Top ten pop/electronic albums of 2020

This category is notorious for giving me the biggest headache. Between narrowing it down, and choosing honorable mentions, to committing to a list with 30+ mainstream pop albums from the year that I still haven’t listened to, nailing this one down is a marathon that begins in November and leaves me second-guessing through February. But for what it’s worth, here are 10 of the albums I listened to the most this year, in chronological order — why has everything been in chronological order this year? My unconscious motivation has been perfectly and succinctly explained over at Burn Your Hits, who says “I added release dates this year because I think they were especially relevant in 2020 (how quickly was the world ending when you first heard this song?)” — now with extra references to “quarantine,” “escapism,” and “not as good as their last, though.” (Note: Some of these blurbs interpolate pieces from previous notes posted earlier on this site.)

Selena Gomez: Rare
(2020.01.10)

Rare feels different, not just because fans have been teased with Selena Gomez collabs and feats for years, but because the singer’s statements regarding gossip-heavy story lines involving her life feel more personal than ever. There’s no hidden message or subtext behind songs like “Lose You to Love Me,” or “Look at Her Now,” and even in “Dance Again“and “Rare,” she’s not shy, lyrically, about claiming her own narrative. The album was a strong start to the year, a month we rarely see pop albums from big names as solid as this, and a January that now seems as distant and hazy as your very first day of school. Still, with everything that’s happened in between then and now, this album has remained as accomplished as ever, both for its creator, I’m sure, but also for the listener who appreciates records as brave and open as this.

Niall Horan: Heartbreak Weather
(2020.03.13)

Out of all the ex-One Direction members’ solo albums, Niall Horan’s Heartbreak Weather remains one of the best and most underrated. Sure, it’s missing the charisma, charm, and overall controversy-baiting of a Harry Styles, but its dependence on genres like new wave, synth, and acoustic keep the album anchored in time-tested comfortable familiarity. Between the acoustic and the synth sections, I find myself returning to the latter, like the arena-sized title track, “Arms of a Stranger,” and “Cross Your Mind,” songs the album would have been smarter to crowd out the weepies with. It’s a nice follow-up to his largely forgettable debut, and as all of the albums released at the beginning of the year can attest to, it’s unlucky release date seems to have gotten it unfairly buried.

The Weeknd: After Hours
(2020.03.20)

The big story in the music world this season was the obvious, and allegedly deliberate, omission of The Weeknd among the Grammy nominees, an omission so glaring that, as Main Pod Girl points out, tips from snub to scandal. Despite anyone’s personal feelings about The Weeknd’s behavior and lyrical content, anyone would be remiss to ignore this album’s stunning production value and national embrace in 2020: “Blinding Lights,” which rolled out at the end of 2019, has now officially lingered in the Top 10 of the Billboard’s Hot 100 longer than any other single in Hot 100 history. Most importantly, it has had the amazing capability to sound as fresh and exciting as it did a year ago when it was first released. While I’m still not sold on the entirety of the first half of this album, After Hours, with all of its interesting, successively topped performances, from fireworks to more fireworks, has slowly won me over during a year when wondering what Tesfaye and Team would come up with next provided much-needed, pleasant distraction. And if it’s true he missed out on noms because he chose to perform at the Superbowl over the Grammys? He made the right choice.

Dua Lipa: Future Nostalgia
(2020.03.27)

When every other artist postponed their albums and canceled roll outs, Dua Lipa was the outlier, sending her album out into the world a week earlier than planned, on March 27, in the midst of history-making lockdowns. Releasing an album during a global pandemic is tough enough, but releasing a dance record during a global pandemic, with clubs shuttered and social gatherings verboten, is even tougher. Yet Future Nostalgia pulled off the impossible, streaming into living rooms and headphones with a welcome joy and comfort through its bite-sized, 37-minute long journey through Latin freestyle, early 00’s girl-group pop, swelling disco strings and cool, chunky synths. The album will forever remain “the quarantine album,” but for positive reasons, beaming light and hope into living rooms and kitchens through quirky pop songs about love, lust, betrayal, and the anticipation of the return to normal we can all look forward to if we’re brave and patient enough to meet it.

Lady Gaga: Chromatica
(2020.05.29)

Despite the hokey, ugly visuals for much of this album cycle, Chromatica has grown on me. Like a lot of pop music before it, it’s rooted in the near-past, the one just old enough to seem part-nostalgic and part-exotic to Millennials, drawing from wells as deep as Amber’s “This is Your Night,” to Robin S.’s “Show Me Love.” It’s more than a return to Gaga’s The Fame sound because it’s a sound that was only ever put on pause for more intimate projects like A Song is Born and Joanne that grabbed for something, anything, that would retain the spotlight after Art Pop tanked. But to be clear, Art Pop slapped, and everything in between it and Chromatica was just a strategic distraction, an elaborate show of smoke and mirrors meant to make everyone appreciate the magic of Lady Gaga once again.

