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Over a simmering synth beat, she demands you to listen as she voices her own struggles.

It's one of the finest examples of the breadth of her bold vocals, comparable to Lady Gaga's guttural pipes. The sheer number of songs released each year has become so staggering, what with all the one-off singles and album tracks, that finding new music has grown increasingly difficult. Well, if there ever was a song to accompany a treacly compilation of clips of a couple being in love at a carnival, running through city streets, and laying in parks, it would be British alt rock band The 1975's song from their 2020 album Notes on a Conditional Form. Others, like Jamie xx, have gifted surprise releases as a welcome distraction from the world around us; tracks that are primed for quarantine dance parties and nightly releases of pent up energy.

With Dark Matter, it's like this force that binds us together that we can't really explain. One of its stand-out tracks, "Heavy Balloon," is about battling depression and how unyielding it can feel to try to lift yourself up while feeling pushed down time and time again. Tumor's playing into a new, decidedly rock sound over the ambient electronic and experimental sounds listeners might be used to. (He was stopped because a police officer said he smelled of cannabis.) It’s an earnest meditation on the opioid crisis; straightforward, beautiful, and powerful in its simplicity. Much like guest artist MosEL's proclamation on "Black Twitter" ("Beautiful Black baby boy, the world is ours, beautiful Black baby girl all twinkling stars"), Innocent Country 2 sums up the hope and triumphant spirit of generations past, present and future. At its heart, though, Likewise is a collection of songs about empathy: about asking hard questions without expecting easy answers; about trying to understand ourselves and each other.

The title track from his latest album, Fuck the World, smolders with hazy, echoic vocals as the singer lays out his innermost desires. In This Article: It’s cliche to say let the music heal us, but at the very least, let the music keep our spirits buoyant until we get through this. The oldie had yet to be officially released until this year, though, on a compilation of old recordings made new. The song is so catchy that it doesn't bum you out in the slightest -- THICK inspires you to join their fight instead.

Perfect understanding, humiliating as it might be, seems to be in short supply lately; I've returned to Quinlan's meticulously constructed songs to be reminded what it looks like to keep trying. It's a dichotomy the extremely charismatic indie rock band has mastered, making loud, buoyant garage music that's often about loneliness and anxiety. The song is simply a glimpse into the future, and proof you should start cheering her name, too. It's a stark reminder that suspended disbelief is a privilege off limits to artists in a genre where even Black creativity is criminalized. By Sadie Bell. “Silly Watch” is one of its six opening tracks that each hit with equal-part speed, fury, and style as Uzi breathlessly works through the album’s entrance into another dimension. / Gaslighter, you liar," they're offering up a much-needed anthem of righteous catharsis. His latest album as a bandleader, solo experimenter and multi-instrumentalist editor/tinkerer positions him as a steady center of a fluctuating family of inspired creative associates. Maximalist and jittery, with Shygirl exuding a coolness, repeating "I'm too hot for the night," it's a blitz of everything that a club night should be: flirtatious, flashy, and wild. —N.M. The ferocious "Walking in the Snow" is at the center of it all, with loaded verses like, "You watch the cops choke out a man like me / Until my voice goes from a shriek to whisper, 'I can't breathe' / And you sit there in the house on couch and watch it on TV / The most you give's a Twitter rant and call it a tragedy." But in 2020, she’s gone full mask off, peeking her head out with an honest confession: “It’s true that people, I’ve been sad,” she offers sweetly, before unfurling into a poetic part-English, part-French hymnal of self-realization. All of that anguish is the subject of indie pop artist Perfume Genius's latest single, taking the form of a dancey bop. The recording artist blew up in 2019 with hit songs off her project Fever and created the internet phenom "Hot Girl Summer," and with her killer bars that relay her standards for a relationship, she proves she's carrying that energy into 2020. And, well, the R&B sister duo did it for the girls -- doing what they had to do, as they say -- with this empowerment anthem.

Best Music Of 2020. While the Catalan singer received her big break abroad by experimenting with the Caribbean sounds of reggaeton, Rosalía at her core is a flamenco singer—and she shines when she strips down the frills of pop for a more bare-boned, operatic performance, much like “Juro Que.” One doesn’t have to speak Spanish to hear the pain and heartbreak that evokes through Rosalía’s greatest instrument: her voice.

Run The Jewels. That means the group sounds cool in nearly everything they do, although they let their icy exterior melt on their 925 duet "Perfect," about ceaselessly adoring someone even when they're not worth it.

