#2020 eoty

[oswlld]

OSWLLD’S EOTY GIFTIES - Gift Five: Vice Versa (2022) ⪢ Ted Lasso (2020- ), insp.

—  for @carloslouwho @nongnaos & @stormyoceans

[jentlemahae]

ur so right, anytime bp does anything, everyone becomes a fan of their competitor. troops are obviously losing their minds about the EOTY and all of a sudden they're all bad bunny stans. yeah, he had a huge year, him getting EOTY would have made sense, but at the end of the day it's up to Time, not stan twt. and if we're being completely honest with ourselves, *** didn't deserve to win EOTY in 2020. it should have been doja cat or the weeknd, maybe dua, so the troops can't really talk

yeahh like at the end of the day all these achievements are based on the bias of the people choosing, which is not a bad thing but it simply means that the time people personally thought bp had a good year and wanted to recognize it !!!! just like in 2020 they thought *** deserved it, even though i can personally think of at least five people who should have gotten it instead lol but it’s all personal opinion 🤷🏻‍♀️ also it’s not a nobel prize it’s a magazine cover for crying out loud shshsjf like they really need to calm down

[dendre]

ListaszezON

Na, most, hogy kijöttek az első 2021-es év végi albumlisták, itt a tökéletes időpont megosztani a 2020-as félkész (jó, 7/8-ad kész) albumlistámat.

Ex-recorderes barátokkal tettünk egy szolid kísérletet arra, valamikor januárban, hogy megint összedobunk egy közöset, de az rajtam ment el, elnézést, viszont a 2000-es és a 2001-es visszatekintőt megcsináljuk, ígérem!

Ezt valamikor akkoriban, 2021 elején hagytam így, azóta se volt érkezés befejezni, a terv az volt, hogy egy rendes évvégi, rangsoros top 50 mellé odateszek még 200-at, mondvacsinált szétválasztással (mainstream, undergound), abc-ben, ennek a pontosítása akadt el, még várakozik egy rakás 2020-ban hallott, félig hallott lemez, hogy ide bedobáljam őket (a top 50-ben ezek közül talán már semmit nem gondoltam betenni). Persze azóta már hallottam nagyon jó 2020-as lemezt idén is, most nem ugrik be hirtelen mit, de egy ilyen lista amúgy is az adott évet, annak hangulatát, hallását kéne lefedje. A magyarokról írtam egy nagy cikket a Jelenbe, tavaly januárban.

Na mindegy, ennél tuti nem jutok előbbre vele már idén, vagy mostanában, a közeljövőben, szóval, muhahha, azt hiszem itt az ideje elengedni. Az első, Honey Harper egy nagyon jó kozmikus country-lemez, egészen biztosan az tetszett tavaly a legjobban.

Íme 2020 legjobb lemezei. Ja, várj, már a 2021-est kéne? Hát, azt nem látom jönni egyelőre.

2020 évvége

1-10 Honey Harper: Starmaker (alt-country) Charli XCX: How I’m Feeling Now (hyperpop) Annie: Dark Hearts (szintipop) Natalia Lafourcade: Un canto por México vol. 1 (ranchera, mexican folk) Lido Pimienta: Miss Columbia (latin elektronika)

Khruangbin: Mordechai (psych-rock-exotica) DJ Python: Mas amable (house-reggaeton) Maria Schneider Orchestra: Data Lords (big band jazz) Hen Ogledd: Free Humans (progfolk-artpop) Cindy Lee: What’s Tonight To Eternity (avantpop)

11-20 Róisín Murphy: Róisín Machine (discopop) Phoebe Bridgers: Punisher (indie-barokk-folk) Porridge Radio: Every Bad (indierock) Arca: KiCk i (deconstructed club) Rina Sawayama: Sawayama (nu-pop)

Beatrice Dillon: Workaround (elektroakusztikus idm) Jessie Ware: What’s Your Pleasure? (discosoulpop) Dan Deacon: Mystic Familiar (neopsych indietronica) Kali Uchis: Sin Miedo (del Amor y Otros Demonios) ∞ (latin neosoul&b) DJ Sabrina The Teenage DJ: Charmed (90s club nostalgia)

