The Top 25 Albums of 2020
#25: Yukika - Soul Lady
(K-Pop, City Pop)
Albums like Soul Lady stand as effective demonstrations of why trawling through the flood of new releases that drop every year is a worthwhile endeavour; your discoveries may often be disappointing, but the occasional hidden gems are magical enough to keep the studious listener motivated to keep searching, and the debut record from Yukika is as perfect an example as you could ever get. The actress-turned-idol is a breath of fresh air in her genre, even if the reasons why are not readily apparent: a slightly cleaner sound, marginally more compelling vocals, an appreciable effort to thread an ongoing narrative into what could have been just a collection of irreverent pop songs. Her infatuation with the Japanese style known as city pop is probably her most defining characteristic, and her music strikes a nice balance between that genre's polished charm and the catchier aspects of K-pop that leave songs like Yesterday and the title track so memorable and replayable. Soul Lady shares a number of problems with many of its K-pop contemporaries (some subpar ballads, the occasional passé instrumental, a few cuts with noticeably superficial lyricism), but the highest points of Yukika's execution are still a sight to behold; K-pop fan or no, this is not a record to miss.
#24: The Strokes - The New Abnormal
(Indie Rock)
‘Memorable’ is perhaps an oddly fitting descriptor of The Strokes’ music, an unlikely heritage that The New Abnormal is surprisingly adept at employing in its best moments. Even among a field comprising some of the most talented rock bands of their generation, the group was able to carve out a legacy for themselves that endures to this day, largely through the sheer volume of unforgettable hooks and genre-defining melodies strewn about Is This It. That ingenuity can still be heard here: in the ever-shifting melodies of Bad Decisions, in Julian Casablancas’ pained shouts on the chorus of Eternal Summer, and in so many more hidden idiosyncrasies that often show their face for only the briefest instant. The longer tracks routinely fail to justify their lengths, and it is truly a shame this loss of focus too often ends what begins as an explosive outburst of passion with a pitiful whimper. Nevertheless, though many fans of The Strokes will continue to let perfect be the enemy of good, any band that can still write something as powerful as Selfless or as euphoric as Brooklyn Bridge To Chorus is one worth listening to.
#23: City Girl - Siren of the Formless
(Lo-Fi Hip Hop, Downtempo)
Though it may at first appear to be little more than a gimmick, in truth the decision to split what probably would have been one lengthier record into two more concise ones reaps many benefits for the latest City Girl endeavour(s). Despite Siren of the Formless being in many ways a better summation of City Girl’s various talents than its partner Goddess of the Hollow, both are astonishingly consistent releases, each with their own separate ambience, themes, and merits. City Girl is far from the first artist to employ such a tactic, but one would be hard-pressed to find a duet of albums as contiguous and interwoven as these, and that they originate in such an unlikely genre only adds to their appeal. If anything, these twin records only prove more certainly that the ill-founded critiques leveled against lo-fi hip hop are largely unfounded; beyond that, the only thing certain of the next City Girl release is that it will likely be even more impressive and ingenious than one could ever expect.
#22: HMLTD - West of Eden
(Art Punk, Art Rock)
Is West of Eden a conscious effort by HMLTD to find harmony in a confused hodgepodge of their innumerable influences, or have they gone completely off the deep end in an attempt to create something that often seems pointlessly eccentric and experimental? Punk records released in the modern era tend can usually be traced through a straight line back to the genre's original figureheads in the '70s, but the sonic palette employed on West of Eden is all over the place: synthpop for Mikey's Song, dance-punk for Blank Slate, an old-school Spaghetti Western flavour for LOADED and To The Door. Even without acknowledging the record's tendency to spontaneously break out into a trap beat at the most inopportune times, it's clear that the group is largely striking out on their own here when it comes to their overall sound; that so much of their debut album remains lively and entertainment despite it all is practically a miracle. The result, as interesting as it presents, is far from the most stable or accessible project; still, it's getting harder and harder to find bands that are truly able to push boundaries and innovate, so what HMLTD have been able to accomplish on West of Eden should be celebrated, even if it cannot be fully understood.