Chloe x Halle: Ungodly Hour
(2020.06.12)

I’m still not sure that this album is better than their debut, but Ungodly Hour is so intent on pleasing, it’s hard to ignore its magnetic pull. The album sees two young women now confronting some of the more complicated and unpleasant compromises of adulthood, with their signature downbeats and twinkling harmonies. There are bittersweet moments all over this album, including a youthful production that hints that as far as they’ve come, they still have a way to go. This album shows that the journey to getting there will be as rich as its destination, offering much more than the average pop star ever could — I’ll take the scenic route.

Jessie Ware: What’s Your Pleasure?
(2020.06.26)

Jessie Ware brings a levity and seriousness to disco on What’s Your Pleasure?, one that feels as grown-up, and uncool, music-for-adults as some of the best of the genre’s origins. The attention to detail and unwillingness to compromise on irony for the sake of a wider audience is commendable; Random Access Memories this is not, though de Homem-Christo and Bangalter could take some serious notes if they’re looking to craft songs that are more than just technical marvels, but beating hearts, too. As my introduction to Jessie Ware, this one has the unintended consequence of setting the bar beyond an ability to surpass.

Taylor Swift: folklore
(2020.07.24)

In the Netflix documentary, Miss Americana, Taylor Swift greets us with her disappointment at being snubbed a best-album nomination at the Grammys, determinedly avowing to do better next time. folklore is that next time. As an album, folklore works best when viewed in the context in which it was conceived, produced, and executed: a classic Swift album in texture and sound, but also desperate to please, competing against all of the other women who released career-defining albums this year, but mostly, seemingly, against herself. For better or worse, embracing all of that is part and parcel of Swift fandom. Yet folklore is also an album that has reached beyond the bubble, from everyone to casual listeners, to indie publications who appreciate its slicked-back production and elegant story-telling. It’s a new peak for the writer, who after seven albums, still proves to draw from a bottomless well of inspiration. In a time of endless “quarantine albums,” Swift’s is the ultimate flex, the one that captures what a creative mind can conjure with a solid work ethic, plenty of time, and complete creative freedom.

Ariana Grande: positions
(2020.10.30)

positions, while not the best album of Grande’s career, is as consistent as its predecessor thank u next, and boasts some of the best production on a technical level of the year. Listeners looking for a hit single or a pop number in the vein of “No Tears Left to Cry” or “Into You” will be disappointed, but that ship has sailed in lieu of an aggressively grown-up approach that flaunts an uninhibited and sexually frank lexicon, a sign of the times for Grande who is coming into her own in the age of The Weeknd. The album could do with a bit more variety and a bit more flesh on its track’s run times, but its warm strings and laid back chill has stayed with me these last few months, a palliative to some of the more frenetic albums on this list.

Kylie Minogue: Disco
(2020.11.06)

Kylie Minogue is first and foremost a pop star, not a disco diva, and the structure of each of the songs on this album keeps her rooted in very familiar territory. Disco joins a long list of club-ready hits from Jessie Ware, Dua Lipa, and Roisin Murphy this year, but besides Lipa’s, Minogue’s boasts the most accessible and the least experimental approach to its revival, a disco album for a general audience content to dabble rather than immerse. It’s an achievement nonetheless, banking on its ability to offer escapism and help put out the dumpster fire that was 2020. In that sense, it has succeeded. As the album I have listened to more than most of the others on this list in the last month and half alone, its ability to provide some sense of obliterating peace cannot be overstated.

Honorable Mentions

Allie X: Cape God
Meg Myers: Thank U 4 Taking Me 2 the Disco I’d Like 2 Go Home Now
Cleo: SuperNOVA
Bright Light Bright Light: Fun City
Kid Cudi: Man on the Moon III: The Chosen

Bonus Track: Top 5 Hard Rock/Metal Albums

As I said previously, I don’t want to do an official top ten for this category this year due to the less-than-usual number of new metal albums I was able to listen to, but for what it’s worth, here are my top five from what I did manage to hear in this category, including what is probably my favorite record of the year. I look forward to disowning a large portion of this list as soon as I tackle all the great releases I missed from numerous, well-curated year-end lists, but that doesn’t mean there isn’t some amazing stuff to be heard here.

In This Moment: Mother
Stallion: Slaves of Time
Unleash the Archers: Abyss
Movements: No Good Left to Give
Oceans of Slumber: Oceans of Slumber

November 2020: Highlights

It’s been a pleasure spending the first Monday of every month going over some highlights with you all, but it’s also been a personal lifeline this past year. We’ve never been luckier to have hard-working, passionate, talented people who, despite the events of the last eleven months, have continued to entertain us, distract us, and make us think. I’m happy to think anyone might have discovered some new music through this site, or looked at something in a new way, and I hope the year-end wrap-up to come will cover some more of the hundreds of releases I didn’t have time to write about or listen to deeply enough to feel comfortable writing about. So without further ado, here is the (slight, but heartfelt) last of the monthly highlights for 2020, and I’ll see you all at the end of the year!

