Jeremy's 20 Favorite Albums of 2020!!

Soooo, I haven't written anything since the Oscars last year, mostly just because the world shut down. When I returned to Wix to check on my blog, I came to find that Wix completely overhauled their blogging template and completely broke all of my past posts. It wiped away all my tags, which were the nice little things I used to find which posts had Radiohead albums mentioned or which one had the two Smiths albums on it. All gone. Wix, you stupid bastard. So I am now going to have to be a grown up and pay to actually host a site and design it myself and put actual work into this thing. But I am afraid that will probably take some time and I don't want to rush it because I'm trying to get this 2020 albums list out. So what I'm going to do is try my best with one more post on Wix, then create my own site, and then freaking move everything over there and fix everything that Wix decided to break. So the weirdly sized heading for each album, the picture that for some reason doesn't line up with the text, the complete lack of any kind of formatting, these are all things Wix has made impossible. I literally cannot even choose the font size for my text. THE FONT SIZE. It's insane. I had to use Firefox to change the code of the pictures because Wix removed the option to change the size by entering in an actual size, they just want you to eyeball it. It's a fucking mess. But for now, let's list some albums. As I write this sentence, I am still not sure what is going to be at the top of this list, so let us all go on this adventure together and see if we all can't come out of this thing better people. (I actually have no idea what the order is going to be this year AT ALL. There were no stand outs for me, I am just as interested to see where Jeremy from a few days from now settles on this order, could be any one on the top)

20) Lady Gaga - Chromatica

Gaga must have come into 2020 thinking the year was going to be hers to set on fire. She had this pop dance banger album coming out in March with one of the opening singles featuring Ariana Grande. Then like two weeks before Chromatica comes out, the world shuts down and there were no more parties. Nowhere for Gaga's party anthems to do their thing. It's especially a shame because Chromatica is legit good. It's like an amalgamation of her first album and ArtPop, which happen to be my two favorite Gaga albums. Some of the slower songs on this album are duds, but the dance tracks (Rain on Me, Stupid Love, 911, Sour Candy) are so good to my ears that they lift up the rest of the album. I don't know what it would do for her career but I could do with like seven more of these Gaga albums.

Favorite Track: 911

19) Damien Jurado - What's New, Tomboy?

My love of Damien Jurado has been growing and fostering for most of my thirties now. From 2012 to 2016, he created the Maraqopa trilogy with collaborator and producer Richard Swift. All three of those albums feature Jurado stretching his indie folk as far into prog as possible. But then Swift died, and Jurado started producing his own albums. His first venture alone, The Horizon Just Laughed, was a delightful mix of indie folk and string arrangements. His second venture, In The Shape of a Storm, was just him and a guitar and was really boring. But this album, is a mixture of the two, and it is wholly enjoyable. Gone are the large sweeping moments of Horizon, but remaining are the gentle melodies and occasional backing strings and synths. And you know, sometimes there are drums, something that was completely missing from Storm. What's New, Tomboy is still much, much gentler than anything in the Maraqopa trilogy, but it's back to be the engaging sort of gentle, rather than a big snoozefest.

Favorite Track: Arthur Aware

18) Pet Shop Boys - Hotspot

I read a review of either this album or PSB's Elysium from 2012, where the reviewer said that every couple of albums Pet Shop Boys will throw a big bag of autumnal leaves in our faces. And that definitely applies to Hotspot, the final in a trilogy of albums produced by Stuart Price. The first two albums in this trio were bangers: Electric is a straight up rave, smashing up against strangers in the dark, dance masterpiece (I love that freaking album) and then Super was a really well done combination of Electric's asthetic and PSB's poppier early 90's storytelling, really a showcase of everything that Pet Shop Boys do well. I saw them live on the Super tour, it was a spectacle. But then here we are with Hotspot, a laid back slowjam of an album. It's reminiscent of the other bag of leaves albums from PSB's catalogue: the aforementioned Elysium and 2002's Release. And similar to those albums, this album is a bit of a grower. There are hints of dance beats poking through sometimes: the opening fifteen seconds of the album, the beat in the intro for Happy People, the goofball beat for Monkey Business, and all of the closer Wedding in Berlin. But every one of those examples is tempered in some way: the album opener gives way to the slower beat in the rest of Will-o-the-Wisp, the Happy People beat disappears as well, Monkey Business is just ridiculous for a number of reasons, and Wedding in Berlin, while being a full on dance song, has about zero soul behind any of it. But while the dance scene might be missing from this album, there are actually alot of good pop songs on here. It's not my favorite pop album of the year, and it's probably my least or second least favorite PSB album, but still good enough to get to number 17 on this list.