#21: Ka - Descendants of Cain
(Abstract Hip Hop, Conscious Hip Hop)
At first glance, Descendants of Cain might feel like a slight regression for Ka, a return to the morass of dour tones and sluggish beats that leave many critics hesitant to heap praise upon the obviously talented artist. Where recent albums like Honor Killed the Samurai and Orpheus vs. the Sirens found Ka utilizing the themes and aesthetics of feudal Japan and Greek mythology (respectively) to innovate instrumentally as well as lyrically, Descendants of Cain is by comparison a muted, fatigued listen, despite the rapper predictably pulling a great deal of powerful material from Christian theology. Where this album finds its power is in the delivery of its analogies; more than ever before, Ka is uncomfortably effective at tying the tragedy of Cain and Abel (among various other Biblical stories) to his own experiences, and the closing ode to his wife, mother, and deceased friend is easily the most poignant Ka has ever appeared. The appeal of Descendants of Cain, more than any other Ka record, is far from immediate, yet to check out and refuse to search for that appeal out of an initial apathy is to lose out on one of the most lyrical and fascinating rap albums of the year.
#20: Freddie Gibbs & The Alchemist - Alfredo
(Gangsta Rap, Jazz Rap)
Considering how productive both of the artists behind Alfredo have been in recent years, that they would eventually cross paths in the construction of a full-length collaboration seemed inevitable even before it was announced. In many ways, Alfredo is merely cashing in on the inevitable fruits of such a pairing; tracks like 1985 and God Is Perfect are textbook demonstrations of both Alchemist's principled yet offbeat production and Gibbs' guttural suave on the mic, perfectly enjoyable to listen to yet pushing neither artist outside their comfort zone. Where this record finds its niche is in the duo's efforts to weave guest rappers into their established patterns, forcing Alchemist to craft more lavish instrumentals to accommodate Rick Ross and Tyler, the Creator, or pushing Gibbs' lyrical abilities in an even grittier direction in order to keep up with the no-nonsense Griselda members. The results are nearly always astounding, and combined with the album's brevity and complete lack of filler material, give it a distinct flavour separate from anything else in the catalogues of either artist. Any project masterminded by both Freddie Gibbs and The Alchemist was always going to be good, but Alfredo's implicit understanding of exactly why the two are masters of their craft is the reason why it turned out great.
#19: tricot - Makkuro
(Math Rock, J-Rock)
Despite its stark, aberrant cover art (or lack thereof), Makkuro is far from an atypical experience in tricot's overall canon. Everything their fans have come to know and love from the band's adept blend of J-rock and math rock is still present and accounted for: expert instrumentation, pummeling and intricate melodies, vocals that exude an easy confidence whether belting out raucous hooks or crooning softer verses in a higher register. What Makkuro can distinctively offer is a smoother, more cleanly mixed version of the group's chaotic ingenuity, even if the lack of structure and polish was something many fans took for granted as a fundamental part of their sound. The departure from spontaneity will likely alienate some of their most avid listeners, but those that scoff at the idea of a more refined tricot would be denying themselves a record that contains some of the band's most enthralling compositions, not to mention one of the best math rock albums in recent memory.
#18: Blue & Exile - Miles
(Conscious Hip Hop, Jazz Rap)
This album could very easily have ended up a chore to listen through, and for many the initial barriers to enjoyment (a ninety-minute runtime, unusually prolonged track lengths, a general uniformity in the duo's approach to song structure) will never truly go away. 'Ambitious' is certainly an apt descriptor for Miles, an drawn-out odyssey exploring the roots of jazz, soul, and their common ancestry that would likely outstay its welcome were the compositions on here not so uniformly compelling. Exile's nostalgic beats are of course consistently sublime, but the real highlight here is Blu's lyricism, specifically the layers and nuance overflowing from every one of his verses. No theme or piece of imagery is merely used once, and the way simple elements like the colour blue or the name Miles are used, reused, and reinterpreted throughout the album is sincerely impressive, not to mention a joy to unpack for the attentive listener. It's undeniable that Blu & Exile have stuffed their comeback album to the brim with an excess of content, but when so much of what they offer on Miles is a masterclass in creating thoughtful, poetic, and entertaining hip hop, an hour and a half of your time is far from an outrageous ask.