Kylie Minogue: Disco
(2020.11.06)

Like a lot of labels, Kylie Minogue’s decided to start promoting its legendary star’s newest album back in July with the most radio-friendly and least-representative song of her new album Disco. “Say Something,” an otherwise halfhearted shrug of a song, did little to ramp up excitement for an album with such campy cover art promising a no-holds barred, mirror ball, leisure suit, Studio 54 fantasy extravaganza. Luckily, the rest of the album, while emphasizing the pop, mostly delivers on its tantalizing premise. What’s Your Pleasure? this is not: Kylie Minogue is first and foremost a pop star, not a disco diva, and the structure of each of these bubbly baubles keeps her rooted in very familiar territory. Its an album that joins a long list of club-ready hits from the aforementioned Jessie Ware, Dua Lipa, and Roisin Murphy, but besides Lipa’s, Minogue’s boasts the most accessible and the least experimental approach to its revival, a disco album for a general audience content to dabble rather than immerse. It’s an achievement nonetheless, banking on its ability to offer escapism and help put out the dumpster fire that was 2020. Most importantly, it is not Golden.

FANTASTICS from EXILE TRIBE: “High Fever”
(2020.11.11)

The female-side of the EXILE family has suffered tremendously this year with the loss of E-girls, one of the greatest J-pop girl groups of the last decade. I say this with no exaggeration — we will be waiting a long time for a group as remarkable, talented, and inclusive as E-girls to appear in J-pop again. Until then, we will have to make do with their closest male-counterparts, FANTASTICS from EXILE TRIBE, who are now tasked with carrying the dance-pop torch. The trick will be avoiding the temptation to fall into boring ballad territory, which the group has already flirted with this year. Luckily, “High Fever” takes a page from the “Blinding Lights” playbook, feasting on a spread of lightweight 80’s synths and groovy tension, all in service of showcasing an endless parade of ooh-and-ahh parlor tricks and choreography amidst a sea of eye-popping sartorial patterns. The song is in desperate need of more heft, but is otherwise one of the most focused boy band songs of the year, with a clear, noble purpose: piping in a constant stream of simultaneous activity from eight different corners to keep us as distracted as possible.

aespa: “Black Mamba”
(2020.11.18)

aespa is SM Entertainment’s newest girl group, the next in a long line rumored to be all but replacing its predecessor Red Velvet, much as Red Velvet replaced f(x), one group trumping the next in an endless and increasingly bizarre one-upmanship that continually suffers in quality, like a copy of a copy of a copy. Unlike groups like SNSD or f(x), aespa, with its “modern” gimmick of virtual members, spends less time proving they’re in it for the long haul, than that they are very much here to compete in the here and now with BLACKPINK, the world’s current reigning girl group. Thrust onto the world stage, K-pop groups no longer have the luxury to make the gradual journey with fans from neophytes to seasoned professionals, instead storming out of the gate with their “I Got a Boy“s like experienced veterans on their fifth comeback. So goes “Black Mamba,” with its technicolor PV evoking almost every saturated, holographic, Y2K-rainbow trend in visuals this year, from “How You Like That?” to Kalen Anzai’s “FAKE NEWS REVOLUTION.” It has a killer chorus, a dazzling hook, and arresting choreography, made instantly iconic by belly-up angles and abrupt camerawork. All of these pleasing elements make the song hard to hate, but also rob the group of what should have been its most important hallmark: the unique and instantly recognizable feel of an SM group. As SM’s least-SM group to date, it will be interesting to see where they evolve from here when this debut feels less like a prologue than an ultimate finesse.

RAYE: Euphoric Sad Songs
(2020.11.20)

There’s nothing that captures my attention faster than a throwaway Eurodance sample, as RAYE incorporates into “Regardless,” her bouncy collab with Rudimental that references Nadia Ali’s iconic trill for iiO’s “Rapture.” Euphoric Sad Songs relies a bit too heavily on this kind of tongue-in-cheek homage, tailgating on the 90’s dance trend that has consumed Brit-pop on and off over the past decade, but not without an endearing earnestness and genuine appreciation for the source material. There’s not much of long-term career in this kind of largely niche sound, one that relies on a very of-the-moment retro callback that won’t age well when the inevitable dub step revival commences, but a lot of this year’s best pop music has been predicated on successfully working within the confines of a less than ideal environment and limited shelf-life, and this one, without having much to say, says it all.

