By introducing what could arguably be described as some of their most introspective lyrics to date into their rock and roll alchemy, Cloud Nothings delivered an album that totes an intriguing combination of coolness and comfort.

As a debut release, Cool Dry Place is remarkable. Katy Kirby has crafted a series of captivating indie rock-pop tracks, all centered around a voice with clarity reminiscent of Sylvan Esso or Haley Heynderickx, but swift and whimsical movements that feel all Kirby’s own.

There’s a level of introspection present on the record that’s hard to duplicate, and when coupled with a stunning exploration of queer relationships, it creates something truly extraordinary. And frankly, triteness is solvable, and there’s beauty in the simplicity.

On TYRON, slowthai doesn’t make grand statements or platitudes like a politician. He simply offers his own story of perseverance, hand extended and Mona Lisa smile brimming.

This album is the payoff of a risk: while this may not have been a vocally challenging album for Williams, it can be deeply difficult to share the quiet corners of the soul, the stories we might not want to tell but need to for the sake of healing.

An essential listen for fans and a fair introduction for newcomers, Medicine at Midnight feels like the rare late-career release that genuinely earns its spots within the legacy setlist.

This Lost Themes run is the best legacy sequel in this exhaustive era of legacy sequels, and if we’re lucky, the credits will never roll.

OK Human lands as a surprisingly charming collection of pop tunes whose imperfections add to rather than detract from the experience.

This album definitely draws from painful places, but comes out of its explorations is multifaceted, deeply considered, and above all full of kindness. The questions it asks — what does caring really look like, how do we show one another kindness when we’re angry, how do we show ourselves kindness when we’re upset or hurt or numb — are essential ones, and we’re lucky we have Parks to guide us through them here.

Drunk Tank Pink is a beautiful demonstration of how musical rebellion and fury need not be explicitly lyrically tied to the current moment to speak directly to those living through it.

There will be no sophomore slump for Viagra Boys. At its best, Welfare Jazz represents an evolutionary step from Street Worms that’s tighter, tougher, and more riotous than what came before. That same evolution even lifts the record’s missteps. There are failures, but at least they’re interesting failures.

McCartney III will likely go down as one more intriguing artifact from this deeply strange year: an above-average quarantine album from one of the highest-profile artists yet to share their lockdown material. Left alone with his thoughts like the rest of the world, Paul McCartney turned solitude into something unifying. The end result has its flaws, but the sentiment certainly doesn’t.

Throughout the journey of the Man on the Moon trilogy, which is imbued with many twists and turns, The Chosen captures Cudi as victorious, finally reaching his long-awaited destination.

This record further establishes her identity as a modern poet, and the allusions to writers of old are tucked throughout. ... Mid-record songs like “cowboy like me” and “long story short” might not rise to the top either, but to say that any of these songs are weaker in comparison to others is like complaining about smudges in a crystal wine glass set — everything here is still beautiful and much better than collections you might find elsewhere.

Altogether this album feels like its own artifact in the making, ready to haunt listeners and filter its Morse code and snapshot stories through their speakers for years to come.

Nightmare Vacation is an excellent look into the many cogs that make Rico’s brain work without setting up a definitive future direction. It’s this unpredictability that makes her exciting and shows how she has enjoyed longevity in this fast-paced world.

Cyrus has always been more interesting — eclectic, provocative, upending expectations — as a public figure than as a musician. But on songs like “Midnight Sky”, Cyrus has found a sonic mode where listeners can more fully hear her distinctive voice and unruly perspective. Like her hero Elvis Presley perhaps, Plastic Hearts proves that Cyrus can be derivative and still be an original.

Good News showcases Megan the Stallion’s creative depth, her euphonious inventiveness, and libidinous wordplay.

The Bangtan Boys accomplish exactly what they set out to do with this album: bring comfort to their listeners and remind people around the world that they are not alone in their experiences.

Simply put, AC/DC went in and kicked out the proverbial jams, crafting their best album in years and igniting a spark of joy into the stark timeline that is 2020.

From start to finish, the album does a great job of capturing the nostalgia and wisdom of age without losing sight of the youthful tenacity and outspokenness that’s always made him unique. Backed and guided by some other truly talented folks, Costello’s latest is another pleasingly characteristic and weighty addition to his already illustrious legacy.

Positions fits neatly in the pop princess’ catalogue and feels like a worthy continuation of her story. The narratives (much like the vocals) are lush, filled with graceful twists and turns, plenty of side characters to keep our attention, and a star worth rooting for.

Existential Reckoning is certainly another worthwhile effort from the acclaimed singer and his ever-revolving musical collaborators.

There’s a powerful cohesion to the collection that makes it feel greater than the sum of its parts, with several standout fusions of singing and instrumentation/production as only Lopatin could yield.

The emotion is there, as ever, but the production sound doesn’t pull equal weight in distinguishing Smith’s work from other mainstream pop artists.

The album could stand to be 10 minutes shorter, but who’s to complain about having too much of a good thing? Recorded pre-pandemic, the joy and enthusiasm of the reunion tour is captured here and the results are immensely entertaining. If you like thrash, then the Raging Wrath of the Easter Bunny Demo is mandatory listening.

Forgotten Days is arguably the best doom metal album of 2020 and an impressive label debut. Thanks to Dunn’s minimalist production, the album is a sonic pleasure, and it’s instantly more listenable and accessible than Heartless.

Not many artists reach 20 albums, and even fewer do it with such aplomb. Or, to put it another way: here’s to 20 more.