#17: Jeff Rosenstock - NO DREAM
(Pop Punk, Power Pop)
Regardless of what alias his music appears under, Jeff Rosenstock has always stood apart from other modern pop punk acts, in intentions if not in practice. Albums like WORRY. and We Cool? delve much deeper into the realm of social commentary than most of their contemporaries, but whether because of Jeff's blunt approach to songwriting or merely as a consequence of his uncompromising vocal delivery, the immediate appeal that should be endemic to music this animated was too often missing on his previous work. Not so with NO DREAM, the first Jeff Rosenstock record (under his own name at least) to effectively balance both halves of the 'pop punk' descriptor. The hooks on songs like f a m e and The Beauty of Breathing are downright catchy, scattered amongst shorter bursts of hectic cacophony and more verbose cuts like the title track, itself likely the most poetic composition Jeff has ever penned. His music has always showcased an abundance of talent, but NO DREAM proves that the dichotomy between art as guilt-free entertainment and art as a political statement is not an absolute one, and fans of pop punk can only hope to come across more music as conscious yet as unabashedly jubilant as this.
#16: Monophonics - It’s Only Us
(Soul, Psychedelic Rock)
No, this isn't a forgotten Marvin Gaye or Curtis Mayfield album that you just never happened to come across before; It's Only Us is an entirely new affair, despite owing more to the legacy of classic soul than any record in recent memory. Sure, the latest Monophonics project might not reach the emotional and transgressive heights of an album like What's Going On, but the sheer amount of Motown touchstones the group manages to accurately recreate is impressive nonetheless. Standout moments like Chances and Last One Standing are perfect articulations of the exuberant, uplifting compositions and euphoric vocal delivery that underlined so many of the genre's classic records, proving beyond a doubt that soul music has not lost a single ounce of its charm or appeal in the decades since its apex of popularity. It's Only Us is about as far from innovative or experimental as a an album could ever be, but if there was ever a musical style that could be called timeless, it would be the specific incarnation of soul that Monophonics go out of their way to recreate here in painstaking detail. The band's influences are immediately and painfully apparent, but their results are still undeniably excellent.
#15: Taylor Swift - folklore
(Indie Folk, Folk Pop)
While folklore deserves praise for recapturing both Taylor Swift's songwriting potential and the critical attention that has eluded her last few records, the country-turned-pop artist's foray into folk music is so much more than just a comeback album. Early highlights such as cardigan and seven show that an extended detour into the realm of synthpop has not permanently eroded Swift's storytelling abilities, and unlike on those albums the production here is muted, delicate, and (most appreciably of all) consistently competent from front to back. But while folklore might be the first Taylor Swift record ever to lack any noticeable low points, its highest peaks are the real reason it deserves to be remembered, even if a subtle career highlight like the last great american dynasty is not immediately recognizable as a paragon of composition. Songs like this and august prove that Swift can hold her own among the titans of folk music she is often imitating on this album, but betty goes even further, demonstrating an impressive talent for combining both grandiose narratives and intimate, emotional lyricism that we can only hope she decides to incorporate into future projects. Whether she deigns to do so or not, however, is entirely irrelevant to this record's success; the fact that folklore has opened up an entire new genre for Taylor Swift to secure an enduring legacy within is proof enough of its excellence.
#14: clipping. - Visions of Bodies Being Burned
(Industrial Hip Hop, Horrorcore)
If 2019's There Existed an Addiction to Blood wasn't enough proof of their convictions, the newest clipping. record makes it clear beyond any doubt that their infatuation with the aesthetics of horror is anything but a gimmick. Drenched in tension and mystery even more than its predecessor, Visions of Bodies Being Burned is a brilliantly composed album that probably could have coasted by on its innovative production and immaculate atmosphere, but rapper Daveed Diggs somehow seems to ratchet up his focus and intensity with every new release. His verses on cuts like She Bad, Check the Lock, and Body for the Pile are impressive even beyond mere technical proficiency; Diggs' flow seems to slot in effortlessly on top of whatever abrasive beat has been put before him, and the ability to generate his own suspense on the industrial Say the Name or the boisterous Pain Everyday is a talent entirely unique to him. While Visions of Bodies Being Burned lacks the political undertones of the group's previous effort, its consistency is nevertheless something to be admired, especially considering how spastic previous clipping. projects tended to be. Their ever-present affinity for terror and shock value has at last matured into a commendable appreciation for the subtler side of horror; in a contest of eeriness, Visions of Bodies Being Burned clearly has no equals.