Favorite Track: You are the One

17) Gorillaz - Song Machine, Season One: Strange Timez

Damon Albarn released a song featuring Slowthai in January and it was labelled as the first of a new project called Song Machine, which would end up being a new collaborative Gorillaz album. Every month a new collab song would come out. Then Corona hit, and the collabs became remote collabs, and the music world thanked Damon Albarn for continuing to give us fresh jams as the rest of the planet completely shut down. Does this album feel like a compilation of singles? Yes, the first couple of listens, it definitely sounds like a not shitty version of Humanz. But with repeated listens, an (probably) unintentional apocalyptic tone emerges and ties those desperate guest features together into a coherent album. Standouts include Robert Smith on the title song album opener, Pac-Man featuring Schoolboy Q is a throwback to the first Gorillaz album, Chalk Tablet Towers sounds like a Now Now throwaway featuring St. Vincent, and the ultimate New Order worship on Aries featuring actual former member of New Order, Peter Hook. I honestly thought Gorillaz were going to be over after The Now Now, so the fact that this album even exists is a victory for me, but that it's this good is nothing short of a miracle. Also, Elton John's feature on The Pink Phantom has no right being as good as it is.

Favorite Song: Chalk Tablet Towers

16) The Orb - Abolition of the Royal Familia

Adrian Michna (known musically strictly as Michna) has been a staple of my life since I got hooked on his first album while playing GTA 3 in college (the last GTA without real life music on the radio stations) and he used to tweet about The Orb all the time, and so I downloaded 2015's Moonbuilding 2703 AD. That album was four tracks, lengths between 10 and 15 minutes long. And the first song on there was good, but the rest was too ambient. Later, I was reading a book by David Mitchell where, in a scene taking place at a party during the 90's, he mentions that The Orb's Little Fluffy Clouds is playing. So then I downloaded The Orb's first album, and Little Fluffy Clouds was good but the rest of the album was too ambient. But since then, I've kept downloading each new Orb album hoping one was going to come along that was mostly dance, and I was disappointed until this year, when we got Abolition of the Royal Familia, a dance adventure. This was clearly The Orb's intent, as every song is named as if it is a dance remix: Daze (Missing and Messed Up Mix), Hawk Kings (Oseberg Buddhas Buttonhole), Afros, Afghans and Angels (Helgö Treasure Chest), etc. Other then the way too slow ten minute slog of Shape Shifters (In Two Parts) (Coffee & Ghost Train Mix) right in the middle of the album, the whole rest of the tracklist is club banger after club banger, and I'm here for it.

Favorite Track: Hawk Kings (Oseberg Buddhas Buttonhole)

15) Nicolas Jaar - Cenizas

A mere entry after accusing The Orb of being too ambient, I completely change course with a Nicolas Jaar album that sees the man getting extremely low-key and ambient. Jaar actually released three different albums this year, two of which are on this list, but of the two that he released under his actual name, Cenizas is clearly the superior. Jaar's last two releases before Cenizas were under the Against All Logic moniker which was used to release variations of house music, so its not surprising that he stripped things down for this one, reminiscent of his breakthrough solo album Space Is Only Noise. The percussion on this album is almost exclusively sharp and metallic, as if being played on an instrument Jaar found buried in hay in a barn, but those sounds are counterbalanced by the warmth and fuzz that surrounds every other instrument and vocal in the mix. I haven't traveled much in the last year, but I imagine if I had been rocking my regular commute, that this would have developed into a great "listen to while reading on the train" album. It's mostly very comforting and peaceful, like if Tom Waits was concerned with creating a pleasing sonic experience (minus Tom Waits' not so pleasing voice).....(No hate, I thoroughly enjoy many Tom Waits songs). Also, I'm listing Mud as my favorite track below, because it is, but it is perhaps the least representative song to pick to give people a feel for the rest of the album. So if Mud piques your interest, try listening to the rest of the album, it's like that song but with no singing and less of a driving beat. I mean, just check it out any way, at the very least it'll probably scare your kids.

