Top 50 Albums of the Year: 2021
2021 has certainly been a spectacular year for music. Between massive albums coming out from the biggest artists in the world that certainly did not disappoint, to the underground making some of the biggest moves in the industry, music is doing great. There were so many amazing albums that I couldn’t even fit in this list, everything on this list is definitely worth at least a listen.
Hope everyone has a great holiday and a great new year, before I get into the bulk of the 50, here are some honorable mentions that barely made the cut, but are great albums either way
Honorable Mentions:
- The Melodic Blue — Baby Keem
- Planet Her — Doja Cat
- An Evening With Silk Sonic — Silk Sonic
- 30 — Adele
- We’re All Alone In This Together — Dave
- Rainbow Bridge 3 — Sematary
- shut the fuck up talking to me — Zack Fox
- Montero — Lil Nas X
- Half God — Wiki
- The Color Blu(e) — Blu
- The Off-Season — J. Cole
- La Maquina — Conway the Machine
- Hitler Wears Hermes 8: Sincerely Adolf
- Pray for Haiti — Mach-Hommy
- The Plugs I Met 2 — Benny the Butcher & Harry Fraud
50. DELTARUNE Chapter 2 (Original Game Soundtrack) — Toby Fox
Video game music has never really been my thing. They always seemed a little too long-winded and contextless for me to enjoy. However, when I saw the amount of attention DELTARUNE Chapter 2 was getting, I was curious. The tracklist and runtime certainly drew my attention, 47 songs across 49 minutes meant each song was brief, there wasn’t much room for each track to develop itself. However, as I delved into the record, I could immediately see Toby Fox’s vision in the development of this soundtrack.
While many of the songs don’t even break 30 seconds, there are still great ideas being communicated over the tracklist. With each song flowing smoothly into the next, it feels like one large cohesive body of work, rather than the 49 individual tracks, which makes this soundtrack more intriguing, as it’s able to stand on its own as an independent body of work, free of contextual understanding other soundtracks may need. It’s a great listen, and while it may feel a little tedious, listening to this soundtrack as a whole will certainly improve your day, even just a bit.
49. the Light Emitting Diamond Cutter Scriptures — R.A.P. Ferraria
Throughout this entire record, R.A.P. Ferreira repeats one phrase: R.A.P. Ferreira will rap forever. With his amazing streak of albums, especially with 2020’s Purple Moonlight Pages, R.A.P. Ferreira has set himself apart as one of the most interesting voices and minds in hip hop today, and this newest record is no different.
Utilizing a stripped-back interpretation of the jazz rap genre, Ferreira gives one of the most refreshing performances of this year. Delivering his bars in a more laid-back fashion, his smart flows, paired with some of my favorite production of the entire year create an album that’s both incredibly relaxing but immensely intriguing. The beats he performs on are relaxing and uplifting, which complement his tone of voice and lyrics well. Setting himself apart from his grimey contemporaries, he really characterizes the title of this album, cutting through his genre colleagues with light-hearted scriptures that deliver an album that’s equally satisfying and intriguing.
48. Happier Than Ever — Billie Eilish
In my humble opinion, Billie Eilish’s 2018 breakout debut WHEN WE ALL FALL ASLEEP, WHERE DO WE GO remains one of the most underrated pop records of the decade. “But Benny,” you may bemoan, “how is it underrated, she literally won all four major category GRAMMYs for it.” Well you fool, it’s because it doesn’t get the genuine recognition it deserves in the public consciousness for being as groundbreaking and well made as it is, and honestly, I find that sentiment to apply for her second album.
Happier Than Ever is by no means as groundbreaking or well done as WHEN WE ALL FALL ASLEEP. Billie and Finneas chose to focus on a lot more subtle qualities of their craft, which I respect, but I find it to be a little less interesting than the bass-thumping moments of her first album. Nonetheless, Happier Than Ever is a solid album with some great ideas being referenced and sometimes executed [see Title Track]. Piano melodies paired with introspective lyrics, complemented by other tracks featuring blaring noise pop and rock segments create an interesting album that many mainstream artists wouldn’t dare approach. While I don’t think Happier Than Ever will have the lasting impact or notoriety WHEN WE ALL FALL ASLEEP had, I think when it’s looked back on 4 or 5 albums down the line, it’ll gain respect for the diverse palette it employs, along with what Billie and Finneas were trying to do with it.
47. to hell with it — PinkPantheress
This album is literally like 15 minutes just go listen to it. It’s good.
