{"id":81223,"date":"2020-12-24T15:22:08","date_gmt":"2020-12-24T15:22:08","guid":{"rendered":"https:\/\/credai.kinsta.cloud\/news\/?p=81223"},"modified":"2021-06-22T13:05:19","modified_gmt":"2021-06-22T13:05:19","slug":"cred-ais-2020-albums-of-the-year","status":"publish","type":"post","link":"https:\/\/cred.ai\/news\/2020\/12\/24\/cred-ais-2020-albums-of-the-year\/","title":{"rendered":"cred.ai’s 2020 Albums of the Year"},"content":{"rendered":"

It\u2019s played out to say 2020 was a weird year \u2014 we are all viscerally aware of how bizarre it\u2019s been to be existing at this moment. The one thing that\u2019s been consistent is how we all turn to music. And as it turns out, thankfully for all of us, artists turn to their work. In this time of technology, musicians are able to create music remotely and put it out immediately to streaming, without the traditional rollouts that were once necessary.<\/p>\n

It\u2019s also kind of corny at this point to wax poetic about the silver linings of quarantining and how we\u2019ve all had time to focus on our hobbies and art (especially for those of us who have been having an especially hard time), but to some degree we can be grateful that artists not only had time to focus on great work, but released it now, when music isn\u2019t as profitable without the touring element.<\/p>\n

In no particular order (because, let\u2019s be real, that would be unfair and far too difficult and you simply cannot force us to put these in order), here are a few of the best of the year from some of the cred.ai team. Nothing pretentious about these choices \u2014 just pure vibes.<\/p>\n

folklore\/evermore<\/i>: Taylor Swift<\/b><\/h3>\n
\"\"
Republic Records<\/em><\/figcaption><\/figure>\n
\"\"
Republic Records<\/em><\/figcaption><\/figure>\n

No, this list isn’t in order, but yes, these are the two best albums of the year. Argue with the wall.<\/p>\n

folklore<\/i> and\u00a0evermore<\/i> are sister albums \u2014 it’s hard to look at them separately when they’re meant to be consumed together. They were both created alongside Aaron Dessner of the National and longtime collaborator Jack Antonoff. Swift broke a lot of traditional patterns with these two releases, primarily in the fact that there wasn’t massive build-up to either and that they’re not diaristic works. They focus mainly on the stories of other people, and she’s merely the narrator or the ghost in the background.<\/p>\n

It\u2019s so satisfying to see this new “era” of works, and Taylor\u2019s ability to unlock emotion seems so much freer when filtered through the stories of other people. Whether they\u2019re made up, people she knows, or based on literature and film, not having to pull directly from her real life (which almost always generates a headline), seems to have rid her of all inhibitions.<\/p>\n

The fact that despite artists becoming these larger than life figures they\u2019re able to still access specific, unique human experiences is really incredible. These two albums will be forever remembered as The<\/em><\/strong> Quarantine Art.<\/p>\n

Standout tracks:<\/span><\/span> The Last Great American Dynasty, Exile (feat. Bon Iver), Mirrorball, August, Peace
\nChampagne Problems, ‘Tis the Damn Season, No Body, No Crime (feat. Haim), Coney Island (feat. The National), Ivy, Closure<\/p>\n

After Hours<\/i>: The Weeknd<\/b><\/h3>\n
\"\"
XO, Republic Records<\/em><\/figcaption><\/figure>\n

This should have been nominated for Grammys, first of all. The Recording Academy will not see Heaven for this snub. This evolved \u201880s synth is sleek and really suits The Weeknd\u2019s style. It blends with his vocal impeccably. He\u2019s always been making great records, but this was out of this world. If you left your home at all this year (or opened TikTok), you couldn\u2019t go anywhere without hearing \u201cBlinding Lights.\u201d<\/p>\n

The Weeknd deserves better; this is a nearly perfect album from front to back both in concept and execution.<\/p>\n

Standout tracks:<\/span><\/span> Heartless, Blinding Lights, Hardest to Love, Save Your Tears<\/p>\n

Punisher<\/i>: Phoebe Bridgers<\/b><\/h3>\n
\"\"
Dead Oceans<\/em><\/figcaption><\/figure>\n

