This was a bad year. I’ll never forget my roommate at the time, Mike, asking me in January if we should start stockpiling supplies as things in China were looking kind of scary. I laughed and dismissed it all as media hysteria. Early in March, 2020 I had packed up my car and embarked for Boulder, Colorado for a 2 month internship with my buddy Matt. We had been hearing stuff on the news about COVID, but didn’t think things would get too bad. When I arrive at work, i find out that if I had shown up a day later, they weren’t going to let me in the building. A few days later, we get the “go home for 2 weeks” instruction. Another week later I packed my car back to go home, and not leave really leave home for a long time. To make things worse, the presidential election became an utter shit show, with election “night” stretching into election week in which I slept very little. It wasn’t all bad news. I managed to pass my written exam, a major milestone in my journey to receiving my PhD.

With all this in the background, this made for an odd year of music for me. I find that this list is a more melancholy or experimental than other years, which probably matches how I felt at the time. Still, despite all of the awfulness that came out of this year, I did manage to find some truly great music.

My Favorite Songs of 2020

2020

Will Call - Brass Tracks feat Elliott Skinner, Victoria Canal
Kyoto - Phoebe Bridgers
Held Down - Laura Marling
Home - Caribou
Heavy Metal - Cindy Lee
The Alarmist - Pinegrove
Sympathy for the Baby Boo - Deerhoof
free ppls - illuminati hotties
Living Room - Andy Shauf
Selling Candy - Ohm (now called Fionom)

25. Jenny O: New Truth

On the surface, this album feels like a very straightforward indie rock record. And yet, this album contains a lot little things in the background that seem to make it stick out amongst the crowd. The truly great “What About that Day” starts off as this simple acoustic song and takes cool turn with an interesting chord progression and cascading harmonies. Tons of great stuff here.

Key Tracks: What About That Day, God Knows Why

24. Chicano Batman: Invisible People

Few albums from this year made me bob head as much as this album It’s filled with funky grooves, fuzzy guitars, and playful vocals. A very consistent album conically, perfectly personified by the closing track “Wounds”

Key Tracks: Wound, Color my life

23. Jeff Tweedy: Love is the King

Jeff Tweedy’s musical output this past decade has been nothing short of impressive. Love is the King is possibly is best solo work with some of his most introspective songwriting. There is a wondeful coziness on tracks like “Guess Again”. But the highlight is title track of the album and maybe the best lesson to take from this year.

Key Tracks: Love is the King, Guess Again

22. The Strokes:: The New Abnormal

The Strokes are arguably one of the most influential bands from the early 2000s, particularly for growth and subsequent oversaturation of indie rock. Therefore, I was pretty excited to find that can still produce a great record. While not wild different in sound, the synth riffs and jangly guitars on “Brooklyn Bridge to Chorus” is them back at the height of their powers.

Key Tracks: Brooklyn Bridge to Chorus, Bad Decisions

21. Lawn: Johnny

Coming off a terrific debut album “Blood on the Tracks”, Lawn follow up with an equally impressive record “Johnny”. A major standout on this album is having two songwriters who write distinct songs from one another, whether it’s the brighter songs like “Nighttime Creatures” or more jammy, sprawling songs like “Jane Ryan”.

Key Tracks: Nightime Creatures, Playing Dumb

20. Sylvan Esso: Free Love

This first word that always that pops into my head when I listen to Slyvan Esso is “charming” and this album is no different. Like albums of the past, it contains bangers in “Ferris Wheel” and “Ring” and tracks on their more experimental side like “Make It Easy”.

Key Tracks: Ferris Wheel, Ring

19. Haim: Women in Music Pt. III

This is by far my favorite music to come from Haim, making just a really consistent, catchy indie pop record. I adore the opening the track “Los Angeles” with the ringing guitars and loose saxophone solo, and the anthemic “The Steps”.

Key Tracks: Los Angeles, The Steps

18. The Beths: Jump Rope Gazers

The Beths music always contains some much energy, that it can’t help but improve my mood. The combination of the pop punk/power pop combined with the sweet vocals make for some great song arrangements. There is also tons of great drumming on this album, which make songs like “Dying to Believe” really pop.

Key Tracks: Dying to Believe, Out of Sight

17. Bonny Light Horseman

When you have 3 incredibly established musicians in Eric. D. Johnson, Josh Kaufman, and Anais Mitchell, you can’t be surprised when they produce something great. There is just some truly beautiful song writing on display, and provided some great comfort during lockdown. In particular, I love the hollow body acoustic strumming on “The Roving” and the vocal performance on “Deep in Love”. There’s even a fun Bon Iver feature!