Favorite Track: Mud

14) Dua Lipa - Future Nostalgia

I never really had an interest in Dua Lipa before this album came out, but when I hear a female singer has branched into electro-disco, Jeremy comes a-calling! The album gets off to a good enough start with the title track and Cool being your standard boilerplate 2020 pop songs, but the really juicy stuff starts with Physical, with it's ABBA-esque flute sample floating in and out of the background. Actually, I'm looking at the credits for this album on Wikipedia, and Stuart Price is listed as a co-producer on all of the best tracks on this album. That dude has his fingers in everything! This is followed by album standout, Levitating, which is essentially just a Bruno Mars song written by Dua Lipa, sung over a slinky disco guitar. There's not a whole lot that makes these songs better than other pop songs of the day, it's literally just how great the bass beat is in Pretty Please, Dua Lipa's songwriting, and the electro beat on Hallucinate; these things put this album over the top. The last two songs on this album are not that great, but other than that, I love the whole tracklist. This is also probably the album that Jackie likes the most of my 2020 picks, if I had to guess.

Favorite Track: Levitating

13) Rina Sawayama - Sawayama

This album is also a female pop singer, but goddamn is it different from Future Nostalgia. I have to be honest, I did not foresee the recent nu-metal revival coming, but I am sure happy it's here. Which isn't to say that all of Rina Sawayama's is nu-metal, but it's there, peaking out of every corner of this pop extravaganza. It's there in the thunder guitars in the background of opener, Dynasty. It's there in the crunchy as fuck guitar stings in between the verses and choruses on XS. It's in the forefront of STFU! which actually is a straight up nu-metal banger. Sawayama isn't only rocking out though, there are plenty of straight up POP tracks on this album: Comme des Garçons (Like the Boys) is a female empowerment bass bumper, Paradisin' is almost hyper in its J-pop sensibilities, and Bad Friend is a slow jam about being that friend who is a party to be around but is terrible at keeping up during down times. Sawayama is a mish-mash of influences, but it comes out beautiful like a Fat Sandwich from back in the day.

Favorite Track: XS

12) The Avalanches - We Will Always Love You

This album is a real punch in the gut. It's obsessed with the link between our conception of space (as in outer space, no air) and death. Both are great unknowns, both pique our interest and inspire many of our most interesting pieces of art and storytelling. The intro track, Ghost Story, sets the stage for the whole album, with a woman who has just died leaving a voicemail to her loved ones and apologizing for leaving so suddenly, it's hard for me to listen to almost every time. On the title track, the phrase "Every day we're apart feels like a week" floats as if being spoken by a specter through the whole song. Which isn't to say that the whole album is sombre; that track is followed by the sunny The Divine Chord and the interlude Solitary Ceremonies is like if a bright theremin wrote a song. Interstellar Love starts our move into space, eventually on the album we hear samples from the Golden Record that was sent into space as a form of first contact with any alien races. The cover artwork is an image of Carl Sagan's widow Ann Druyan, who's heartbeat was recorded on the Golden Record. The second half of the album trails off a little as far as quality, especially some of the features, especially specifically the Kurt Vile feature. That song is rough. But when this album hits, it hits really nice and spooky.

Favorite Track: Wherever You Go

11) Against All Logic - 2017-2019

Nicolas Jaar made three albums this year and this is his second on this list. The third, Telas, is not making an appearance on this list, but still, three albums in a year and two good enough to make it on my year end list is a pretty impressive feat. Jaar's previous release under the Against All Logic moniker, 2012-2017, was my favorite album of 2018 because it was literally wall to wall house jams. This follow-up starts off that way and then bleeds into ambient on the second half, sort of as if this album was a transition between 2012-2017 and Cenizas. My favorite tracks are the bangers on the first half though. The album starts with the Beyonce sampled Fantasy and then the housiest house ever on If Loving You Is Wrong, one of my five favorite tracks of the year for sure. After that, With an Addict has a tribal drum beat moving with speed in the background, but the synths Jaar layers on top of them are ethereal at best, setting the stage for the tone of the second half. First though we plow our way through If You Can't Do It Good, Do It Hard which is basically a punk house track featuring the shrill yells of Lydia Lunch and Alarm, which is two minutes of the musical equivalent of an alarm clock going off. This bleeds into Deeeeeeefers, which is as heavy and clangy as this album gets, the bass line is fried like a robot on telephone wires. Then things get a bit slower on Faith before completely coming to an ambient halt on Penny and the album closer You (Forever). Hopefully next year we'll get a 2019-2021, and it'll just keep going and going and going.