The World Standard: What’s “standard”!?
(2020.11.25)

With Avex in the middle of its dark night of the soul, any of our favorite groups are fair game for the chopping block. Among others, I’m preparing myself for the inevitable end of TOKYO GIRLS’ STYLE, FAKY, possibly even FEMM. None of these groups have had the kind of popularity that could possibly justify continual investment from a company that is now bleeding profit. The worst of these would be Wasuta, rather than TOKYO GIRLS’ STYLE, because we’ve been prepared for years to bid farewell to a years-in-the-making footnote that has long since ceased to play on any relevant field, while Wasuta has proved through their newest EP What’s “standard”!? that while they may be removed from their most inspired material, they can still churn out idol-pop with the best of them. While a lot of the charm of this EP relies on a long-term connection with the group, I can still imagine a casual listener finding a reason to explore their back catalogue with this as an introduction. Unfortunately, the upcoming single releases and scheduled lives don’t mean we’re out of the woods, yet, and I’m reluctantly prepared for the worst.

September 2020: Highlights

Things have really picked up this month, prompting serious decisions about what I would realistically have time to focus on. At the same time, the race is now on to listen to any major releases I missed or put off all year in preparation for year-end lists. Yes, it’s already that time! In the usual way of things, the longest year of our collective lives is also careening past us, the unforgivable march of time continuing on its way. Below are a few of September’s highs and lows to enjoy in its wake.

BBHF: BBHF1 -Nankasuru Seinen-
(2020.09.02)

It’s always with more hope than faith whenever a group makes the best debut list of the year, as BBHF would have last year, if it hadn’t turned out they were just masquerading under a new name. Many of the groups won’t amount to much, or like so many K-pop groups, sputter out or disappear. In many cases, the only thing left behind is one great moment orchestrated to prove beginner’s luck. So maybe it’s a good thing BBHF didn’t make the cut, or maybe the name change was just what the band needed, as their “debut” studio album, an ambitious 2-disc concept album chronicling one man’s emotional journey through a labyrinth of history and emotion set to a wave of poppy 80’s synth rock, proves. “Sooner or later, everything changes / I’m not happy at all / For better or for worse, this country is falling into a depression” they lament in “1988,” folding the twin tragedies of a burst bubble and a broken heart into an excuse to get wasted. “Let’s drink till we’re sick, of love itself,” they urge, as the synths swell and the titular character high tails it in a bid to escape depression and responsibility as if a physical entity, like so many Don Drapers before him. “Carrying all the burden in the back I will go south / I will go south, to survive.” It’s not the helpful message we need, perhaps one of the reasons the album was pushed back from its original May release date, but it’s honest, and refreshing, a J-rock band refusing to hide behind dour epithets without any genuine emotional anchor behind them. “Apps that I merely touched once and don’t use / I deleted them all, that is the pleasure of getting rid of things,” the opening track opines; one only wishes it was possible to shake off everything as easily.

Harry Gregson-Williams: Mulan (Original Motion Picture Soundtrack)
(2020.09.04)

The story of getting Mulan released to the public is almost as epic as the film’s story line, a journey that promises to get topped only by Wonder Woman 1984 or No Time to Die‘s own struggle to hit the silver screen. Gregson-Williams battled his own struggle in providing the musical backdrop, standing in the shadow of legend Jerry Goldsmith, and reckoning with one of the most iconic songs in Christina Aguilera’s discography. Luckily, he neither kowtows to nor completely eschews the original. If we’ve had to wait an extra six months to see the film, imagine how G-W, who began work for the film years before its release, felt! Luckily, the extra time paid off, with this score every bit as robust as the plot line and titular character requires: along with the usual soaring strings, there’s plenty of time-period appropriate instruments from the erhu, to woodwinds. The whole thing is capped off by the original theme, sung by returning vocalist Aguilera, who belts out “Loyal Brave and True,” with all of the sincerity, if not skill, as her original work on “Reflection.” What this soundtrack didn’t need was a repeat of “Reflection,” with the new vocals a mere memory of what the singer was capable of delivering twenty years ago, when she was still ambitious enough to put the work required into making it sound so easy. This score isn’t re-writing the Disney playbook, but it’s one of the few I was genuinely looking forward to this year, and it has delivered in ways the film, based on critical reviews, hasn’t.

