2020 was a difficult year for many. In difficult times, music, and art in general, has a very special role for society and individuals. To thank the artists that helped me and thousands of other music lovers go through this year, I want to give my impressions on my favorite eight albums from the last twelve months, restricting myself to three macro-genres that I enjoy, neoclassical, jazz and rock.
Neoclassical
Tripping With Nils Frahm (Nils Frahm)
Nils Frahm is undoubtedly one of the most well-known artists in the current piano-based neoclassical scene. During a concert in Milan, Italy, he was describing his most appreciated piece, Says, an emotionally intense crescendo of synth loops and grand piano from the live album Spaces, and (ironically?) complaining with the audience about being unable to craft better musical experiences than that one.
Tripping with Nils Frahm did the trick for me. It is a collection of cuts from four live performances held at his obsessively-crafted studio at Funkhaus in Berlin and includes reworked and enlarged renditions of his latest works from All Melody and related LPs. The completely analog sound is wonderful, yes, even the one from the sequenced pipe organ. It is more evolved and more polished than previous live acts by Nils and every minute added to the studio version of the pieces is worthy in building up musical tension.
Perfection of sound, dreamy compositions and a live experience that, more similarly to jazz than to most electronic or classical efforts, incredibly enriches the underlying music; I think Nils Frahm finally achieved that goal of overcoming Says, both according to himself and according to his fans.
Favorite moment: Around minute 10:00 in All Melody. Groovy, circular and… Trippy.
some kind of peace (Ólafur Arnalds)
Even before the start of the pandemic, Ólafur Arnalds always tried to be involved with the community of its fans, by organizing online initiatives in addition to the usual concerts. The release of the new album was followed by an online global listening party and several live streams in which Ólafur dissected some parts of how he works on creating music: it was a special way to leverage the opportunities (in inspirations?) offered by the current global situation.
The album is a gem. Soft and delicate, but never falling into a purely ambient mood. Ólafur gently touches the piano and also brings this delicacy to the strings. The few featurings by other artists are also very enjoyable. I was looking forward for a collaboration between Ólafur and the emergent German artist Josin for a long time and I was not disappointed by the outcome.
Favorite moment: The Bottom Line.
Jazz
Ella: The Lost Berlin Tapes (Ella Fitzgerald)
Sometimes, when new recordings of artists that passed away emerge, it seems like a totally unnecessary attempt to make the most money out of a big name. This is NOT the case with this lost-then-found live recording of Ella Fitzgerald in Berlin, which, in my opinion, was more than needed.
I really like the setlist of that show, the recording quality and the performance itself by Ella. There is really something special about the sonic atmosphere and, overall, I think I am probably correct in saying that I believe this to be the best recording ever of the best jazz singer ever. No more comments needed.
Favorite moment: Angel Eyes. Simply wonderful rendition.
Something To Say (Cory Henry)
When you are probably the best virtuoso of your instrument in the world, what is the most effective approach to write good music? According to Cory Henry, you have to (almost) forget you are a virtuoso, and just focus on writing good songs.
I believe this is the most emotional album so far by Cory and that even better ones will come. Lots of interesting rhythmic and melodic moments, with a songwriting that crafts soul jazzy songs which spark joy, happiness and musical talent.
It may sound sometimes a bit too much Stevie Wonder-ish, but it is definitely more a respectful and well-thought inspiration than a mere desire to be a copycat.
Favorite moment: No Guns. Who said that good politics should be done only with fancy monologues?
Axiom (Christian Scott aTunde Adjuah)
During the ongoing pandemic it is natural for all of us to question ourselves on the actual meaning of the word freedom. While in the managing of Covid-19 there is no definitive answer, Axiom screams with clear words what freedom should be in music. It is a recorded live performance at the Blue Note jazz club, in New York, of a set of highly-improvised pieces at the boundary among jazz, hip-hop, rock, traditional percussion-based music and many other things.
The pace is extremely high, all the instruments melt into one strong voice but while maintaining enough order and structure to make the pieces always perfectly intelligible. Between one piece and another, Christian is trying to convey also with words the message that is quite clear from its music alone. Jazz is not music only for “fucking Fulbright scholars”, but it is creative improvised music which belongs to anyone who wants a way to feel free.
The album also has a tough symbolic relevance: it was probably one of the last live jazz performances of this kind before the arrival of the pandemic in the US.
Favorite moment: The flute solo in the middle of The Last Chieftain.
Rock
Petals For Armor (Hayley Williams)
Despite they were one of the favorites bands of my girlfriend as a teenager, I was never a big fan of Paramore. By contrast, I am extremely surprised by the first solo album of their front-woman. It delivers some rock songs that are much intimate, powerful and sophisticated. Some songs, like the first track Simmer, are clearly inspired by Radiohead and other artists from the alternative scene, but the overall album is, in a unique way, impactfully direct.
A number of concurring features contribute to the beauty of this album. First, the way the personality and the life experiences of the songwriter directly permeate all the songs, with themes such as problematic love and rage and explicit lyrics. Second, the arrangements, that are elegant and soft and give the different tracks a lot of cohesion. Third, Haley’s voice, with its range and power, which seems both technically amazing and uniquely enriched by the synergy among the instruments.
Favorite moment: The bass drop in Sudden Desire.
I Disagree (Poppy)
Some years ago, a girl started publishing videos of android-like monologues with incredibly pleasing aesthetic, followed by VERY pop songs incorporating elements of an ambiguous satire of modern society. All of this was watched by millions of people on YouTube. I did not follow the adventures of this project for years, so when I first learned about her new album I Disagree I was in shock.
First of all, even if you do not consider the overall character of Poppy, I Disagree is a very fresh and good metal album, with a mix of pop(py) choruses and djenty guitar riffs, with heavy influences from late 90s/early 2000s industrial metal. To reinforce this link, one of the songs also features the familiar deep voice of Marylin Manson. If we take into account the transition of Poppy from mainstream-pop rising star to mainstream metal star, the album is even cooler.
In some way, I Disagree also helps in giving more context to some great successes we have seen in the last few years of pop music. I only now understand where the actual roots of Billie Eilish’s pop are. Yeah, many knew that the concept of “horror music” was one of the founding stones of heavy metal, but Poppy reminded us that the last decades of industrial metal music, although now not so popular as before, actually share many elements with modern mainstream pop.
Favorite moment: The guitar solo in BLOODMONEY.
songs (Adrianne Lenker)
I listened to this album with a completely opened mind: I knew nothing about the artist and her previous experience with her band, nor the musical genre that Adrianne Lenker was linked to.
This album really touched me as a person and as a musician. I guess every modern songwriter has a collection of little songs and melodies casually recorded on some smartphone or low-end recorder, the ones too soft and raw to be turned into finite things without destroying their original spirit. Adrianne Lenker, with this collection of lo-fi acoustic songs with honest and lovely lyrics, performed with her very original voice, really exposed the essence of songwriting, by giving the impression of a release of her secret collection of songs.
I am really thrilled by the paradox behind songs: in a way, the material is unpolished, the recording quality is surely not on the same planet as the other albums on this list. On the other hand, the combination of this (of course voluntary) raw power and the beauty of an extremely inspired songwriting really strikes the listener. Love lyrics whispered by an acid but angelic voice, interesting acoustic guitar arpeggios and elegant echoes. Essential and beautiful.
Favorite moment: anything. One of my favorite love songs of the decade.