Favorite Track: If Loving You is Wrong

10) Blue Hawaii - Under 1 House

What a pleasant surprise this EP was. Not that it was good, just that Blue Hawaii decided to grace us with a six track EP of down-tempo house grooves with some sexy side boob on the cover. That the EP is good was just a given. Opener Feelin' reminds me of the kind of music they'd use during a runway scene in a nineties movie, with some smooth sax on top during the second half. I Felt Love is the most straightforward track of the six, with it's simple beat and echoey vocals. You're Not My Boss! is an anti-capitalism call to arms with part of the beat being a looped vocal of front woman Raphaelle Standell-Preston yelling "I'm my own damn woman!" This is followed up by my favorite song on the album, Where Are the Keys???, with Standell-Preston breathily singing over alluringly simple beats both from the drum machine and the titular keyboard. Let It Be Us is lyrically wistful about the desire to share your love with someone and develops over a slight bubbly beat. Closer No Drama sounds straight from the nineties, thanks in large part to the beat which is either heavily influenced by or just straight up sampled from nineties jam staple, Show Me Love by Robin S. Blue Hawaii travels down a musical pathway that I love, and I'm going to keep on picking up those breadcrumbs as long as they are dropping them for me.

Favorite Track: Where Are The Keys???

09) Grimes - Miss Anthropocene

Prior to and while in the process of meeting, dating, and then having a child with Elon Musk, Grimes found some time to make this album. When Miss Anthropocene came out, a lot of the discourse around it was that it was darker than Art Angels and that there was more of an industrial tinge to this album, but honestly, I think that is literally just because Grimes has described it that way and not from any actual place of music criticism. Is it darker than Art Angels or Visions?..........Maybe? Not really? It's a bit slower on average than those two albums, but does that equate darkness? Does this album have industrial elements? I guess? I mean what does Industrial even mean at this point in music history? Every kind of electronic music has been blended and ripped apart. This album sounds no less or more industrial than Grimes's other projects. So what does this album have? Does it have another song featuring Taiwanese rapper Aristophanes aka 潘PAN? Sure does, and it kills just as hard as the last one. I think the big difference between this new project and the old ones is just a matter of space. Miss Anthropocene opens with So Heavy I Fell Through the Earth, a slow pulsing electro beat, then the power of the aforementioned rapping in Mandorin on Darkseid, but that's immediately followed up by Delete Forever, which is based around an acoustic guitar and is backed during the instrumental areas with strings. This is followed by Violence, which has a quick beat but Grimes sings over it at a dragged out slow pace, giving space to a beat that has no space. The whole album is like this, which y'know, it just means you listen to Miss Anthropocene when you're driving on a rainy day, as opposed to listening to Art Angels when you are tripping on acid that you thought was Fun Dip.

Favorite Track: You'll Miss Me When I'm Not Around

08) Run the Jewels - RTJ4

I don't even know what to write about Run the Jewels at this point. Every album they release is great, every time. And I think that this fourth entry is probably my favorite of them all. El-P's production has always been on point, and it is here as well. Killer Mike's verses have always been vicious, they are here as well. I mean, we all know who Run the Jewels is. We all know how awesome they are. We all know that they speak the truth of the people. We all know that they are gonna make you dance and also want to fucking murder 95% of the politicians running our country. There's a reason that Zack de la Rocha from Rage Against the Machine only ever seems to make features for RTJ albums. It's because they're the voice of the people. That's it. This album is another top notch Run the Jewels album. If you don't like them, you probably think that voting is the only part of politics you need to take part in and be educated about.

Favorite Track: Holy Calamafuck

07) Sufjan Stevens - The Ascension

This album is pretty depressing. And not in the way that Stevens's last album proper, Carrie and Lowell, was. That album was about Stevens coming to terms with the death of his semi-estranged mother. That kind of album is meant to be depressing, and Stevens sticking to a stark mixture of whispered vocals, acoustic guitar and banjo, and slow-burning ambient synths only drove that home hard. Rather The Ascension is depressing because it is repetitive and cold. Gone are the gentle acoustics of the banjo and guitar, replaced almost exclusively with icy synth wave beats. Gone is the gentle sad whisper barely holding back grief, instead replaced by a pleading ghostly cry from inside your computer. And the saddest thing about this album is not that Sufjan feels this isolation from the other side of his computer screen and has chosen to express his loneliness in the form of many slow building orgasms of electronic patterns. No, the saddest thing is how after listening to this album approximately five times, we all start to understand and identify with every single plea. After a year of isolation, I too feel like a disembodied computer voice yelling into an abyss. When I first listened to this album, I thought I wasn't going to like it. It's very stark. But I was wrong, and now I cry along with Sufjan when he repeatedly begs "Come run away with me" in Run Away With Me, or the insistent depressed repetition of "I wanna die happy" in, appropriately, Die Happy. The Ascension is a mood, the same mood that 2020 was. It's appropriate that the phrase the final track of the album centers around is "Don't do to me what you did to America." This album is of a time. The time is now.