TAEMIN: NEVER GONNA DANCE AGAIN: ACT 1
(2020.09.07)

TAEMIN is one of the closest people we have to The Great Pop Star, something on a par with the type of megalomania we had in the 80s and early 90s, a Michael Jackson or Madonna, a Solitary Figure with an otherworldly sense of talent, charm, and charisma. All of these traits are on display in his newest video for “Criminal,” including the hardly-human way he moves his body and the uncanny knack he has for looking through the camera straight at the heart of the viewer on the other side. It’s important, but easy, to look past all the shiny surfaces, CGI, and loose fabrics TAEMIN is always draped in, because there is never a moment he doesn’t emanate straight out of it. Like his predecessors before him, he’s seemingly more comfortable in front of the camera than behind, a man who comes alive in the pageantry of performance, and not a moment before. The rest of the mini-album serves its purpose well. TAEMIN’s sound is down pat now, a hook-based, sinister pop infused with tantalizing mystery, like the foreboding “Strangers” and ethereal “Clockwork.” It’s hard to be upset that his team rarely thinks outside of this box when he excels so well inside of it — a TAEMIN playing in his own shadowy sandbox instead of the bright ones his SM peers are often found running amok in is part of what preserves his iconic imagery. I’m not looking forward to his two-year absence to serve his time in the military, and thinking of SHINee without him helps little with the looming void. I’m glad he’s leaving us a few more tokens, and between this and his duties in SuperM, I’m sure the physical requirements of training will seem relatively familiar to the work SM has him put in day in and day out.

YooA: Bon Voyage
(2020.09.07)

There have been a number of girl-group members with less than solo-worthy chops getting their time in the spotlight, so it’s nice to see one come up that doesn’t deserve to go straight to the discard pile. YooA, from OH MY GIRL, has released her debut solo EP, Bon Voyage, and it’s giving off all the I ♡ Natural meets Shakira vibes. Unfortunately, the title track is the only one to take some risks with the quotidien K-pop sound, leaving the rest of the EP, especially tracks like “Nareul Chajaseo (Far)” and “Jagagmong (Abracadabra)” to fill in the blanks. Overall, the collection is indecisive, a box of pretty, but mismatched buttons that’s easy to chalk up to lack of direction, but as long as we’re not in Hyoyeon, or insipid, one-off ballad territory, I’ll take any of these I can get. In any other month, one not so jam-packed with top tier releases, this would have been easier to appreciate — YooA might not be a superstar, but mostly she just got unlucky.

BABYMETAL: LEGEND – METAL GALAXY (METAL GALAXY WORLD TOUR IN JAPAN EXTRA SHOW) DAY 1 & 2
(2020.09.09)

Live albums rarely get much appreciation, and BABYMETAL’s latest illustrates why. As a live group, they are pretty great, making use of their strongest assets to cover for places they might be more deficient. They’re idols, but a lot of their fans are metal heads, so many of the usual tricks are tweaked, with video screens promoting the band’s Fox God myth, pyrotechnics over lasers, minimal costume changes, some goth-y props, etc. Lip-syncing still helps in a pinch here and there, especially almost all of MOA and YUI-METAL’S “vocals,” while the band, central to the sound but not the marketing, remain wailing away at their instruments in shadow, with the focus staying on the three (now two) stars of the show. It’s all a lot of fun, and the band clearly enjoys the performance realm more than the studio one judging by the sheer number of live albums and videos that have been released over the course of this group’s 3-album existence. The problem is that rarely does their live music warrant so much attention — like most of it, these two albums are nearly note for note the studio versions with an audience piped in. Unless there are some crazy innovative, off-the-cuff solos, or new arrangements, albums like these, especially when they are unnecessarily spread across two separate releases, are blatant cash grabs of the worst kind. While “money-makers” is how most producers like business-minded Kobametal have always viewed idol groups, I’m not really sure how much longer fans will put up with a stagnated mythology, poor communication, and such obvious, and constant, recycling.

Ava Max: Heaven & Hell
(2020.09.18)

Going by initial buzz alone, you would think Ava Max wasn’t anything but a deliberate Lady Gaga clone. However, one thing was always clear during the drawn out string of singles leading up to her debut album Heaven & Hell: Ava Max has neither the quirky magnetism, nor the endearing desperation of Gaga’s early singles. “Just Dance” and “LoveGame,” were built on muscular hooks, their choruses as easily mutable through the expensive sound systems of clubs as tinny earbuds, the notes as hummable, and memorable, as a nursery rhyme. I barely registered any of Ava Max’s songs after the first listen. Luckily, her music works better in the album format, where the basic Euro-pop foundations lend a steady, sturdy purpose to an extended run of music, a stepping stone path of a track list that wraps up an almost 3-year block of fun, but indistinguishable singles. It’s not the best representation of what a major label like Atlantic can offer, but there’s raw material within Ava Max, one that hasn’t yet been tapped by truly innovative pop, the kind that gives songs an instantly recognizable personality. I would love to see what Max with a top-tier producer like Justin Tranter could come up with, though I worry that three years of little growth bodes ill for a journey to the next level.

