pitchfork best albums

Like a freshly polished lens, the album’s eclectic production only pulls Van Etten’s songwriting into sharper focus. The magnetic scrappiness doubles as a bracing alert. Let’s face it: listening to new music wasn’t exactly easy this year. Pitchfork: 200 Best Albums From the 1960s show list info "When considering the whole sweep of 20th century music, the 1960s loom especially large. Since first emerging as a prodigious one-man songwriting machine earlier this decade, Alex Giannascoli has remained tapped into an ever-flowing stream of idiosyncratic excellence. The album soars when Megan nods to the greats of rap and R&B, from a jolly rework of Juvenile to the Jazmine Sullivan-indebted bad bitch anthem “Circles.” More than anything, these songs remind us that even when the worst comes to pass, good times might be right around the corner. Listening to Mary Lattimore’s Silver Ladders feels like blinking awake on New Year’s Day: There’s some melancholy over ... Yaeji: What We Drew. On "Hollywood," the double LP's 14-minute closing track, Cave viscerally summarizes his broken heart. –Alphonse Pierre. –Colin Lodewick, In 2019, Chicago indie rock trio Dehd released the sparse and scrappy album Water, with songs informed by the romantic breakup of bassist Emily Kempf and guitarist Jason Balla, accompanied by Eric McGrady’s one-tom, one-snare minimalism. Del Rey’s melodies also find their ideal setting in producer Jack Antonoff’s airy Laurel Canyon psych-folk, where she follows in the lineage of Joni Mitchell and Carole King. So she built one via her fourth album, how i’m feeling now. The warped, intricate death metal of the Colorado quartet’s sophomore album takes influence from legendary bands like Death and Morbid Angel, while its all-analog recording and illustrated sci-fi cover art feel further rooted in the past. It is. On Norman Fucking Rockwell!, her songwriting at last goes toe-to-toe with the grandeur of her ideas. It’s a moment representative of this warm, humble, and remarkably graceful album: a celebration of the act of creation that reaches its peak when there’s nothing left to say. But the raw energy of Apple’s voice is the album’s life force, and there’s no mistaking the subjects of her missives—be it the men who refuse to recognize their abusive behavior; the women who, like Apple, were conditioned to compete with other women; the mean girls and those who called their bullshit; the users and the silencers; the people she fears will leave her. Ad Choices, The albums that got us through this chaotic year, featuring Fiona Apple, Bad Bunny, Lil Uzi Vert, Phoebe Bridgers, and more, 5 Albums Out This Week You Should Listen to Now, The 2020 Club Bangers That Could Have Been, The 41 Most Anticipated Albums of 2021: Kendrick, Rihanna, Adele, and More. Hopefully, like Chloe x Halle, we reemerge into the real world, elegantly transformed by what happened in the wee hours of the morning. But even though she’s sick of the bullshit surrounding her, she doesn’t let it consume her being. He does a lot more of whatever he wants throughout the rest of the record—from sad boi trap to acoustic rap balladry to emocore—but not without first celebrating those who made it all possible. Ever.” –Matthew Schnipper, “I got two souls fighting for the same spotlight,” Long Island emo hero Jade Lilitri sings on the opening track of his third album as Oso Oso, Basking in the Glow. Each song is named after a creative titan of color (Betty Davis, Zora Neale Hurston, James Baldwin, Frida Kahlo, etc. Yet the real brilliance of this music lies in how free it sounds from what’s come before. Beyoncé — Beyoncé. (“Percy Miller, ‘bout it ‘bout it, ‘bout the dough/Macarena to the money after shows,” she sings on single “Fancy.”) And yet, maybe improbably, she synthesizes wide-ranging references into a genreless style that could very well be predictive of a post-Spotify moment. Across the record, the rapper uses singular rhythms and invented syntax to imagine his jewelry eliciting gasps from the juror box, chide police for snooping through his DMs, and laugh along with the inmates nodding their heads to his phone calls. LEGACY! Will count up from #1 on their list and give my personal rating and thoughts. You can see its vision of egalitarianism across the LP’s inner gatefold, which shows obscured portraits of the 52 people who helped create the record. It’s the sound of a super-rational person realizing the limits of reason and letting loose with 44 minutes of pure feeling. Fuzzy guitar, looped strings, and expansive guest spots from fellow vets Blood Orange and Run the Jewels underscore a new phase of Brown’s work without blotting out the high-pitched urgency that made him a compelling figure in the first place. Dream-sequence strings float atop dissonant shudders; Sumney’s voice transfigures mid-run like a stage trick, his falsetto a sudden flapping dove; he sings about being between polarities of desire and identity as if to lay claim to both at the same time.

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