerism.” What the Aussie singer-songwriter, multi-instrumentalist does really well on “The Slow Rush” is fuse pop and psychedelic rock eloquently—something only The Beatles were able to truly master. That evolution gives this album a certain reminiscent feeling of when the late 1960s’ psych-rock scene started transitioning to disco a decade later. It’s an effort that makes for a smooth listen. Although, while consistent, it lacks the pivotal peaks that made predecessor LPs shine.