Phoebe Bridgers has had a busy few years since her 2017 debut Stranger in the Alps<\/i>. She created the supergroup boygenius with fellow musicians Julien Baker and Lucy Dacus and the band Better Oblivion Community Center with Connor Oberst of Bright Eyes fame. This year she finally released her much-anticipated second solo project, and this is a stunning display of some of her best work to date.<\/p>\n

Punisher<\/i> features a wide range of sounds, including more rock (and even country on one track) elements and you can sense her clear inspiration from her influences, like Elliott Smith (for whom the title track is dedicated). While the record wasn\u2019t made or intended for isolation, it somehow encapsulates perfectly the \u201cend of the world\u201d mood.<\/p>\n

Standout tracks:<\/span><\/span> Punisher, Chinese Satellite, Graceland Too, I Know the End<\/p>\n

Ungodly<\/i> Hour<\/i>: Chloe x Halle<\/strong><\/h3>\n
\"\"
Parkwood Entertainment, Columbia Records<\/em><\/figcaption><\/figure>\n

Chloe and Halle have been releasing music since their teenage years when they got signed to Beyonc\u00e9\u2019s Park Entertainment. With each new release, they\u2019ve grown and matured, and they\u2019ve fully blossomed on this record. Their harmonies are so flawless that they could sing anything, but what a gift that they choose to be so experimental in the work they put out.<\/p>\n

Chloe is the primary producer of the album, which is a huge flex of talent. They\u2019ve really refined their talent and carved out their niche and while we\u2019re basking in how much we\u2019re obsessed with the title track, we\u2019re so excited to see what future releases will be like.<\/p>\n

Standout tracks:<\/span><\/span> Ungodly Hour, Tipsy, Forgive Me<\/p>\n

Manic<\/i>: Halsey<\/b><\/h3>\n
\"\"
Capitol Records<\/em><\/figcaption><\/figure>\n

Once again, may the Recording Academy never know peace for snubbing this album. Halsey\u2019s career growth has been so impressive to watch \u2014 Manic<\/i> is both worlds away from her previous LPs and in some ways a return to form. It has the vibes like it embraces the younger self in a warm hug, making peace with the past, and allowing the space for the older self to move forward.<\/p>\n

The title comes from Halsey\u2019s vocal struggles with bipolar disorder, and therefore the tracks sonically follow a wide genre range as a reflection of that. In a lot of ways it\u2019s reminiscent of Taylor Swift\u2019s Red<\/i> in the ways it presents an entire emotional spectrum. Sometimes not being sonically cohesive is effective and evocative, and that’s definitely the case with this record.<\/p>\n

Standout tracks:<\/span><\/span> clementine, I HATE EVERYBODY, killing boys, 929<\/p>\n

Future Nostalgia<\/i>: Dua Lipa<\/b><\/h3>\n
\"\"
Warner Records<\/em><\/figcaption><\/figure>\n

Dua Lipa committed to a theme, which in some instances can either be detrimental or a success, and in this case it was a nearly flawless execution. It\u2019s almost a shame this was released during quarantine because we want nothing more than to hear these songs out in a bar, but at the same time, this is such an uplifting track list for being stuck at home.<\/p>\n

The title Future Nostalgia<\/i> is perfectly apt, as the tracks don\u2019t sound like corny \u201880s tributes. They\u2019re upgraded and elevated in a way that\u2019s vaguely reminiscent of the way Carly Rae Jepsen did disco pop on 2019\u2019s Dedicated <\/i>and Taylor Swift did \u201880s synth pop on 1989<\/i>.<\/p>\n

Standout tracks:<\/span><\/span> Physical, Levitating, Love Again<\/p>\n

Gaslighter<\/i>: The Chicks<\/b><\/h3>\n
\"\"
Columbia Records<\/em><\/figcaption><\/figure>\n

The Chicks deserve a long overdue apology. We could have the conversation about how unfair it was for country music to ostracize them in the early 2000s or about how “Not Ready to Make Nice” is still an incredible song, but this is about\u00a0Gaslighter<\/i>.<\/p>\n