46. Haram — Armand Hammer & The Alchemist
The funniest part of this album is that PETA made a public statement asking Armand Hammer to change the cover of this album. Demanding they focus on the music, rather than shock value, Armand Hammer took that as a challenge and released one of the dirtiest and grimiest hip hop albums of the year. Haram takes everything that has worked so incredibly well for every other act in the so-called boom-bap revival and turns it up to 10. Featuring The Alchemist’s consistently diverse production, every song is intensely dynamic. Through its entire runtime, the album never loses the attention of the listener, yet attributing that to just the productive talents of The Alchemist would be a shame.
Armand Hammer are incredibly smart in the way they both deliver and trade their verses. The duo shows off their veteranship in the hip hop sphere by not letting a single moment go overlooked, ferociously delivering lines that are disgusting enough to kill a man and bring him back to life. Bottom line, Haram exists as one of the dirtiest albums to come out all year, and there’s some weird amount of beauty in that.
45. SOUR — Olivia Rodrigo
This album has been reviewed, beaten, heralded. Everything that there is to say about this album, has been said. While the success of this album honestly speaks more towards industry trends, along with the current climate of music consumption than the actual quality of the music, ignoring all the contextual background of SOUR still leaves behind a relatively solid album that’s able to stand on its own two legs when contending with other albums this year.
At face value, this album may slip into the dozens of mainstream records that are filled with piano ballads that we’ve seen in the last few years. Upon further inspection, however, it stands out from the crowd with its smart tracklist, intuitive production choices, and genuine songwriting. The music scene has the tendency to shit on teenage girls and things teenage girls enjoy, but SOUR should come as a pleasant surprise for even the most pretentious listeners. Although this may be my alignment as a teenager, SOUR is successful in delivering the emotional appeal it aspires to have throughout its tracklist.
While the conciseness of this album is more a circumstance of its release (given Rodrigo’s rapid blowup) rather than a distinct artistic choice, it’s still incredibly refreshing to see an album of this popularity be so compact and well thought out, even if the album may seem a little elementary. If this is what Rodrigo is capable of in her first rodeo, with the right productive pairings and more far-reaching ambitions, Rodrigo could set herself up to be one of the most interesting artists of the 2020s.
44. Sling — Clairo
Clairo is one of a kind. Her unique take on bedroom pop and the “self-starter” impression she left on the public consciousness with her 2019 Immunity created a whirlwind of attention on this young artist who many of my generations seem to adore (which makes sense, given her claim of influences being artists we all grew up listening to). In her second full-length effort, she’s recruited one of pop’s most adored productive minds and created one of the most captivating records of the year.
In a genre where every album has the chance of coming off as insignificant and every song runs the risk of sounding the same, Clairo and Jack Antonoff make sure you remember every moment of this gorgeous record. Clairo’s vocal performance has certainly never been boring, but this time around, she hones her ability to create a sticky melody and executes it to the greatest degree. Her singing, again, runs the risk of coming off as insignificant, but she ensures it retains in your mind as the most soothing music you’ve heard this year. On top of that, her lyrics have seemingly evolved from her previous effort into something a little more mature, tackling the more nuanced aspects of relationships, personal growth, and mental health.
The production isn’t anything to overlook either, as small notes of psychedelia and indie come through in each song, making this release infinitely more captivating. Clairo seems hellbent on making the best art she can while staying true to her roots from the bedroom, and Sling is proof of that. If you’re not following Clairo as an artist at this point, or if you see her as simply a TikTok artist that makes music for teenagers, you’re simply missing out on what could be one of the most interesting pop acts of the next decade.
43. How Long Do You Think It’s Gonna Last — Big Red Machine
Supergroups are always something I love seeing. Watching artists that are already definitively great and talented create art in a collaborative effort is beautiful, especially when both have nothing to prove. This is exactly the scenario that Big Red Machine’s latest record came out of. Indie folk/rock legends Aaron Dessner of The National and Bon Iver’s Justin Vernon team up to create, in my opinion, the definitive indie-folk record of 2021.
The duo had absolutely everything at their disposal when creating this record, and it shows. Featuring artists such as Taylor goddamn fucking Swift, indie rock queen Sharon Van Etten, and folk legends Fleet Foxes, How Long Do You Think It’s Gonna Last? is indulgent at every step of the way, yet this indulgence produces one of the most beautiful records of this entire year. The vocals are perfect, as Dessner and Vernon understand their strengths and weaknesses and delegate INCREDIBLY well. The many features on this album don’t feel overpowering or out of place, acting as if they’re speaking on behalf of Big Red Machine. The glitchy yet hearty production that isn’t exactly groundbreaking, but is executed incredibly well, shows there aren’t many people on this planet that can consistently execute such beautiful music every time they try to, so when you combine two of the greatest folk minds in the world, you get one of the most satisfying records of the year.