21-30 Eartheater: Phoenix: Flames Are Dew Upon My Skin (avant-folktronica Yves Tumor: Heaven To A Tortured Mind (artrock) Against All Logic: 2017-19 (tech house, industri techno) Gil Scott-Heron–Makaya McCraven: We’re New Again - A Reimagining (jazz) AceMoMa: A New Dawn (d’n’b, techno)

Mac Miller: Circles (neosoul) Trance Wax: Trance Wax (trance, progbreaks) 070 Shake: Modus Vivendi (pop rap, alt r&b) Laura Marling: Song For Our Daughter (dalszerző-előadó) Duval Timothy: Help (jazz-hop-idm)

31-40 Elison 404: Pebbledash (uk hiphop, grime) Sparkle Division: To Feel Embraced (lounge-jazz) Moses Sumney: Græ (artpopsoul) Caroline Rose: Superstar (indie electro pop) Katie Gately: Loom (artpop, progelectonic)

Bill Fay: Countless Branches (kamarafolk) Tame Impala: The Slow Rush (szintipop) K-Lone: Cape Cira (tropical house) Kelly Lee Owens: Inner Song (tech housepop) Rafael Anton Irisarri: Peripeteia (ambient, drone)

41-50 Pa Slaieu: Send Them To Coventry (afroswing, uk hiphop) Helena Deland: Someone New (dreampop) E.M.M.A.: Indigo Dream (progresszív elekronika) Julianna Barwick: Healing Is A Miracle (kórusambient) Hey Colossus: Dances/Curses (psychrock)

Gallery S: Gallery S (house, breakbeat) Sega Bodega: Salvador (experi artpop) Aoife Nessa Frances: Land Of No Junction (indiefolk) Lorenzo Senni: Scacco Matto (ambient trance) Omar Apollo: Apolonio (neosoul) Kylie Minogue: DISCO (disco)

---------------------------------------------------------------------------------

+100 mainstream

420: 420 (deep house) AceMo: Mind Jungle (jungle) Beabadoobee: Fake It Flowers (bedroom indiepop)  Charles Webster: Decision Time (deep house/triphop)  Chloe x Halle: Ungodly Hour (cont r&bpop)  Cornershop: England Is a Garden (indiepoprock)  Drakeo the Ruler & JoogSzn: Thank You for Using GTL (jailrap)    Drakeo the Ruler: We Know The Truth (gangsta rap)  Dua Lipa: Future Nostalgia (pop)  Fiona Apple: Fetch The Bolt Cutters (dalszerző-előadó)  Fleet Foxes: Shore (indiefolk) Fontaines D.C.: A Hero’s Death (artpunk)  Grimes: Miss Anthropocene (artpop) Haim: Women In Music Pt. III (poprock)  HMLTD: West Of Eden (artglamsynthpoppunk) Idles: Ultra Mono (artpunk)  Jessie Reyez: Before Love Came To Kill Us (r&b-soul)  Jessy Lanza: All The Time (alt r&b uk bass)  Ka: Descendants Of Cain (abstract hiphop)  Kehlani: It Was Good Until It Wasn’t (cont r&b)  KeiyaA: Forever, Ya Girl (neosouldreamhop)  Machinedrum: A View of U (future/uk bass)  MoMa Ready: Deep Technik (deep house)  Moses Boyd: Dark Matter (nu-jazz)  Nídia: Não Fales Nela Que A Mentes (batida, tarraxinha)  nthng: Hypnotherapy (dubtechno)  Nubya Garcia: Source (spiritualjazz) Perfume Genius: Set My Heart On Fire Immediately (dalszerző-előadó)  Poliça: When We Stay Alive (indiepop)  Run The Jewels: RTJ4 (hiphop)  Sault: Untitled (Black Is) (neosoul)  Sault: Untitled (Rise) (neosoul)  Shabaka And The Ancestors: We Were Sent Here By History (afrojazz)  The Avalanches: We Will Always Love You (neopsych-elektronika) Working Men’s Club: Working Men’s Club (dancepunk) 