#13: Perfume Genius - Set My Heart on Fire Immediately
(Art Pop, Ambient Pop)
Had earlier Perfume Genius albums been confident enough to reach the heights of tracks like Describe and On the Floor, it may not have been such a surprise when this record came out of nowhere and perfectly capitalized on every ounce of talent its predecessors only deigned to hint at. While the presence of the former cut on Set My Heart on Fire Immediately could be seen as merely a natural evolution in Mike Hadreas' songwriting ability, the latter's psychedelic groove and uncanny energy is a giant leap forward in the overall appeal of his sound. The flawless equilibrium reached here between soft, whispered ballads and upbeat bursts of artsy psychedelia is highly impressive, even if the scales begin to tip a little too far towards the former as the album nears its end. Even without sticking that landing, however, Set My Heart on Fire Immediately is easily the best Perfume Genius record so far, and the general upward momentum of his genius throughout his discography can only mean good things for whatever is to follow.
#12: Marlowe - Marlowe 2
(Abstract Hip Hop, Boom Bap)
In terms of recapturing the spirit of old-school boom bap while simultaneously innovating on the retro style using modern techniques and inspired tweaks, even the few veteran producers still working cannot compare to L'Orange, one of the most underappreciated figures in rap music today. His second collaboration with rapper Solemn Brigham under the name Marlowe sees L'Orange's genius crystallize into a consistent style, his affinity for offbeat samples providing the perfect platform for Brigham to flex his confident flows and breakneck lyricism. As the producer crafts some of his most creative beats ever for cuts like Spring Kick and Future Power Sources that ooze with well-constructed arrogance, the record's almost complete lack of weak spots proves to be a particularly remarkable asset, due in no small part to Brigham's unceasing energy propelling it at a considerable pace from start to finish. All of L'Orange's recent endeavours have been a joy to listen to, but Marlowe 2 is the first where his talents appear to have found the perfect foil, complementing his singular style and pushing it further than anyone else ever could have.
#11: Carly Rae Jepsen - Dedicated Side B
(Synthpop, Electropop)
Legends of laptops and hard drives filled with thousands of unreleased songs are becoming all too common in the increasingly autonomous industry of music production, to the point where the implication that what does end up being put out is the cream of the crop might be a lie at least as often as it isn't. As it stands today, Carly Rae Jepsen is likely the only person to have definitively proven that yes, she does in fact have more where that came from, and yes, it is just as worth hearing as anything on the record it sits in the shadow of. The sister album to last year's Dedicated is equally infatuated with the sounds of old-school synth funk and electropop, but separates itself with inspired risks that deviate from her carefully cultivated formula of unfiltered pop essentialism. Still, even though she largely takes to these new sounds impeccably, the one-two punch of Felt This Way into Stay Away is likely the record's defining moment, proving that Carly's songwriting is so robust that the same structure can be instrumentally envisioned in multiple different ways and come out stunning every time. Dedicated Side B is Carly Rae Jepsen cementing her status as the most consistent pop songstress alive, refusing to produce anything even resembling a bad hook or clumsy melody and proving to any nonbelievers that albums like Emotion were not a fluke; pop perfection just seems to come naturally to her.
#10: Run the Jewels - RTJ4
(Hardcore Hip Hop)
For almost a decade now, Run the Jewels has been a much-appreciated opportunity for two grizzled veterans of the music industry to flex their political inclinations, while also having fun doing so. What made them so appealing to so many, though, can be attributed to a truth self-evident since the release of Killer Mike’s 2012 album R.A.P. Music: two is so, so often better than one. When Mike and El-P come together, the synthesis of their abilities carries them beyond the limits of their individual genius, yet even as they continue to refine their formula, the fruits of their persona threaten to become conventional. While El-P is pulling this much of the weight when it comes to Run the Jewels as a vehicle for social commentary, it becomes clearer than ever that creative beats and hard-hitting punchlines can only carry you so far, and the duo are sorely in need of some fresh ideas. Make no mistake: these criticisms are not uttered because RTJ4 is bad, or average, or even merely good. This is a great album that overcomes many of the flaws of its predecessors, but more than ever before the uniformity of the duo’s style threatens to wholly consume their artistic talent, and it is uncertain how much longer they can stave off the decay of their purpose.