Many of us have not been through a heart wrenching divorce, but this record makes us feel like it, which is the power of good country music. The album opens with the title track with the traditional Chicks harmonies and progresses into a beautiful storyline about brokenness and growth, including an updated political anthem in “March March.\u201d It\u2019s also produced by Jack Antonoff, which is an interesting new genre step for him.<\/p>\n

Standout tracks:<\/span><\/span> Gaslighter, Sleep at Night, Tights On My Boat, Hope It’s Something Good<\/p>\n

100 gecs and the Tree of Clues<\/i>: 100 Gecs<\/b><\/h3>\n
\"\"
Dog Show Records, Big Beat Records, Atlantic Records<\/em><\/figcaption><\/figure>\n

This is a monster of a collaborations album. 100 Gecs released their debut last year and this was announced to follow not too long afterward, so while it\u2019s not technically \u201cnew\u201d to 2020, the remixes make the already hyper pop even more fresh. It features many staples of the PC Music community, including A.G. Cook, Danny L Harle, and GFOTY.<\/p>\n

Some of the most interesting (and polarizing, according to TikTok), are the unexpected ones, like Fall Out Boy. It\u2019s so random and weird, but it does work. These tracks scratch a very specific itch that exists in our brains.<\/p>\n

Standout tracks:<\/span><\/span> hand crushed by a mallet [Remix] (feat. Fall Out Boy, Craig Owens, and Nicole Dollanganger), ringtone [Remix] (feat. Charli XCX, Kero Kero Bonito, and Rico Nasty), gec 2 \u00dc [Remix] (feat. Dorian Electra)<\/p>\n

Women in Music Pt. III<\/i>: Haim<\/b><\/h3>\n
\"\"
Columbia Records<\/em><\/figcaption><\/figure>\n

After touring for their previous record, Haim realized they had some struggles to face, and therefore took it to music. This is such a beautifully intimate and personal album that at times we almost feel like we\u2019re eavesdropping on a conversation we shouldn\u2019t be. It pulls you into an entire world.<\/p>\n

This is a much more fluid record than their previous ones in terms of the production, but the lyrics are sharper and more specific. We love when artists are extremely hyper specific, because as listeners we feel even more connected to the work, and that\u2019s the feeling of listening to WIMPIII<\/i>.<\/p>\n

Standout tracks:<\/span><\/span> I’m In It, Summer Girl, FUBT, 3 AM<\/p>\n

Razzmatazz<\/i>: I DONT KNOW HOW BUT THEY FOUND ME<\/b><\/h3>\n
\"\"
Fearless Records<\/em><\/figcaption><\/figure>\n

This somehow manages to feel like a throwback album and something we\u2019ve never heard before at the same time. This is a project by bassist Dallon Weekes (formerly of Panic! at the Disco), and drummer Ryan Seaman. The record is cohesive, but never boring. The sonic landscape is so lush you\u2019ll want the best headphones you can find to spot some of the hidden production elements \u2014 some of our favorites are on \u201cKiss Goodnight.\u201d<\/p>\n

Also, as a bonus fact, if you remember the 2004 tune \u201cMemory\u201d by Sugarcult, the lead singer produced this entire album.<\/p>\n

Standout tracks:<\/span><\/span> Leave Me Alone, From the Gallows, Sugar Pills, Kiss Goodnight, Razzmatazz<\/p>\n

Good News<\/i>: Megan Thee Stallion<\/b><\/h3>\n
\"\"
300 Entertainment, 1501 Certified<\/em><\/figcaption><\/figure>\n

Megan Thee Stallion solidified herself this year as the most in-demand woman in not just rap, but music in general. Everyone wanted a feature with her and it was almost guaranteed to skyrocket your song to the top of the charts \u00e0 la Nicki Minaj in the early 2010s. Then along came Savage, and a cultural classic were born.<\/p>\n

Megan Thee Stallion makes her craft seem effortless. Good News<\/i> is her first full length, proper LP, and it is fantastic news indeed. It\u2019s turned a \u201chot girl summer\u201d into a hot girl year, which we think for many for us is growing into a hot girl mindset. Her flow is fun, sharp, and self-assured. We want to listen to this album for the rest of our lives.<\/p>\n