+100 underground

A.A. Williams: Forever Blue (kamarafolk, posztrock)  Ana Roxanne: Because Of A Flower (ambient pop) Azu Tiwaline: Draw Me A Silence (illbient)  Backxwash: God Has Nothing to Do With This Leave Him out of It (horrorcore)  Bananagun: True Story Of Bananagun (psychpop)  Christian Lee Hutson: Beginners (indiefolk)  Dorian Electra: My Agenda (hyperpop)  Gia Margaret: Mia Gargaret (ambient)  Green-House: Six Songs For Invisible Gardens (fieldrec-ambient)  Growing Concerns Poetry Collective: Big Dark Bright Future (spoken w, abstract rap)  Ian William Craig: Red Sun Through Smoke (acapellaambient)  Irreversible Entanglements: Who Sent You? (jazz poetry)  Jasmine Infiniti: Bxtch Slap (industritechno)  Jerskin Fendrix: Winterreise (weirdpop) Juniore: Un Deux Trois (french pop)  Jyoti: Mama, You Can Bet! (psychsoul nujazz)  Kairon; IRSE!: Polysomn (shoegaze) KMRU: Peel (ambient, drone)  Lina_ Raül Refree: Lina_ Raül Refree (fado)  Luedji Luna: Bom mesmo é estar debaixo d'água (MPB)  Lyra Pramuk: Fountain (acapellaambient)  Nazar: Guerrilla (kuduro, deconstructed club)  Ovrkast.: Try Again (abstract hiphop)  Sarah Davachi: Cantus, Descant (kamaradrone)  Space Afrika: hybtwibt? (soundcollage)  Spillage Village: Spillagion (rap)  The Sonic Dawn: Enter the Mirage (psychrock)  UKAEA: Energy Is Forever (dub techno)  Ulla: Tumbling Towards a Wall (ambient-glitch) 

És az eredeti doksiban itt van még nagyjából stílusok szerint egy rakás lemez unsorted, meg egy jegyzet, idebiggyesztem azt is a teljes transzparencia nevében, fogalmam sincs már mire akartam kifuttatni. :DD

Az imitálás kora

mindent elég magas szinten tudunk imitálni. Ismerjük a szabályokat, azok mentén könnyen létre tudunk hozni, imitációkat, megvannak hozzá az eszközeink, sőt azok egyre jobbak. Egyre többen imitálunk, közte egyre több a jó imitáció, természetesen folyamat ez. A létrehozás alapjai azonban változatlanok, a forma már kevéssé tágítható, így az újszerűség élménye ritkább.

[allastud]

Favourite Albums of 2020

Here are my favourite and most played albums of 2020.

Read the list and give them a spin you may find something new you have never heard before and really dig.

Touché Amoré - Lament

Ways Away - Ways Away

Machine Gun Kelly - Tickets To My Downfall

Anchor & Braille - Tension

Off Road Minivan - Swan Dive

Anti-Flag - 20/20 Vision

RMR - Drug Dealing Is A Lost Art

Polaris - The Death Of Me

The 1975 - Note On A Conditional Form

Taylor Swift - Folklore

Modern Color - From The Leaves Of Your Garden

Colony House - Leave What’s Lost Behind

Run The Jewels - RTJ4

Idle Threat - Nothing Is Broken

R I L E Y - Loss Angeles

Fiona Apple - Fetch The Bolt Cutters

Loathe - I Let It In And It Took Everything

Deftones - Ohms

Bring Me The Horizon - Post Human

Matthew Good - Moving Walls

Tyson Motsenbocker - Some Day We’ll Make It Up To You

Spanish Love Songs - Brave Faces Everyone

Nothing - The Great Dismal

Tigerwine - Nothing Is For You

Svalbard - When I Die, Will I Get Better?

