Top 5 Albums You Need to Listen To This Year
Albums seem out of style in this day of playlists and singles. A well-written full-length, however, can still be an occasion. It seemed like a momentous moment when Lucy Dacus collaborated on her debut Boygenius album with two of her artistic and generational peers. The end product is a black excellent audio record that makes you want to leap up and down in catharsis.
1. Dirty Computer by Janelle Monae
The third album by Janelle Monae has all the makings of a seminal work. Bold and tenacious, it dismantles the systems that oppress black girls while honoring their power. Additionally, it's her most overtly political work to date, with songs like "Hell You Talmbout" challenging the notion that her androgynous aesthetic is "manish." Her two previous albums were largely filled with high-concept metaphors; however, the third album tackles more intersectional problems, such as gay identity and black privilege. From 'Screwed's skittering hi-hats to the trap-esque lithe bass lines, the record blends classic rhythms with contemporary sounds. With this politically charged and strongly feminist hit, she should rise to the pinnacles of mainstream music.
2. Enigmatic Society by Robert Glasper & Terrace Martin
Dinner Party, a jazz ensemble featuring saxophonist Kamasi Washington and pianist Robert Glasper, releases its sophomore album in 2020. It features a more laid-back collection of songs that explore the contrast between beauty and hardship in Black America. The record is a micro-masterpiece that rewards repeated listens, including production by Hi-Tek, Sounwave, and Tank and the Bangas' Ant Clemons, as well as guest vocals from Phoelix and Arin Ray. The sleek, self-assured work of a rapper who knows herself better than anybody else can be found on Little Simz's fourth album. From the restrained yet fierce lead song "Protect My Energy" to the ad-libbed blurry wailing of "Give or Take," the London-based musician blends divergent sounds with a clear story that is as bracingly daring as it is emotionally devastating.
3. Golden Hour by Kacey Musgraves
"Cosmic country" is how Kacey Musgraves characterizes her third album, and it's a pretty accurate label. The singer has perfected the skill of conveying the whole emotional range with only a few well placed lines. She married country composer Ruston Kelly this winter. Her brilliant interpretation of loneliness in "Lonely Weekend" is one example. It subtly references Waylon Jennings or Charlie Rich but deviates into original terrain with its lyric about wishing to be Wonder Woman in order to extract the truth from her partner. Musically, Musgraves keeps shattering societal taboos in Music City with her outspoken views on marijuana and LGBTQ love. She also experiments with other musical genres, including the vocoder of "Oh, What a World" with its psychedelic vibe and the sugary disco beat of "High Horse." Golden Hour feels radical in its optimism, even at its most dreamy.
4. The 1975 by The 1975
The 1975 is the quintessential marmite band, whether you love them or despise them. However, it appears that they have finally quit peddling their own myth with their most recent album, which is simply an excellent pop song. The resurrected Manchester quartet has been balancing its spit-polished, soaring synths with an ever-expanding vocabulary of sound in the years since bursting onto the scene with a perfect Jimmy Eat World mall-emo hymn in 2011. They have the help of well-known producer Jack Antonoff this time around, but their mystery remains. One example is the glittering sophistipop song "Happiness." This music has a retro vibe to it, thanks to its use of slap bass and Healy's distinctive crooning over a plethora of pop instrumentation.
5. The Greatest Hits by Dizzee Rascal
Dizzee Rascal has established himself as a rap trailblazer with his hard-hitting flow and thought-provoking lyrics. His distinct sound combines aspects of popular music with grime, giving his songs more depth than just a dance beat. Boy in da Corner, Dizzee's breakthrough album, was a huge hit in the UK in 2003. Inner city youth took to its garbage beats, which became anthems, as they embodied the culture of working-class sound systems. His follow-up album, Raskit, was released the following year and turned out to be the ideal demonstration of his abilities. The production combined the skittering intricacy of trap with the harsh minimalism of grime. A fierce battle with aggressive MC P Money over ten-ton kicks and rudeboy basslines is the album's high point. One of the greatest tracks Dizzee has ever released, in my opinion.