Key Tracks: Deep in Love, The Roving

16. Car Seat Headrest: Making a Door Less Open

One of the most polarizing releases of the year, and admittedly, I wasn’t much of a fan at first. However, I largely put that down to coming into the album thinking I was getting another ambitious, timeless rock album, which put me in the wrong headspace. Over time, this album continued to grew on me, and while not on the same level as “Twin Fantasy” or “Teens of Denial”, its still a great record. My highlight of the album is “Hollywood”, which on paper should be just god awful song (my immediate comparison is Weezer’s “Beverly Hills”) and yet the guitar riff is enough to make me blast it every time it comes on my queue.

Key Tracks: Hollywood, There Must Be More than Blood

15. The Flaming Lips: American Head

At this point, the Flamming lips had been around for 37 years, and they are still making truly amazing albums. This album contains so many moments of pure psychedelic beauty, featuring wavy guitars, dreamy production, and layered harmonies. “Mother Please Don’t Be Sad” is an emotional gut punch, narrating from the perspective of a son trying to console his mother from the afterlife. The guitar and vocal harmonies in the middle of this track are truly breathtaking.

Key Tracks: Mother Please Don’t Be Sad, Dinosaurs on the Mountain

14. Adrianne Lenker: songs

When Adrianne Lenker is fronting one of the best bands in music, she also producing amazing solo records. This album coupled with the wonderful aptly named “instrumentals”, contains some of Adrianne’s best song writing. The very light production on the track “anything” bring a delicacy that compliment the vulnerability in the lyrics. This album also showcases what terrific guitar player Lenker is, dancing all over the neck of her guitar on songs like “two reverse”. I also love the sound that comes from her decision to play her guitar with a paintbrush on “dragon eyes” which gives the song just enough of a percussive sound. Yet another album that brought me a lot comfort this year.

Key Tracks: Home, You and I

13. Caribou: Suddenly

Electronic albums are typically pretty hit or miss for me, particularly house records, so I can sometimes (and unfairly) approach them with some hesitation. This album however, is a major exception. Caribou walks the fine line between experimental almost glitch poppy tracks (You and I) and fun, danceable tracks (Home). On top of that, this album is amazingly consistent, with rarely a dull moment on the record. If people find me more records like this, you could quickly turn me into an electronic music fan.

12. Lomelda: Hannah

There is this amazing spaciousness to this record that draws me back to it fairly often. Many of the arrangements are often not much more than some simple acoustic guitar, a simple drum kit, and the sweet but casual vocals from Lomelda, and yet can be so impactful. The highlight of the album is “Hannah Sun” that starts with some simple strumming of an acoustic guitar with some synth for effect and slowly builds in volume only to fade away once again leaving just Lomelda and her guitar. Still, this album has moments of bigger sound like on the delightful “Wonder”, or a “Reach”, which sounds like it belongs on Weezer’s “Blue Album”, right after Undone. (I recognize this is the second Weezer reference I’ve made and I’m not sure why it’s keeps happening).

Key Tracks: Hannah Sun, Wonder

11. Lianne La Havas: Lianne La Havas

My favorite R&B record of the year, showcasing how talented Lianna La Havas is. The opening track “Bittersweet” really sets the you up for how the rest of the record is going to be, with silky smooth arrangements and incredibly vocal performances. This album also includes a really amazing cover of Radiohead’s “Weird Fishes”, which as far as I’m concerned, is about 10 times better than the original. Hard to say much more than just an incredibly talented R&B artist made a wonderful record.

Key Tracks: Bittersweet, Can’t Fight

10. Cindy Lee: What’s Tonight to Eternity

The album just absolutely fascinates me. On it’s base, many of the songs are pretty on face value. Yet, you have the lo-fi production surrounding the songs, making for a truly eerie listening experience. The halloween-esq “I Want You To Suffer” begins with this almost Scooby Doo vibe to it before descending into pure distortion and feed back that is honestly quite unsettling, before coming back into focus. The following track has this 1940s song quality to it, but feels like it’s being played on a broker radio playing in another room. The album closes on it’s best track, “Heavy Metal”, sharing a similar oldies song style to it, but has this infectious guitar riff, a swelling string section, and a sweet choir of vocals, ending an album that at times can be quite abrasive, on a beautiful note.