[bubblesandgutz]

Every Record I Own - Day 635: Warp Chamber Implements of Excruciation

This is another highlight of 2020.

A few weeks ago on Twitter I mentioned that I’m always a little impressed by people that have, like, 100 records on their EOTY list. In my mind, that means these people are finding an album they really connect with every three or four days. And I assume that means that they’ve weeded out at least a dozen records before finding one that really stands out. That requires listening to at least three to four new albums a day. This isn’t some super-human feat, especially in this day and age where there’s so much new music and it’s all streaming online. But it still requires a certain bandwidth for your attention span, and it doesn’t really factor in the fact that I assume people are also listening to old favorites or investigating music that came out in years prior. At least one commenter mentioned that they listen to music all day as they work from home, and that they easily found 100 records from 2020 that they were excited about. And that’s fantastic... after all, this whole project with writing about my records is supposed to be about enjoying MORE music. 

Here’s the catch, though: is enjoying MORE music the same thing as enjoying music MORE? Ultimately, my goal is the latter. And while I want to hear new and diverse sounds, I also want records that I’ll enjoy for years to come. 

How does Pacific Northwest death metal band Warp Chamber factor into all of this? Well, much like cosmic death proggers Blood Incantation, Warp Chamber construct intricate, long-form opuses that forgo easy pay-offs and caveman riffs for more dizzying and knotty aspirations. Implements of Excruciation is a savage-sounding record, but it’s not rife with hooks. This record showed up on my doorstep in March and it took at least a half-dozen spins before it really began to sink in. And that was fine... it was apparent from the get-go that this wasn’t meant to be an exercise in immediate gratification. You were expected to sit with it and let it burrow into your brain a bit. Even listening to it this morning, all I could think was “man, I really need to play this one more!”

I don’t fault people for wanting to hear something that’s easy to grasp and pleasant to the ears, but sometimes it’s worth putting the work into appreciating something. I found myself thinking about the ephemeral nature of music quite a bit in 2020, mainly because I was listening to so much new music that I often found myself yearning for a record that felt like an old friend. There was a lot of exciting music in 2020, but it was almost like meeting a bunch of new and interesting people and wondering how many of them were still gonna be hanging around in the years ahead. Considering that Implements of Excruciation just gets better and better with repeated listens, I imagine I’ll revisit it for years to come.

[dopebasementfart]

Eric Church - Artist Profile

The date was November 15th, 2019. I stood eight hours in a crowded queue outside The Anthem - a concert venue with about a 4,000 person capacity - in Washington, D.C. Other “Church Choir” members greeted as soon as I took my place in line. We all came equipped with Eric Church records, worn cowboy boots, and a raw anticipation to see the Chief.

Eric Church, or the Chief, is a country music artist that attacks the conformity of “Nashville pop” by creating music beyond it. 

As soon as we entered the venue, band members and tour staff handed us a sign that read “Our EOTFY.” Two nights before, at the CMA Awards, Church - a favorite to win Entertainer of the Year - lost to industry-mainstay Garth Brooks. As Church turned away from the industry norm, the industry turned away from the Chief. 

It was the first night of the Double Down tour in DC - Church’s 2019 tour that featured no opening act and consisted entirely of Church for 3 straight hours (for the exception of a brief intermission). The Chief has always done his own thing - shattering unwritten rules, and the Double Down tour was the latest development in a career of defiance.

Fans talk in anticipation like old friends - shaking hands and giving hugs. I spent 20 minutes trying to figure out if I shared a common Facebook friend in the Church Choir community. 

At 8:30, the lights dim, and the opening chords of Knives of New Orleans hush the crowd. Knives of New Orleans was never a single, but the deep cut that never got a second of radio airplay causes the crowd to sing as if this is Church’s masterpiece.  

Church and his band play song after song with little dialogue in-between. Joanna Cotten, his long time stage partner and former solo artist herself, compliments Church with her Funkabilly voice. 