Whenever You CallArashi: “Whenever You Call”
(2020.09.18)

It’s a shame that Arashi have reached a genuinely interesting stage of their career moments before calling it quits. Everything from a relatively robust Internet presence, to a Netflix documentary, to experimenting with popular social media platforms like TikTok that utilize their strongest appeal (personality), Johnny’s has finally allowed this group the space to grow, as the last year before hiatus, and what was sure to be a spectacular crowning performance at the 2020 Olympics went up in flames, comes to a close. This single, written by Bruno Mars and produced by D’mile is just another curve ball from the group this year. Technically, Mars’s name does not hold the same weight it would have five years or so ago, but his skill hasn’t waned in the four years since he hit a peak with 24K Magic (both the song and album). “Whenever You Call“‘s mid-tempo pace does a stellar job of covering all the group’s worst weaknesses, including some serviceable but awkward pronunciation (this doesn’t bother me, but it’s obvious most of the members are struggling a bit), and the video’s robust choreography that doesn’t quite match the laid back tone of the song (this routine has none of the chill that is a hallmark of Mars’ personality — even when he’s on his knees, he’s always in charge). Otherwise, this simple number is perfect for Arashi: bland enough to fit neatly into the group’s discography, but interesting enough to add a bit of flavor and genuine pathos to a long list of stuffy love songs. It’s no coincidence that Arashi is finally taking fun, sometimes lopsided, risks knowing that they have nothing left to lose, and it really makes one wonder what the group could have been if they had cared enough to think outside the very rigid confines of the Johnny’s formula ten or fifteen years ago instead. Of course, I have liked them just fine for the last few years, but imagine!

Movements: No Good Left to Give
(2020.09.18)

I feel a little guilty admitting that I think that Feel Something is one of the greatest debut albums of all time: the lead singer had barely reached legal drinking-age when the band put out one of the most honest and sincere depictions of depression set to audio. Does the album surpass its years to express a mature, wiser-than-its years clarity upon the subject? No, and all the better for it. The very heart-on-its-sleeve, sometimes angry, sometimes okay see-saw is the reason it works, a collection of haphazard emotional turbulence that only the young can, heart whole, deliver un-ironically. The dedicated post-hardcore touches only added to its mystifying success. Three years after its release, it’s still one of the CDs that sees the most re-play on my morning commutes. So with some apprehension, I queued up their follow-up album No Good Left to Give, already wincing at the train wreck of an album jacket. Luckily their sophomore album returns to the same trademark atmospherics of Feel Something. The genre has remained the same, but the execution feels more evolved and fleshed out, with a bit more specificity in its storytelling (“Seneca“) that lends songs a high relatability factor, and an overall less at-the-precipice than already-over-the-cliff commitment on the production side. The album can be a bit unforgiving in its relentless drive to play up the half-empty mindset when the music itself already does so much of the heavy lifting, with the lyrics an overkill at times and the spoken-wore segments still a distraction (also, note for note the same melody as the ones on Feel Something so it sounds — not in a good, come-full-circle way — like the exact same song), but this is still a world I can see myself spending as much time in as its predecessor, an aural space perfect for the bleak landscape we’ve all found ourselves in this year.

Kylie Minogue: “Magic”
(2020.09.24)

When Kylie announced the title of her new album, Disco, and revealed the cover art, I was hardly imagining the sound of “Say Something,” the first single released. But this is more like it! “Magic” perfectly captures the tone of “grown-up disco” that Minogue hinted at almost a year ago. With good reason, it lacks the serious resonance of Jessie Ware’s disco odyssey, reflecting, instead, the poppy fun we’ve come to expect from Minogue. It might not be so much grown-up, as an attempt by a grown up to capture the same nighttime feeling you only get at the club in your 20s, but it says a lot more than its predecessor. It also has a better, carefully social-distanced music video — okay, there’s only like six people total in the club and an invisible glass barrier surrounds our star, but we’re in the club again! Dancing! Celebrating! You can be nostalgic for 1979 and 2019!

July 2020: Highlights

I guess this is the accidental no-boys-allowed edition which is a good time to ask where all the great K-pop boy bands went. With any luck, YG’s new group set to debut in August will be neither male equivalent-BLANKPINKs, nor the type of clones who take all their inspiration from BTS like most of the recent crop of boy bands (though with a title like THE FIRST STEP : CHAPTER ONE, it’s not looking good). I have listened to every major boy band release this year, from SF9 to to 1THE9 to AB6IX to ATEEZ and everything in between and can’t help wondering — when is SHINee coming back?