#9: illuminati hotties - FREE I.H: This Is Not the One You’ve Been Waiting For
(Pop Punk, Noise Rock)
The temptation to center the newest illuminati hotties project around the story of a record label exploiting and mistreating a small indie rock group is undeniable, but even if the band's public feud with their publisher motivates both the record itself and much of the lyrical content contained within, this mixtape has so much more to offer than just industry drama. It's honestly staggering how much outrage and commentary Sarah Tudzin is able to cram into such a short runtime: righteous taunts directed at her label share space with satires of toxic masculinity and self-deprecating looks at her own artistry, with her band underscoring all her quips with distorted, uproarious punk rock. In barely more than twenty minutes, illuminati hotties are able to showcase infinitely more lyrical and instrumental depth than on any of their previous work, all while giving the finger to a cruel, uncaring system that has done them (and so many others throughout history) wrong. Perhaps fans would be right to worry about where the band can find the impetus to release more albums with this level of ferocity and creativity, but if the mixtape's title (and its role in helping the group escape their record contract) did not make it obvious enough, FREE I.H. is more concerned with being heard right now, and such an eruption of vindictive fury is both sorely needed and much appreciated.
#8: R.A.P. Ferreira - Purple Moonlight Pages
(Jazz Rap, Abstract Hip Hop)
If you wanted to pitch milo to an unsuspecting initiate, you could probably spin the rapper’s more eccentric qualities into assets with a little poetic license. Talk about his offbeat flow, his ambitiously understated approach to rapping, maybe quote a few bars and hope they can define Sonderweg but don’t know what futanari is. If you want to pitch R.A.P. Ferreira, just refer them to Purple Moonlight Pages and let the rapper’s newfound candor do the talking for you. More than a personal reinvention, this album finds one of modern hip hop’s most outlandish figures at his most consistent state yet and gives him the tools he needs (in the form of The Jefferson Park Boys and their immaculate, jazz-heavy production) to devise something truly fantastic. As for the question of what exactly separates Ferreira from the pack, what essential qualities define him in the world of underground hip hop, it turns out he actually did offer an answer within the aforementioned track LAUNDRY: who cares? When you’re making music this brilliant, listeners don’t want a reason to hold you in higher esteem than all your profusely talented peers; they just want more.
#7: Dua Lipa - Future Nostalgia
(Dance-Pop, Nu-Disco)
Save for the last two tracks, Future Nostalgia is an immaculate revival of forgotten sounds and subgenres from decades past, and a captivating ode to the glory days of disco and dance-pop. Dua Lipa might seem on paper to be an unlikely candidate for such a convincing throwback, but it is clear from the care put into her lyrics and performances on this record that her infatuation with pop music’s history is entirely genuine. It is this that makes her imitations of these styles so flattering, and the talent on display across the album leaves no doubt as to why her variations on the pop formula almost entirely work to perfection. For as many dated musical experiments as are strewn about the charts of yesteryear, enough timeless material has survived so as to show why such trends became popular in the first place, and it is these paragons of pop which Dua Lipa innovates upon to create her masterpiece.
#6: Adrianne Lenker - songs
(Indie Folk)
In a year already rife with noteworthy singer/songwriter records, running the gamut of popularity from Taylor Swift to Ichiko Aoba, it's hard to articulate exactly why Adrianne Lenker's latest album garnered so much instantaneous praise, especially when its greatness seemed to emerge out of thin air. The lead vocalist/guitarist of Big Thief has put out solo material before, but nothing released either under her own name or her band's even comes close to the delicate mastery that envelops every song here. Still, even acknowledging its overall consistency and compelling highlights like two reverse or zombie girl is selling this album short; simply put, the track anything is one of the best folk songs ever recorded, and any project that could boast of its inclusion would already be a contender for the best singer/songwriter record of its year. That songs rarely dips noticeably below the impeccable standard anything sets is a testament to the staggering amount of raw, intimate emotion Lenker put into every song on here, even if the peaks of her lyricism are still clearly identifiable. Nevertheless, it isn't hard to picture every single track being a favourite for some percentage of her listeners, and putting together such a broadly resonating experience is the truest indication that Adrianne Lenker has created something genuinely special.
#5: Beach Bunny - Honeymoon
(Indie Rock, Power Pop)
When Lili Trifilio finally reaches a point of emotional contentment in the waning minutes of Honeymoon, that her deliverance feels entirely earned (and perfectly illustrated) is the strongest testament to her and her band’s burgeoning talent. For all the despondency and heartache Beach Bunny manage to portray in their debut album’s slim runtime, its buoyant instrumentals and enthralling lyricism trick the listener into enjoying themselves far too much for a record written with this much angst. The indie pop quartet may still be dipping their toes into the realm of full-length projects, yet already it is all too clear that their work has mastered the art of not overstaying its welcome while simultaneously leaving the listener in desperate need of more. Honeymoon is a succinct demonstration of musical promise only held back by its brevity; the fully realized version of the group’s artistic vision simply cannot come soon enough.