On the Double Down tour, no show is the same. But the set curation is very intentional and particular. Church played more songs from his first album, Sinners Like Me, than his second - Carolina, or fourth - The Outsiders, despite the latter producing prominent singles at the height of his popularity. 

The curation of his set is based on the emotion of his crowd. 

Church’s first two top 10 hits, Love Your Love The Most and Hell on the Heart, are noticeably absent from the set list (and most set lists on the tour). In an interview during the 2020 Country Radio Seminars, Church said:

“I didn’t feel any different [with Love Your Love the Most]. Then ’Hell on the Heart.’ Same thing,” he said. “But off that album (Carolina), we had ’Smoke a Little Smoke.’ And when we played that, the crowd would tear the walls down. And that was taboo to have a pro-marijuana song at the time. That ’Smoke a Little Smoke’ moment was the moment that we were able to be the artist I envisioned us to be.”

The album, Carolina, was the start of a turning point for Church’s career. It felt designed for country radio and hid songs like Smoke a Little Smoke as deep cuts. This changed with his third record, Chief, in 2011. 

Church began to play and create music with emotion and experience that resonated with his fans, country fans, and music fans alike. This same emotion is apparent through his most recent work as well. 

In 2017, he performed at the Route 91 Harvest festival -  the site of the 2017 Las Vegas Shooting. 

In the days to follow, Heather Melton, wife of victim Sonny Melton, appeared for TV interviews in a Church Choir t-shirt. When asked about the shirt she explained:

“Whatever concert we went to, [Sonny] wore this t-shirt. [Church] is his favorite performer...I plan on burying him in this t-shirt.”

Days later, Church performed at the Grand Ole Opry. He tearfully explained that he was there for Heather - because her and Sonny had tickets to the Grand Ole Opry. 

In her honor, he played Why Not Me, a track that shows Church questioning his survival and remembering the victims. 

A year after the shooting, this same emotion is also felt throughout the tracks of Desperate Man. 

Robert Crawford from Rolling Stone writes:

Church’s new album Desperate Man, shines a light on the Chief’s scars. It’s an album about hard lessons, last calls, working-class weariness, father-and-son dynamics, and the road-tested love — for oneself and for others — that throws each struggle into relief. 

And this emotion is felt by the unwavering fans standing around me in The Anthem. During Sinners Like Me - the Church Choir’s unofficial anthem - the crowd embraces one another. The three women in front of me cried as they swayed with the music. The crowd reciprocates Church’s emotion and hang on to every chord and word. This commitment stems from an emotion investment in each other, the artist, and the art. 

As the concert winds down, everyone hugs, shakes hands, and heads for the exit, like the end of a family reunion with the reassurance that we’ll see each other again at the next Chief show.

A year later, and fans can’t gather for a Church show in-person. Despite the separation, fans are still connected virtually and speculating about his upcoming album.

On November 13, 2020 - Eric Church finally won CMA Entertainer of the Year. During his acceptance speech, the Chief said: 

"I really believe this. It's gonna be music that brings us out of this. That's the one thing that brings us out of this. Politicians are about division. Music is about unity,"

Maybe his effort to promote unity earned him the EOTY nod. But the question must be asked: has Church conformed to the industry, or has the industry finally accepted the Chief?

[randalourita]

She’s gotta acknowledging this on socials doesn’t she?? This is huge, most nominated person in 2020! EOTY nom!

She was already online liked a couple posts and left but she should, hopefully😂

[cmtoday2020]

A tweet

Loretta Lynn: Garth Brooks Is 'Wrong' to Pull Out of CMA EOTY | @scoopit https://t.co/qkK6ntVgtv

— County Music Today (@cmtoday2020) August 22, 2020

[bubblesandgutz]

Every Record I Own - Day 632: Necrot Mortal

I’ve been lagging on my posts here for the last few weeks---too much stuff on my plate around the holidays; a couple of records ahead in the queue that I couldn’t muster the enthusiasm to write about; lots of new stuff to explore with all the EOTY stuff coming out---but now I have the dark, damp stretch of the Pacific Northwest’s January to contend with, and it seems like an ideal time to jump back into this project. I figured I’d deviate from my usual alphabetical order and instead spend the next few weeks talking about records that came out in 2020. These aren’t necessarily all my favorite releases of 2020---some of my top picks didn’t come out on vinyl---nor is it an accurate representation of what I was obsessing over the last year (most of my Spotify top plays of 2020 are from older albums). But these were all records from a tough year that brought me some joy, so it seemed like a good opportunity to give ‘em a little love.

