Best of 2020: Music
If there is anything that went right in 2020, it must be the music. In this segment of Pi Culture’s “Best of 2020” series, our writers share some of their favourite records of the year.
Lianne La Havas by Justin de Nooijer on Flickr
Phoebe Bridgers - Punisher
“Punisher” is Phoebe Bridgers’ second full-length album. It is a sad listen, perhaps at first, which I think encapsulates the complexity of this album. The next few times I listened to it in full, I found myself smiling at some of Bridgers’ witty and almost deadpan lyrics: “Guess I lied, I'm a liar who lies 'cause I'm a liar” (“Kyoto”). At the same time, I was also filled with a somewhat existential dread. “Graceland Too” covers the fear of a new beginning, “Garden Song” - the fear of growing up and the passing of time. “Halloween” and “Savior Complex” cover different forms of distressing, unhealthy relationships, hidden by beautiful symbolism which demands the lyrics to be read closely. The haunting closing track “I Know the End,” which ends the album with “the billboard said ‘the end is near’ \\ I turned around, there was nothing there. \\ Yeah, I guess the end is here,” followed by apocalyptic screams, deserves a mention, as it is a very strong ending to this thought-provoking, lyrical, existential album.
Ariana Razavi
Lianne La Havas – Self-Titled
This is the third full-length LP of the London-born singer-songwriter Lianne La Havas, and by far her most raw and intimate one yet. As Lianne moves away from the polished and punchy sound of her previous album “Blood,” we get a more stripped down, organic neo-soul performance, filled with gentle guitar riffs, soft bass and occasional piano insertions. Such arrangement naturally complements the album’s subject. Lianne’s poetry traces the life and death of a relationship, from explorations of romantic chemistry in “Read My Mind,” through the painful realisation of an approaching breakup in “Can’t Fight” and “Paper Thin,” to bittersweet acceptance in… well, “Bittersweet.” In the midst of it all, the album features a cover of Radiohead’s “Weird Fishes” – a track which doesn’t seem to lend itself easily to rearrangement, yet sounds surprisingly fitting in the context of Lianne’s narrative and vocal performance.
Speaking of the vocals, this is arguably the feature of the album which is most likely to stop you in your tracks. Most songs follow a similar progression; Lianne starts with a quiet, raspy voice before she gradually builds to an explosive crescendo, consistently exhibiting perfect control of the melody, no matter how demanding it gets. On multiple occasions I had to stop whatever it was I was doing while listening to the album, because her voice would sprawl across the entire spectrum of attention I was capable of giving. If, like me, you cannot get enough of Lianne’s singing, there is also a live recording of “Bittersweet” on YouTube, in which she is backed by the BBC Symphony Orchestra (warning: not for the light-hearted).
Daria Mosolova
Tayo Sound - Gone
An up-and-coming artist from Reading, Tayo Sound is only 18 and ready to become a household name with his new single, “Gone.” Gearing up to release his debut EP in 2021, “Gone” fully encapsulates Tayo’s music style that is comfortingly familiar yet strikingly eclectic. Armed with a catchy melody and strong bassline, Tayo tackles topics we know all too well: heartbreak and loss. He invites us to reminisce about the past as he rebukes his past lover for leaving. Despite this, he does not shy away from the harsh possibility that there may be no one else who could replace his previous partner. These dramatic and conflicting emotions are concisely presented in three minutes with a memorable guitar riff that brings the song together in an unforgettable way. While “Gone” is personally my favourite track, Tayo Sound’s unique musicality can be found in other songs such as “Someone New” or “Heartbreaker,” which are definitely worth a listen before wrapping up a … hectic 2020, to put it lightly.
Alex Wong
Jessie Ware - What’s Your Pleasure?
I already know that this will be the soundtrack to my first post-pandemic house party (whenever that happens). Jessie Ware, who has spent the last decade releasing various R&B and soul records has now come out with something completely different, and arguably much more exciting. “What’s Your Pleasure?” is a disco throwback, filled with nostalgic synths, catchy bass riffs and playful lyrics delivered in Ware’s angelic voice. It’s music that is impossible to sit still to, offering a fresh take on old-school dance pop forms like synthpop, house, electro and boogie.
There is no song on the album that isn’t a hit, and this is a testament to the care and attention to detail with which each one is written, mixed and produced. Unlike a fair amount of 80s-inspired records that have been released in the last couple of years, this one does not feel derivate or disingenuous – it’s Ware’s authentic expression of confidence and drama, which is infectious. This is the exact energy we all needed this year.
Daria Mosolova
Taylor Swift - folklore
Taylor Swift released her eighth and ninth studio albums this year, “folklore” and “Evermore.” The first was an indie, autumnal deviation from her last few albums that were especially pop-y. Released only hours after it was announced, “folklore” came as a welcome surprise to Swift’s fans and the music industry. The album reads as a cohesive story, each track in its own way contributing to the narrative arc. There are glimpses of childhood in “Seven,” and a story told ingeniously from various perspectives in “Betty” and “August.” While maintaining the story-like texture, “folklore” manages to contain a range of sounds and styles in its tracks: from pop- produced to plucks of a single instrument. Yet, when listened to in order, within its own narrative logic presented by the album as a complete whole, the styles seem like the perfect match.
Ariana Razavi
Taylor Swift - Evermore
“Evermore,” Swift described, is the “sister album to folklore,” released only four months later. It does feel like an encore, and perhaps more of a collection than the story that folklore is. It seems to sound very similar to its predecessor, with some tracks very much echoing ones on “Folklore.” Still, Swift’s magnificent songwriting is ever-present, and covers new bases that were unanticipated. The tragic story of an unaccepted proposal in “Champagne Problems” or planned murder (yes, you read that right) in “No Body, No Crime” are proof that Taylor Swift’s abilities stretch further than the autobiographical writing we are used to seeing from her. Of course, her more Classic-Taylor-Swift tracks are as poetic as ever: “I'm begging for footnotes in the story of your life” (“Tolerate It”). Other highlights in the album that showcase versatility and allow for a very pleasant listen are the three collaborations: with HAIM, The National and Bon Iver (who was also featured on a “Folklore” track).
These two albums together are beautiful, lovely companions to the isolated months in which they were released, and proof that Taylor Swift continues to stand the test of time.
Ariana Razavi
Perfume Genius – Set My Heart on Fire Immediately
The discography of Mike Hadreas a.k.a. Perfume Genius has been vastly diverse and of consistently high quality throughout the 2010s, and “Set My Heart on Fire Immediately” is yet another testament to his versatility. On this record, Hadreas achieves unprecedented grandeur in his music, mixing the sounds of violin, organ, harp and woodwinds with distorted guitars and the occasional saxophone. The album oscillates between different genres, from chamber pop to grunge to ambient, at times even within the space of one track (see “Describe”). Despite such a variety of sonic styles, the album remains coherent as all the songs are tied through the lyrics – heavy on the corporeal imagery and frank to the extent that it makes you feel like an intruder for listening (I’m thinking of “Jason” in particular).
This record has a larger-than-life quality to it, and while it does not necessarily emanate positivity - aside from a few fairly upbeat tracks - its purity and beauty will no doubt leave you feeling uplifted.
Daria Mosolova