Ayumi Hamasaki: OHIA no Ki // Dreamed a Dream
(2020.07.04) // (2020.07.31)

Despite cancelling her remaining tour dates, Ayumi Hamasaki has been working as always in 2020. In July, the singer released her first two digital singles of the year, the first an ode to her infant son whose existence she revealed in a surprise post on the first day of the New Year (sadly, my response was eerily prescient). “OHIA no Ki” debuted on the finale of the height-of-soap drama based loosely on her early career, Ai Subeki Hito ga Ite, starring Kalen Anzai and Shohei Miura. The song is typical of many Ayu ballads, and should come as no stylistic surprise with long-time producer Kazuhito Kikuchi at the helm. Kikuchi, who worked on past singles like “appears” and “HEAVEN,” hits all of his signature beats: soft pianos and swelling strings playing tag amidst a playground of leisurely vocals and an ascending major key chorus. It’s very pretty, but too similar to previous ballads to be anything more than another extremely competent, but rote, single. Its sweetest spot is the story, Ayu’s lyrics expressing the type of sentiments able to melt the freeze off the iciest cynic, sharing slices of the joy, fear, and relief that mark the firsts every parent experiences with a child. You really have to be a toad not to appreciate its charm, at least a bit. The second single, “Dreamed a Dream,” is the Tetsuya Komuro-penned comeback that fans have been waiting for. Komuro, busy spending the last few years lapping up nostalgia projects and taking liberties with words like “retirement,” took the time to produce this new single, which luckily has more teeth than his first contribution to the 46/48 franchise, a late-stage trf outtake, presumably. This is a very comfortable space for Ayumi, and like “OHIA no Ki,” it doesn’t add anything novel to the canon with its frenzied pace, thin guitar solo, and piano exit, but it’s nice to see jacket art that isn’t B&W or sepia-toned, and this year we really have to take any positives we can get.

Red Velvet-IRENE & SEULGI: Monster
(2020.07.06)

While track records are never 100%, there are some labels you intrinsically expect to deliver great hits. SM Entertainment is up there in the Top 5 (or 3, as it were…): there are few records labels, let alone Korean ones, that have released more enjoyable groups and hit songs than this monolith, and when word started going round about a favorite group’s new sub-unit, I couldn’t help but prepare myself for new favorite songs. But, alas, never 100%. So where does Monster go wrong? This EP feels half-baked, a collection of B-sides and filler album tracks, like Red Velvet’s Velvet side without any of the mystery or understated cool. Its inability to be more like Red Velvet shouldn’t work against it, yet “Jelly,” the EP’s most RV-esque track, is its strongest and least mid-tier. This is the kind of disappointment that hits on two levels – dashed expectations, and abuse of an otherwise high-quality production. The lazy name of this sub-unit should have tipped me off, but old loyalties die hard.

Katy Perry: “Smile”
(2020.07.10)

A new album from Katy Perry was obvious considering how many singles she’s released since Witness. The real kicker here is that “Smile” is 100% okay. The mellow vibes of neither “Harleys in Hawaii” nor “Never Really Over” provided any clues as to where the Katy of Teenager Dream was hanging out these days, but at least they weren’t as insufferable as “Never Worn White,” with its very Beyonce-at-the VMAs reveal (that’s two pop titans taking cues from Queen Bey in the same column!) or as boring as “Daisies.” My expectations for Smile were immediately relegated somewhere to the basement, next to that new Hitomi Arai single, but this lead-single is decent enough to have piqued a very, very mild interest. The album cover had me hoping for a concept a little more along the lines of Chaplin’s “Smile” (I am going to be disappointed if it’s not sampled anywhere on the album) but the performance video is more of an undeveloped alternate-universe Joker, one where Arthur Fleck’s mental health is quite stable, actually, and his passion and talent for bringing laughter and joy to the world was acknowledged and rewarded accordingly, leading to a happy and fulfilling career and personal life. So, very mindful, enlightened, centered, me-time Katy Perry, ca. 2020! I’m not sure the world is ready to receive a record as earnest as this right now, nor does it seem to promise any retribution for the tiresome C-level hits we’ve been getting since, oh, “Wide Awake.” I’m happy for Katy, but I’m not exactly sure this hyper-positive me-time is meeting the moment.

YUKIKA: Soul Yeoja
(2020.07.21)

Consistency is still a problem in K-pop. Look, of course it makes sense, from a money-making standpoint, to put all your resources into creating one hit single and culling the budget for album tracks that often exist for purposes of extra “content” rather than artistic continuity, but it’s harder to reconcile with the genre bait-and-switch that promises listeners something truly innovative, only to be a one-off. As far as I know, one of the few to really commit the whole way though was Wonder Girls. So YUKIKA’s Japanese city-pop angle is a revelation, a chance to truly give the industry something that’s maybe no longer fresh (not after almost a decade of Bandcamp tributes), but certainly different. Too bad it falls just short of committing all the way. Soul Yeoja leads with its jazzy, laid-back singles like “SOUL LADY” and the glimmering “NEON 1989,” the album giving every indication of a proto-Korean Dance for Philosophy before devolving into standard K-pop. Take “Yesterday” or “Day for Love,” which go for the bare minimum in vintage before “pit-a-pet,” an adorable homage to puppy love, boasts all the familiar tropes found on a standard GFRIEND or OH MY GIRL album. The songs themselves deserve little of the blame, for what is proving to be a lack of commitment on the production side. An album like Feel, that takes the less-traveled road of bravely ignoring the pressure to drop a traditional K-pop ballad, deserves every morsel of praise in its critical arsenal, but it’s hard to throw kudos to an album that chooses to play it safe when it’s clearly capable of taking it all the way. I like this album, and certainly appreciate what it’s doing the majority of the time, but I want to love it, and all I can do, now that YUKIKA is a full-length album in, is imagine the potential.