9. Nick Hakim: WILL THIS MAKE ME GOOD

Nick Hakim has an amazing talent to create these woozy, dreamy R&B records and this is no exception. Compared to his fantastic debut “Green Twins” this record often feels that it’s in no rush, with song containing tempos that almost feel like they purposely drag. Compared to previous works that had Nick’s vocals under tons of reverb, his voice feels more out in front with beautiful arrangements that compliment this so nicely. My favorite song on the record “Gods Dirty Work” has this amazing contrast between a strummed acoustic and a silky smooth lead guitar that just play off each other in way that I’m just in love with. The peaceful “Whoo” with a subtle flute notes towards the end, providing a perfect way to close this album. A great companion for relaxing evening.

Key Tracks: Gods Dirty Work, Qadir, Whoo

8. Deerhoof: Future Teenage Cave Artists

This band just straight up kicks ass. The latest project from Deerhoof comes in with this wacky noise rock album, pushing the limits of this band. There is plethora of this ringing, and at times, grating guitar that just breathe so much life into these tracks. I love the technically proficient and yet deliberately off beat screeching guitar on “Sympathy for the Baby Boo” or the climbing scales in “Farewell Symphony” that descend into pure chaos in the second half of the record. “O Ye Saddle Babes” stands out has this fun, funky song, that almost feels dancable. The album ends with this lovely piano instrumental that almost feels like a palate cleanser at the end of wonderful but truly bizarre experience. Perhaps the only thing more chaotic then the sounds on this album is the incomprehensible track names.

Key Tracks: Sympathy for the Baby Boo, “Farewell” Symphony, O Ye Saddle Babes

7. Pinegrove: Marigold

There are few words for how much I adore this band and their previous album “Skylight” and they did not disappoint on their followup “Marigold”. This band manages to change their sound each record to keep things interesting without compromising what makes they great. The album starts of strong with “Dotted Line” containing fantastic harmonies and a fantastic guitar riff that always gets stuck in my head. “The Alarmist” some their lead singer Evan Stephens Hall’s absolutely best song writing tied to one of his best vocal performances for the band, particularly on the bridge. “Moment” almost feels like a jam session on the back end of the track. The album also contains the prophetic “Endless” that Pinegrove described at one of their live shows as an “accidental pandemic song”. This indie rock/country/southern rock band from New Jersey does it again.

Key Tracks: The Alarmist, Dotted Line, Moment

6. Fiona Apple: Fetch The Bolt Cutters

This record from the already beloved Fiona Apple was undisputed critics album of the year (Pitchfork gave this album its first 10/10 since Kanyes’ My Beautiful Dark Fantasy) and I kind of get it. This album is incredibly in your face and uncompromising. Fiona Apple pulls no punches lyrically and take a lots risks musically that just work amazingly. In particular, there is tons of great piano work on “Shamekia” or the empowering “Under the Table”. The title track contains this awesome lounge room vibe with the brushed snare drum and the standup bass. Fiona Apple reallly went for it on this album and was largely a success. One question I have about this record, is if it will have be as beloved at the end of the decade as it was this at the beginning.

Key Tracks: Shameika, Fetch the Bolt Cutters, Under the Table

5. Fleet Foxes: Shore

This album was a gift when it released. It was released very suddenly in late September, as we approached the first dark winter of COVID for the U.S. and we were in the middle of the clusterfuck that was the 2020 presidential election. In short, things were scary and tense. The world needed (or at least I believe the world needed) this record. “Shore” feels like a sister album to the fantastic (and slightly underrated if you ask me) “Crack Up”. However, rather than the grandiose songwriting that can make the approaching the project a bit daunting, on “Shore” the Fleet Foxes simplified things to allow songs to work better on their own, and to wonderful effect. This is just this bright optimism on songs like “Sunblind” that filled me with comfort. “Featherweight” is a standout track on the record, open with plucky acoustic guitar and an almost sea-faring vibe to it. As all Fleet Foxes albums, their are layered harmonies, folk acoustics that border on medieval aesthetics , and the undeniably melodic lead vocals from Robin Pecknold. I’m not sure I’ve ever had an album that came at such a perfect time in my life more than this and it’s hard not to come back to this album with the exact same feeling.