Standout tracks:<\/span><\/span> Body, Do It on the Tip (feat. City Girls & Hot Girl Meg), What’s New, Savage Remix (feat. Beyonc\u00e9)<\/p>\n

The Ascension<\/i>: Sufjan Stevens<\/b><\/h3>\n
\"\"
Asthmatic Kitty<\/em><\/figcaption><\/figure>\n

Sufjan has played around with electronic stylings on his records in the past (see: Age of Adz<\/i>), but he leaned into it once again with all his instruments in storage. Ascension<\/i> is new territory compared to 2015\u2019s Carrie & Lowell<\/i>, which dealt heavily with grief, and it\u2019s surely a lot different from his states-themed work in the past.<\/p>\n

This record is twinged with cynicism, making it perfect for a year plagued with some really awful news. The album really soars on the 12-minute-spanning track \u201cAmerica,” which clearly summarizes a lot of how his feelings have shifted.<\/p>\n

Standout tracks:<\/span><\/span> Video Game, Ativan, The Ascension, America<\/p>\n

Petals for Armor<\/i>: Hayley Williams<\/b><\/h3>\n
\"\"
Atlantic Records<\/em><\/figcaption><\/figure>\n

If Paramore\u2019s After Laughter<\/i> was<\/span><\/a> \u201cabout the look on people’s faces when they’re done laughing [and] what it is that brought them back to reality,\u201d then Petals for Armor<\/i> is the moment after that one. The after, after laughter. It\u2019s everything underneath it all that maybe takes a bit longer to process and uncover.<\/p>\n

Hayley Williams lays herself bare on this record and it\u2019s stunning how she can vocally transform in so many different sonic landscapes. Many of these tracks are more experimental than the works of Paramore in the past, but that\u2019s the beauty of a solo project.<\/p>\n

Standout tracks:<\/span><\/span> Sudden Desire, Dead Horse, Sugar on the Rim, Roses\/Lotus\/Violet\/Iris, Why We Ever<\/p>\n

Honorable mentions, because there are so many:<\/b><\/h4>\n

Fetch the Bolt Cutters<\/i> \u2013 Fiona Apple
\nDown in the Weeds Where the World Once Was<\/i> \u2013 Bright Eyes
\nHow I’m Feeling Now<\/i> \u2013 Charli XCX
\nDreamland<\/i> \u2013 COIN
\nHigh Road<\/i> \u2013 Kesha
\nBeginners<\/i> \u2013 Christian Lee Hutson
\nShow Pony<\/i> \u2013 Orville Peck
\nWho Are the Girls?<\/i> \u2013 Nova Twins
\nSAWAYAMA<\/i> \u2013 Rina Sawayama
\ncolor theory<\/i> \u2013 Soccer Mommy
\nShore<\/i> \u2013 Fleet Foxes<\/p>\n

There you have it folks \u2014 a sampling of some of the best music of the year. It was absolutely impossible to include everything, but we’re not Rob Sheffield from Rolling Stone<\/i>.<\/p>\n

May your 2021 be filled with more beautiful tunes.<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s played out to say 2020 was a weird year \u2014 we are all viscerally aware of how bizarre it\u2019s been to be existing at this moment. The one thing that\u2019s been consistent is how we all turn to music. And as it turns out, thankfully for all of us, artists turn to their work. …<\/p>\n","protected":false},"author":14,"featured_media":81263,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[108],"tags":[31,356,357,358],"class_list":["post-81223","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-music","tag-a-year-in-review","tag-amber-writing","tag-this-took-me-so-long-i-will-never-know-peace"],"acf":[],"yoast_head":"\ncred.ai's 2020 Albums of the Year - crednews<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cred.ai\/news\/2020\/12\/24\/cred-ais-2020-albums-of-the-year\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"cred.ai's 2020 Albums of the Year\" \/>\n<meta property=\"og:description\" content=\"It\u2019s played out to say 2020 was a weird year \u2014 we are all viscerally aware of how bizarre it\u2019s been to be existing at this moment. 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