Favorite Track: Die Happy

06) Deftones - Ohms

When Deftones' last album, Gore, was released, I, along with a lot of other fans, was left asking "Where is the power?" and I think the band took the general ranking of Gore as the worst Deftones album to heart (it is, although Acid Hologram and Doomed User still slap). They decided to work with producer Terry Date again who produced their first couple of albums and while I am not sure that this album sounds a whole lot like their early albums, I imagine working with an old friend takes a lot of tension off in the recording studio and you can feel it in the music. Also, Deftones takes zero seconds on this album to let you know what's up because Ohms opener Genesis rips your fucking face off. I am writing this at 6:30 AM, and I am listening to this album on my headphones while writing instead of over my speakers like usual because it would wake up my neighbors and then convert them to Deftones fans, and then they'll be coming up here, asking me about Deftones and can we be friends and I just don't have time for all of that. This entire album is raw like an electric wound. Stephen Carpenter's guitars are pummeling, Chino Moreno's vocals range from blood curling shriek to gentler areas of melody. The slower songs on this album are still pretty hard because even though the singing may have slowed down, Carpenter's guitar and Abe Cunningham's drums are still pounding away behind him. Ohms has definitely gotten the best reviews of any Deftones album since White Pony, which I don't know why all of a sudden this version of Deftones is the one that really resonates with music critics, but I do really like it. I'd probably rank it somewhere in the middle of my Deftones album rankings. Also, the visualizer video below for The Link is Dead is pretty cool.

Favorite Track: The Link is Dead

05) And You Will Know Us By The Trail Of Dead - X: The Godless Void and Other Stories

My usual rule with Trail of Dead albums is that the more elaborate the artwork on the cover is, the worst the album is, but they went and did the ole switcheroo on me, and came out with a good album that has that crazy-ass hodge-podge of dragons, lions, and deities you see over there. X is their tenth album, makes sense, and it can almost be seen as a greatest hits, but just with all original songs; every aspect of their various other albums are represented here. There's some prog stuff in here, as made obvious by the artwork, such as the end of Into the Godless Void or the keyboard intro to Blade of Wind. There's plenty of post-hardcore on here, since that is essentially what kind of band Trail of Dead is. There's some slow jams on here like Don't Look Down, even though that does have a lengthy instrumental section that is hardly slow in the second half. This isn't Trail of Dead blazing some new path here, it's just an album of great songs refining all the paths that they have walked down before. But also if Conrad Keely and Jason Reece want to make another album of all post-hardcore bangers like Lost Songs next, I will also be happy to walk down that path with them.

Favorite Track: Children of the Sun

04) Baxter Dury - The Night Chancers

I respect Baxter Dury on this album for not even trying to sing. He's got female backup singers to take care of that unnecessary task. Nah, rather than singing, he just talks over the beats and fills the space that melody would hold with mountains of attitude. The first line of the whole album is Dury on I'm Not Your Dog muttering, "I'm not your fucking friend," and when you hear that, you think, "I should probably not screw around with this dude." I'm not usually one for the whole talk sing kind of thing, but Dury makes it work like a rough trod Leonard Cohen from the streets. Plus the music is interesting enough that it keeps me hooked even when Dury is basically not doing anything. On Saliva Hog, Dury rambles over a keyboard line, drum machine, and strings, until the last half of the song when the background singers ask repeatedly, "Who the fuck are you my friend?". The strings are really what makes a lot of these songs, they're so perfectly used to cut up some of the monotony of the piano and bass lines that are used for most songs' backbone. Also, the back and forth between Dury and the backing singers can be hilarious at times. My favorite example of this is on Carla's Got a Boyfriend, where Dury laments that someone he is interested in has a boyfriend, who he describes with non flattering terms, "He's got horrible trousers/And a small car...Bit of designer hair/Sloppy facial looks" and ends this diatribe with the vague threat "Carla's got a boyfriend/I might take care of him, to be honest" which is followed immediately by the background singers responding with the "Promises! I've made so many/been so wrong lately." This album would be good for a night time drive.