Key Tracks: Sunblind, Featherweight, Can I Believe You

4. Laura Marling: Song for Our Daughter

My favorite record from the singer/songwriter legend that is Laura Marling. Top to bottom, this is truly a wonderful exhibit in songwriting. “Held Down” was a song I was absolutely obsessed 2020, with hollow bodied guitar, Laura’s confident vocals, and a busy bass-line that just fits the song well. The great opening track “Alexander”, according to Laura Marling, is in response to the Leonard Cohen song “Leaving Alexander” where she tries to gives the Alexander agency, which I find to be such a cool concept. “Song For Our Daughter” is as exactly as you would expect, thinking about and providing advice for her daughter. This album is full of amazing moments and another comforting album that got me through the shit year of 2020.

Key Tracks: Held Down, Alexandra, Song for Our Daughter

3. illuminati hotties: FREE I.H: This is Not the One You’ve Been Waiting For

This album honestly surprised me a bit. Sarah Tudzin of illuminati hotties released a really fun power pop/indie rock record in 2018, so I was interested to find out that this project was releasing a new album. However, this is no typical follow record, really considered more of a mixtape. At its core, this album is a punk album, filled with great production and biting lyrics. “Freed Ppls” is this almost speed metal like track that hits hard and collapses into chaos. “Content//Bedtime” is the describes the all too real feeling of a having a day being filled with just work then bed (probably a little to well…). Another striking thing about this record is it’s brevity, coming in at a very quick 23 minutes with only 1 song lasting longer than 2 and half minutes. Despite much of the album being recorded before the pandemic, the lyrics on “Free Dumb” reading “there was no love lost until you demand that I was non-essential” hits much harder in the context of 2020. And yet, it feels as if you get a full album experience. The closing track is a nice way to close out feelings of anger and anxiety, with Sarah thinking of things about loved ones that make her happy. This mixtape may not be the one we were supposed to wait for, but it’s hard to deny that something truly special was made here.

Key Tracks: Free Ppls, Content/Bedtime, Melatonezone, Superiority Complex (Big Noise)

2. Andy Shauf: The Neon Skyline

Above all, Andy Shauf is a story teller. On his truly extraordinary “The Party”, Andy had already demonstrated his ability to craft a concept album. Here on the “Neon Skyline” Andy steps back the lush arrangements just a bit to allow for the story to take center stage, following a guy hearing about his ex-girlfriend returning to his hometown, only to run into her at while out at the bar, and unsuccessfully trying to make his move. This album is only about 34 minutes, and yet there is so much characterization throughout, whether it’s talking about reincarnation on “Dust Kids” or on the lounge-room like “Living Room” where a mother laments her acting like her father toward her own kid. Andy Shauf’s voice serves as a perfect narrator, providing a pleasant tone that doesn’t distract the story telling throughout the song. I’m just not aware of other artists that can capture the intimacy of relate able situations quite like Andy. The album closes perfectly with “Changer”, where the protagonist and his ex are just catching up talking about how the met and what brought them back to town, enveloped with a sweet but simple guitar part and Andy’s distinct clarinets. You truly feel like you have lived through this experience, and all in just 34 minutes.

Key Tracks: Living Room, Changer, Try Again, The Neon Skyline

1. Phoebe Bridgers: Punisher

I’m not sure if there was anyone better equipped to release a record during a pandemic or during major social unrest than Phoebe Bridgers. I also am not sure this would be my album of the year if it was released on a different. But context matters so much when making these lists, and it was an obvious choice for the top spot in 2020. This just struck a perfect emotional chord with me. There is also just a truly amazing number of amazing songs. “Kyoto” is this fun ( well at least sonically) song with a memorable trumpet part to the track and chorus that’s just begging you to scream-sing along. “Saviors Complex” has this incredible melody that I can’t help but hum along with every time it comes on. “ICU” has the slow burn to it that builds to the amazing final chorus and has the great lyric ’I hate your mom, I hate when she opens her mouth. It’s amazing to me how much you can say when you don’t know what your talking about” The albums ends with the truly cathartic finale on “I Know the End”, ending with Phoebe just screaming, which was just such a relateable feeling at the time. The album inevitably launched Phoebe into stardom, and it’s just such a cool thing to see, as this is an artist I had heard of since college, before her full-length debut. All in all, this album may not be all time favorite number 1 album of a year, but it’s one of the most important number 1 albums on all of the lists I’ve made.

Key Tracks: Kyoto, ICU, Garden Song, Savior Complex