No particular order here---so let’s start with some Bay Area death metal. There was a lot of hype leading up to Necrot’s Mortal album. I pre-ordered my copy at the beginning of June and it didn’t show up in my mailbox until September, which isn’t necessarily the longest wait for a pre-order, but given all the press and social media posts about this album, it felt like an eternity. I enjoyed their previous album, Blood Offerings, though I wasn’t as head over heels about it as a lot of other folks. The opening track “The Blade” was a scorcher and there was no shortage of great riffs throughout the record, but something about the actual sound of the album didn’t excite me. I don’t like my death metal to be too slick or glossy, but the production on Blood Offerings almost sounded a bit flat, murky, and monochromatic to my ears, and that didn’t do justice to the smart musicianship and ripping energy of the band. Fortunately, Mortal has a bit more snarl and grit in the guitar department with a bit more overall articulation in the mix. And either the sonic fidelity helped streamline their sound or the band found a way to give each song a bit more of its own sonic identity. Either way, Mortal sounds massive and savage while also being laden with great hooks and solid songwriting.

Much like 2019, most of the newer guitar-based music I gravitated towards was in the death metal camp. I keep waiting to hit my saturation point with that sound, but as long as the albums are as strong as Mortal, I’m gonna keep lapping it up. 

[karldietz]

Tweeted

I've just posted a new blog: Antony And The Johnsons & Current 93 / The Lake / Tilda Swinton #eoti https://t.co/lgeuwjtWkb

— karldietz (@karldietz) January 6, 2020

[randalourita]

What the fuck kind of bullshit is an EOTY tie? or better yet, Thomas Rhett? They better not pull this crap at the CMA's. Damn 2020's really the nightmare that keeps on giving.

We barley got any pics ugh. It sucked.

[ourpickwickclub]

The eligibility period for the CMAs is July 1st 2020 till June 30th 2021. Blake could be nominated for EOTY and Male Vocalist and Country album. HA was released July 24th 2020 so it could be nominated. But will Blake be nominated for anything. 🤔 I have very low expectations too.

.

[ourpickwickclub]

While on the subject of Miranda Lambert, she talks about supporting women but couldn’t show an ounce of happiness on Kacey’s winning in a year where anyone would say she deserved it and ML did literally zip besides getting married. She shouldn’t even have been nominated but they have to make the numbers in that category. So, much for the lip service. Also, what does she have against Garth?

Does anyone else think this was all a ploy. Carrie robbed once again. Not Garth’s fault, CMAs fault. But is this because ML has a huge all male lineup tour starting and the CMAs are priming her to be the first female EOTY in a long while. Her supporting Carrie knowing she wouldn’t win to try and garner the same support from Carrie in 2020. If anyone is treated worse than Blake by the CMAs it’s Carrie. She is so amazing, songs like an Angel, kickass on stage, flawlessly hosts their show every year, and hardly ever walks out with the trophy. The CMAs are so in MLs pocket they will make sure she is the first female EOTY. Oh, and by Garth winning people are hating on him which makes ML very happy since the whole tasteless lip syching comments blew up on her and now that he has a single out with Blake and songs his praises. Just my guesses here.

Carrie is a true queen and she deserved better.

- B

[cmtoday2020]

A tweet

Maren Morris Admits Carrie Underwood Deserves EOTY Award ‘More Than Any Other Jabronies’ | @scoopit https://t.co/0i48guwbAa

— County Music Today (@cmtoday2020) July 14, 2020