Soccer Mommy, the stage name for Nashville-originated singer/guitarist Sophie Allison, is an indie rock gem whose songwriting is so heartfelt, it can't be understated. We're halfway through a year that feels like eternity, but at least we've had an abundance of tunes to keep us occupied. But with "Get Me," featuring R&B princess Kehlani, my faith in JB has been restored. That stomach-turning feeling Allison documents in the seven and a half minute track is of her prolonged grief over her mother who's suffered from terminal illness for years -- and her words about loss ("Loving you isn't enough / You'll still be deep in the ground when it's done") are so poignant you wish you could hold onto that big, yellow sun as the track fades out to quiet. Instead, you're hearing a gifted songwriter looking at the Big Picture: how where you've been affects where you are, and where you might end up. And we love it. Music about the climate crisis has increasingly become a trend as the situation grows more dire -- but as many works sound apocalyptic or call for a state of emergency, Westerman's takes a loving step back to reflect on the bounty of beauty we can't risk losing.

With near Hilary Duff-esque approachability, Soccer Mommy details depressive tendencies amid sing-along melodies and warm guitar strums, making for a song that is as sweet and approachable as it is cuttingly honest. The artist explained that after years feeling intimidated by a baroque technology with free-range rules, she took a chance on a few pieces of gear and couldn't believe what she'd been missing: "The first time I even turned it on and started making sounds with it, I was like, 'Yeah, this is the way that my brain works. The emerging artist is a force with her literary songwriting that has a way of piercing your heart -- and here, her words blare until they blister. Because times have changed." “I Want War (But I Need Peace)” by Kali Uchis. We just have to be as gentle with ourselves as we would be with a flower. Acts like Waxahatchee and Fiona Apple have released albums that are—in hindsight—prescient snapshots of our current time, whether they offer beacons of hope or solitary musings on individuality and the human spirit. — Madison Vain, Certainly, you’ve heard the news: things are bad. The mix of María José Llergo's Romani roots in her vocal stylizations, the real deal flamenco guitar and the subtle but graceful electronic elements pressed all of my musical buttons in a way that I had not heard before.

—Dave Holmes, Eef Barzelay brings his indie-country band Clem Snide back after a five-year hiatus, and if it seems strange to be doing that with a song about Roger Ebert’s dying words (“This is all an elaborate hoax”), Clem Snide never did play it safe. Labels previously paired her up with big names like Quavo for singles, but on her latest mixtape Got It Made she's solo for the most part, again proving she can stand on her own. Charismatic and winning, he's the kind of guy that can sell something as silly as the chorus of his massive 2017 hit "Body Like a Back Road" with a wink. It's all about playing with the idea of having a bad bitch attitude and running with it -- and starting off with the line, "Dicks up when I step in the party," only to up the ante even more after it, the up-and-comer definitely delivers that surefire confidence that makes you do a double take and believe in her power to take anyone's man. Isn't it a pretty image to close your eyes and envision a garden that's lush and blooming? No matter how you're feeling during this confusing time, there just might be a new record out there to match your mood. Ka is Brownsville, N.Y.'s Homer, a firefighter by day, rapper by night who, for the last decade, has documented cyclical violence in his neighborhood through a string of vivid, writerly, self-released albums, each a world in itself. Each bar is more impressive than the next ("My ancestors took old food, made soul food / Jim Crow's a troll too, he stole the soul music / That's the blood that goes through me, so you assumin' / I could never sell my soul, they sold they soul to me") as the two rappers illustrate their lexical deftness and depth of soul. —N.M. We all know and can feel these emotions.

"Sword" is a shimmering dream-pop song oozing with lavish synths, but it cuts like a knife -- and, boy, does it cut deep. The song is produced to sound like an oldie with Hendrix-like funkiness, but the way horns and percussion bounce off one another and Tumor's swanky drawl seduces, you can tell that this is the new sound. While Queen Bey may not be a rapper first and foremost, she is Queen Bey and can definitely spit some bars whenever she sees fit -- like on the remix of Megan Thee Stallion's (soon-to-be even more massive) hit "Savage." Like all of the best Frank Ocean songs, it's tenderly somber, but his serene voice has an ability to make even sad moments feel full of lightness. —Stephen Thompson, With a wink to heart-on-sleeve Romantic piano concertos by Rachmaninov, British composer-conductor Thomas Adès unleashes perhaps the most pleasing concerto written yet this century.

There is a sense of betrayal in her voice as it crescendos, and a bite in her lyrics ("I left you in life cause you don't need my pen to embellish your noteworthy parts / And I only write songs about things that I'm scared of / So here, now you're deathless in art"), but the song is by no means cruel. The remix simultaneously serves as an ode to the city of Houston, the resilience of women in hip-hop, and the fact that Beyoncé is truly a superior rapper to Jay-Z. When di quarantine ting done and everybody touch road?”. It turns out, on The Slow Rush, the musical mastermind at once embraced the future and the past, all at once.

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