Kylie Minogue: “Say Something”
(2020.07.24)

Anything longer than 24 months is too long without a Kylie Minogue album, especially when that last album was Golden. While it’s nice to see artists try something new, it’s always disappointing when those visions don’t quite work the way they might have been pictured in pre-production. So it was good news when late last year Kylie spoke to The Guardian about working on new music that would get her “back on the dancefloor,” hinting at “grown-up disco,” and dropping the tantalizing adjective “shimmery.” This month, we finally get a taste of what she was talking about when Minogue announced her new album, Spartanely, but hopefully not too tastefully, titled Disco. The album cover is a thousand word, 12-pt font, double-spaced essay to describe that genre’s campiness, but the lead single “Say Something,” is mostly silent on the subject. The short pop song is less Golden Age-Donna Summers and more Sally Shapiro minus inspiration. There’s still plenty of unheard content on the album to look forward to, but if it’s just more of this, it’d do better to drop the “grown-up” tag and commit to youthful hedonism. It’s greedy to expect two world-class revival records in the same year when we already got Jessie Ware’s What’s Your Pleasure?, especially when no one was expecting Minogue’s so soon, but you can’t dangle an album cover like that with Kylie Minogue’s name on it and not deliver 100% of the fun and cheese it implies.

Taylor Swift: folklore
(2020.07.24)

Who knew that seven years after Queen Bey dropped Beyonce to an unsuspecting nation always hungry for “content,” that surprise album-drops would be one of the defining moves of her legacy? While she may not have been the first to do so, “a release of this nature was unheard of from someone of Beyoncé’s magnitude,” and since then, pop stars from Ayumi Hamasaki to Ariana Grande have labored in secret, only to parachute in from seemingly nowhere with full-length albums. But in fact, at this time last year, when Swift was spending months hyping her newest album Lover, it was still one of the few things she hadn’t done. The element of surprise and capture just doesn’t fit Swift, who’s prone to elaborate teasers, extended to heighten anticipation with her audience. Incorporating hidden images, weaving clues in visuals, and even working seemingly innocent hints into interviews is how she operates. This kind of fan interaction takes lots of time and forethought, none of which were given in Swift’s first official out-of-nowhere album drop folklore, announced less than 24 hours before it hit streaming platforms (and a record sixteen different physical versions). The confirmed album artwork down through the list of producers and co-writers were maximized to prepare listeners for an understated album of slower, more acoustic numbers, an album very different from the niji-iro Lover (though it’s a shame that Swift is making the rookie mistake of equating black & white photography and lowercase lettering with maturity, and sophistication). Slower, more acoustic numbers were never my favorite Swift tracks, so I went in with low expectations and suffered no disappointment. It’s a fairly satisfying album to listen to, and gives fans some primo content to chew, but it’s re-play value is nearly non-existent for me. I’m on the cynical side of the fence here with Andrew Unterbreger, who points out that “[b]y releasing it overnight with what for her is an unprecedentedly minimal amount of build-up, she frees Folklore from all of these questions and expectations [that “would have marked something of a risk if rolled out like one of her previous albums.”] If fans love it and consume it like crazy, then great. If it gets a lukewarm response critically and/or commercially, then she can underplay it as a quarantine-released personal project, not subjected to the same standards as one of her ‘official’ albums — like a mixtape, basically.” Very, very smart move though Swift is still too big to fail completely, and the sound here isn’t radical enough from songs here and there to divide fans as, say, Gaga’s Joanne did. If anything, it’s a return to Swift’s story-telling and songwriting roots with all the maturity and technical experience that she has acquired over years of honing a skill that is as second nature to her as posting cat pictures. Many songs have the usual stylistic notes and flourishes of a Taylor Swift chorus, citing note changes and key shifts present throughout her previous albums that identify her as succinctly as a sticky thumbprint. I’m not completely immune to its rustic-chic charm, but I’m no fan of the National or Bon Iver sound, so my curiosity tapers here. That’s the drawback to surprise-albums: the anticipation is always, if not more than, half the fun, so as quickly as it arrives it can be forgotten, like the last twenty tumblr posts you just scrolled through, and the twenty after that.