#4: The Microphones - Microphones in 2020
(Indie Folk, Avant-Folk)
This album really has no right being as good as it is; if Phil Elverum's conceit of an album comprising a single 45-minute song wasn't outrageous enough, its obscenely minimalist composition is more than enough to question whether the eccentric folk artist has finally gone too far. And yet; somewhere within the contiguous odyssey of repetitive guitar chords and occasional bursts of ambient droning, the mastermind behind the Microphones and Mount Eerie finds a way to trace through his entire artistic history in a manner that is at once digressive, disjointed, and unthinkably profound. Microphones in 2020 is an inexplicably captivating experience, if only because the desire to wait for the next subtle development in its music or the next retold passage of Phil's life will assuredly burrow its way into the mind of the listener, and even those unfamiliar with the artist's fractured discography may still find a peculiar appeal in the way he chooses to tell his story. His latest effort is the textbook definition of an album that is not meant for everyone (a point accented by the unusual format of its release), yet for those who are avid enough fans of Phil Elverum and/or the Microphones to want to dive wholeheartedly into such a strange work, its wistful abnormality will no doubt lead it to be seen as a masterpiece.
#3: Ichiko Aoba - Windswept Adan
(Chamber Folk, Ambient)
Even if Ichiko Aoba’s thematic intentions are often murky at best, the feeling of something profound hiding just below the surface is universal within her music, a sense of indeterminate mystery that keeps so many fans spellbound even if her words themselves are beyond their understanding. Windswept Adan is what Aoba’s entire career has been building up to, proving definitively that her artistry is not, and never will be, comfortable with inertia. No more can we marvel at how emotionally resonant the singer’s music is despite not understanding a single line she utters; here her compositions are so tangibly moving precisely because their ambitious creativity is both unceasingly alien and yet so easy to get lost within. Every inch of Windswept Adan is a venture into uncharted territory for her, yet so much of its experimentation comes off as entirely natural and effortless, and that sense of composure translates into an immensely comforting listening experience. There are only so many ways to describe how incredible this album is, but Ichiko Aoba herself is proof that sometimes words aren’t necessary; sometimes just a melody is all you could ever need.
#2: Lianne La Havas - Lianne La Havas
(Neo-Soul)
It would be inaccurate to say that the legacy of soul has disappeared from the realm of pop music; to listen to any contemporary R&B is to listen to an industry of art profoundly shaped by the sounds of Motown and populated by artists who can list the genre’s most prominent legends among their influences. Those that take it a step further, however, rarely show the sheer force of personality that Lianne La Havas provides in spades, and seldom (if ever) can bare their emotions so painfully and yet so beautifully in the way she does on her self-titled album. And yet, for as intimate as the record’s lyrics are, one would be forgiven if by the end they had failed to truly digest her elegies of heartbreak, too caught up in the buoyant calm La Havas and her instrumentals seem to generate without even trying. That may be soul music’s most telling quality: emotive lyricism, certainly, but supported by a refusal to compromise on the music, even if every year that passes leaves the genre with fewer fresh ideas ripe for exploring. With all that in mind, Lianne La Havas might be the first new record in quite a while to adequately recreate the empathy inherent in classic soul while also injecting its own unique charisma and aptitude; treasure it like the atypical triumph it is.
#1: Fiona Apple - Fetch the Bolt Cutters
(Art Pop, Progressive Pop)
Fiona Apple has always been an artist of purpose, often quite minimalist in her songwriting but unfailingly precise when aiming her words (be they grand poetics or quiet confessions) directly at the listener’s conscience. That Fetch the Bolt Cutters is so emphatically hers and about her and clearly made for her does not diminish this in the slightest; if anything, the deliverance she has given herself by translating her struggles into such honest, compelling art cannot help but resonate profoundly. It cuts at the soul like a hot knife; her lyrics are immutably personal, yet countless fans see their own trauma personified within her music. When Fiona Apple talks (or sings, or hums, or even raps as she does at certain points on her newest record), people listen. But as close as we might try to get to Apple’s wisdom, as much as we want to empathize with her suffering, the unmistakable victory that is Fetch the Bolt Cutters is ultimately hers and hers alone. This album is a triumph, and though the captivating absurdity of its music deserves a great deal of the credit, it’s impossible to escape the feeling that the record’s greatest achievement is in finally granting Fiona Apple a liberation long overdue.