2020 definitely offered a great year of music across all genres of music. With COVID-19 effectively putting life on hold, music was the one beacon of happiness in this hellscape of a year. As always, this list of favorites isn’t in any order, but just what I really enjoyed.
Billy Carter’s Don’t Push Me is one of the standout albums of 2020. There isn’t a single weak track and every song’s deliberate pace and message is to educate the listener about South Korea’s archaic cultural standards. You can listen for the great music and then start to see the cracks under the surface of mainstream media’s view of South Korea.
sunwashere’s EP was a mix of indie pop moving towards R&B-influenced tracks. Throughout the release, she presented a lot of different aspects to her music and essentially provided one of the most seamlessly perfect EPs. Her next release better be even more amazing. No pressure.
Six years between albums hasn’t weakened any of the power or impact of WHITEOUT. This is the best hardcore album of 2020. Combative Post have raised the bar.
Garage punk and grunge together results in a crunchy, distortion filled EP. Beacon have introduced every aspect of themselves with highly addictive and enjoyable tracks.
The three members behind COR3A are experts within the electronic genre. The Early Hits of COR3A bring you into their universe and invite you to enjoy the experience they are supplying.
ASEUL’s Slow Dance brings back bedroom electronic pop to the masses. Every song carries her signature composition and arrangements while showing growth forward. The EP feels more organic and cohesive offering a unique perspective into the genre.
I didn’t listen to onthedal until Madi reviewed her, but she’s been a consistent listen. ℃ dal is solid from start to finish offering low-key and melodic tracks to zone out to.
The return of Deadbuttons was very welcome in 2020. Aside from the lineup changes and evolved sound, the foundations of the band are all still here and have moved forward. It’s not about louder is better, but how each song makes you feel.
haer accomplishes a lot on three songs and exposes a lot of herself on them. In terms of a debut, outside of singles, haer does more than some full lengths accomplish. Her potential as an artist is expansive and it’ll be interesting to hear what comes next.
There’s beauty in Jellyboy’s 2.5. It’s ambient electronic music, comparable to a soundtrack, and offers some warmth and welcome when you need something to soothe your mind.
COREMAGAZINE’s return in 2020 might have been the comeback that everyone needed. The melodic rock, now fronted with female vocals, give the band a different angle. The tracks are more specific and deliberate and offer a signature to the band that might have been missing before.
I’ve been a fan of math-rock for years and cotoba continue to scratch that itch. The members show their technical talent on every song and provide a unique voice within the genre. Name of The Seasons improves on form of tongue and continue to build their impressive catalog.
UZA’s first full length is the perfect primer to her music. While her older music is still just a compelling, Banality of Evil is a new level of UZA on every aspect of music creation. It’s the most low-key aggressive attack on expectations.
FOLD might be between Hunjiya’s own work, but this collaborative EP has some of the best composition and vocal manipulation. It’s a welcome addition to Hunjiya’s discography.
TAE:A combine the best rock and punk talents together to produce a high energy rock EP. There’s a strong foundation here and hopefully it continues.
WE ARE cements H a lot’s voice in rock music. The band’s previous full length was good, but relied a lot on past experiences, but this EP has shed all that weight.
This is the most important compilation of 2020.