The Differential Editors’ Music of 2020

I remember exactly where I was when I first put on Dogleg’s debut album: alone in a studio apartment mid-March, wondering how the developing pandemic would turn out. Ten seconds into the first song, however, everything else melted away and the breathless 35 minutes of this album knocked my socks off. It dominated my listening this year in a way that albums rarely do, accompanying me on hours of runs, drives, and studying. Melodic screaming of angsty lyrics such as “time will let you down” and “if I could find the confidence” coupled with the unrelenting waves of guitars is a guaranteed blast. “Hotlines” and “Headfirst” are standout songs.

Besides COVID-19, Marc Rebillet may have had the biggest glow-up of 2020. The improv musician grew his following massively last year, largely due to his popularity on social media and his many “Quaranstreams”. He plays live music online for hours at a time the same way he has for years: solo shows made up completely on the spot. He produced tens of hours of music over 2020, ranging from beautiful harmonies to grimy beats. Loop Daddy III is a hilarious collection of songs clipped from these longer shows. His music is NOT child-friendly and may offend some, but his streams can be good company during long study stretches.

Killer Mike and El-P aren’t known for subtlety, and in a year like 2020, the commentary they provide is relevant as ever. Like the previous few albums, the duo sticks to their signature heavy-hitting and full verses of image-filled lyrics, with heavy beats laying a dark tone underneath. From “yankee and the brave” to “a few words for the firing squad”, the super-duo strikes chords that are uncomfortable for some, and important for all. With collaborations from hard-hitting musicians like Zack de la Rocha and a surprising (but beautiful) appearance from gospel singer Mavis Staples, this album is sure to leave you amped up and angry – as it should. My favorite tracks: walking in the snow, pulling the pin (but honestly they’re all bangers)

After a 7 year gap since Comedown Machine, The Strokes reenter the billboards with an album that should be comfortable for any long-term fan, and palatable for anyone new to their sound. The band doesn’t break much from their usual style, but offers a crisp revitalization, highlighting Julian Casablancas’ familiar vocals with Nick Valensi’s clean guitar riffs complementing the waves of melody that the band is known for. You’ll feel like you’re back in Room is on Fire, but in a good way. My favorite tracks: Bad Decisions, Why Are Sundays So Depressing

My 2020 album of the year goes to “Circles” by Mac Miller. His post-humous album has a much gentler tone than the rest of his music. It is incredibly beautiful. His lyrics ring with the subtle optimism and hopefulness a person can only find in their darkest hours. His melodies are light and playful with a touch of sadness. Whether spending hours studying for STEP 1, dealing with heartbreak, journaling late at night, or just vibing, this album has it all.  My top three songs? “Surf,” “Good News,” and “Right.” RIP to Mac.

For the Kid Cudi fans, at the end of 2020 we were lucky to get his newest album, Man On The Moon III: The Chosen. “Tequila Shots” has been playing constantly when I get ready for the day or in the car on the way to and from the hospital. All his songs on the album are fire in classic Mr. Solo Dolo style.

This album doesn’t headbang, mope, or dance — it seethes. The songs are about rage, control, fear, disappointment, and trauma, but they don’t wallow in anything; they’re tightly wound and concise. It’s a master class in texture and mood, turning the most elemental emotions into a distinct sonic world. This album also contains my very favorite 5 seconds in music this year, when the bridge of lead single “Simmer” melts into a slow spooky dirge and Hayley sings “wrap yourself in peeeetals” in a register so low it sounds like she’s sinking into the floor. Let Hayley Williams do whatever she wants forever.

Taylor Swift’s two new albums “Folklore” released June 24 and “Evermore” released December 11 of last year were definite bright spots in my musical landscape. I love the focus on storytelling and the way the two albums interact with each other. I think these are the albums that finally made Taylor Swift attractive to me raised on the classic rock of the 70s and 80s and coming of age on feminine powerhouse indie rock and ballads. These albums accompanied me on my overnight shifts in labor and delivery and on my long drives to and from my rural rotations, two of my best but most challenging experiences this year. The vibe is both calming and upbeat. 10/10. Would recommend.