Favorite Track: Saliva Hog

03) Jessie Ware - What's Your Pleasure?

Disco, y'all. Disco. This is what Jessie Ware was thinking when she created her most recent album, What's Your Pleasure?. Bring the disco, and bring the disco hard. And it's coming straight through the speakers into the welcome ears of Jeremy who loves female singers and also loves disco beats. I got into Jessie Ware when her first album came out, 2012's Devotion, which was much R&B focused in it's musical ambitions. But her two subsequent albums were not really my cup of tea, so it was a pleasant surprise to hear the stellar reviews that followed her most recent release and I was just as pleasantly surprised to find how much I enjoyed it. The opener Spotlight is fine (it's probably my least favorite song on the album) but the album really picks up with the next song, the title track, in which the synth beats ramp up and the drum track is as padded a fuzzy bass as you can get. On this song, Ware allows the music to stand out by gently crooning around the beats. I'm kind of hitting a wall writing this one because most of the songs follow the same kind of structure: Sweet synth bass line, some other synthesizer to spice things up, and Ware singing beautifully throughout. All the songs on here are great, they're probably good for getting busy to.

Favorite Track: In Your Eyes

02) Nicolas Godin - Concrete And Glass

Nicolas Godin is one half of one of my favorite bands, French synth legends, Air, who haven't had a proper studio album release since 2009. So I guess my first question when this album came out was, "Why are solo albums coming out and not Air albums?" and then when I listened to this album for the first time my thought was "This is an album I am not going to listen to much, it's not exciting enough, it only has one good electro-jam on it (that would be the closer, Cité Radieuse), why?", but then I listened to it some more. And some more. And some more. And similar to Sufjan Stevens's album, I found myself enjoying it more and more every time I listened to it. This isn't an Air album, it's actually more reminiscent for me of I Robot by The Alan Parsons Project, not just in the "producer making awesome electronic beats for guest singers" format, but also in the breezy sort of flow that both albums possess. The vocal performance by guest Kirin J. Callinan on Time on My Hands is an electronic spiritual successor of the vocal performance by Lenny Zakatek on I Robot's I Wouldn't Want to be Like You. Kate NV's feature on Back To Your Heart is one of my favorites, with Godin backing NV's angelic vocals with the slinkiest, Frenchest keyboard horn you have ever heard, it's almost dripping honey out of it. Godin does sing on a couple of tracks on here, but he always disguises his voice behind electronics and vocoders, so it sounds like a robot is singing, but it never takes away from any of those songs, if anything it just supports the soundscape that the instrumentals are creating, just another keyboard sound in a bunch of keyboard sounds. Anyway, I love this album, and I can't believe that it is my second favorite album of the year, but here we are, and it totally is.

Favorite Track: Back to Your Heart

01) Peel Dream Magazine - Agitprop Alterna

Of the, possibly, five people who will read this, I can almost guarantee that none of them will know who this band is or will have listened to this album. To be honest, I don't even really know who this band is; I downloaded this album because it was on a "Best albums of the year so far" list in July, I don't even remember which one. They don't even have a Wikipedia page. So I suppose if I'm trying to get people to read this, it's a bit of a shrewd move to make the ultimate payoff of the whole thing an album that no one will be able to personally identify with, but I have to be true to my heart, and this album is the one that I would randomly crave listening to the most this year. Agitprop Alterna sounds like early Stereolab: it's shoegazey to a fuzzy crunch, it's got Krautrock repetitive drums, it's got vocals that are hidden underneath the waves of fuzz, it's got wonky keyboards that sound like they have water in them, dreamy female vocals. There are also parts of this album that sound like My Bloody Valentine on their first album, with that kind of metallic sheen over their washed out guitars. Shoegaze songs are so hard to describe, I feel like giving other bands as comparisons is the only way I can get any kind of idea across of what's on this album. Suffice it to say, if you have any interest in any of the genres I've listed in this blurb, you'll love this album as much as I do. Number One, Baby!

Favorite Track: Emotional Devotion Creator

Well, we have come to an end. 2020, I'll see you in hell! Stick around for a new version of this website in the next couple months. Or if you are on the new version, then welcome to whatever I made a couple months from now.