42. Bo Jackson — Boldy James & The Alchemist
I don’t know how many times I’ll have to talk about how great The Alchemist is this year. With Bo Jackson, he just keeps up his streak of making absolutely phenomenal records with prospective rappers that are currently ruling the underground. Boldy James comes to play with his second full-length effort with The Alchemist, after 2020’s The Price of Tea in China, and their growth and maturity from this LP have really shown. The songwriting is amazing, The Alchemist really knows how to build a beat around Boldy’s unique voice and flow, and Boldy James makes sure to spare nothing in crafting some of the most interesting verses of the year.
Everything about this album is just incredibly well placed. From the features from rap legends like Freddie Gibbs and Earl Sweatshirt adding so much complexity to the tracklist to interesting and important subject matters that appear on songs like “Illegal Search & Seizure,” Boldy James doesn’t hold back. This is probably my favorite Alchemist project this year and is probably some of my favorite rap music of the year.
41. Blue Weekend — Wolf Alice
Blue Weekend is the alternative rock gem of 2021. There aren’t many specifics I can point towards to prove my point in the album, because of how accomplished the entire album is. From start to finish, this album incorporates so many amazing ideas in the world of rock that there’s no way you can see what the next song has come for you. From indie rock to classic rock, to even punk and shoegaze, this album doesn’t spare you from the theatrics when it’s chugging along at full force.
Everything about this album is beautiful in its own unique way. Gorgeous instrumental arrangements paired with great writing on the end of Wolf Alice, sprinkled on top of great vocal performances from Ellie Rosswell create the entire package of what I’m looking for in a rock album in 2021. If you’re looking for the rock package that spares no niceties in its execution, Wolf Alice is the place to look, and Blue Weekend is the best result you’ll find.
40. Spiral — Darkside
There is a recurring motif on this album that I can only describe as water dripping from a sewer pipe eerily. I don’t know if it’s the way the album was mixed or some freak of God occurrence, but the entire album sounds like it was produced in the same pipe that this water is dripping in. While it may sound like a detractor to the quality of this record, I assure you it is not, as this album is one of the smartest yet scariest electronic records of the year.
Coming from the iconic electronic duo made up of Nicolás Jaar (most known for his Against All Logic series) and Dave Harrington, Darkside returns with a record that’ll make you question everything you know about music altogether. Pushing the boundaries of what’s still logically considered music, the scant vocals paired with the booming instrumentals force you to take a journey with them into a dark psyche you may or may not want to explore. It’s not all gloomy though, as the production is just absolutely gorgeous all the way through, with some of the best usages of synths you’ll hear in a hot minute. Spiral stands out in the field because of the unique aesthetic it brings to the table, and I can’t see any other artist producing anything like this album.
39. OK Human — Weezer
Look. Weezer has certainly had a rocky history. With the smashing success of their first two albums, Weezer has spent the greater part of two decades trying to replicate both the commercial and critical success of both Blue and Pinkerton. While these efforts have largely failed and Weezer has become one of the most memed bands in modern music, the most unexpected musical left turn of 2021 has been OK Human, Weezer’s orchestral return to critical success.
Like many albums on this list, it’s brutally self-aware. Weezer understands the contentious place they stand and the near non-event a Weezer album is at this point, so OK Human doesn’t pretend to be the great second coming of Jesus. Instead, it takes the question of “What if Weezer lived in 17th century Europe and made baroque music” and creates an understated project that doesn’t overstep its bounds or overstay its welcome but leaves an incredibly fresh aftertaste. The arrangements of this song are wonderful to the ears, Rivers Cuomo doesn’t try to overdo his technically poor vocals, and the lyrical themes are simple but interesting and necessary. Certainly, at this point in their career, Weezer making a fresh left turn is a sight for sore eyes, but it’s definitely a welcome shift. Hopefully, Weezer continue to take the time to cultivate their next records, because the result is genuinely amazing.
38. volcanic bird enemy and the voiced concern — Lil Ugly Mane
I think it’s really funny the guy that made one of the best underground hip hop albums of the 2010s and created his own spin on Memphis based horrorcore is now coming out with an indie rock album (though I acknowledge I haven’t tracked his progression from 2012 till now; I believe a few of his Three Sided Tape mixtapes had sounds that fueled this record). But it’s 2021, anything can happen, especially in music, and the way Lil Ugly Mane has crafted this album is none like any other.
The way Ugly Mane produced this album is some of the smartest stuff I’ve seen in music this year. With rough samples and even rougher instrumentation being laced through these samples, it’s no surprise this album has my attention and the attention of music nerds worldwide. While some of the concepts employed on this album do get exhausting by the end of the 19 song tracklist, the unique sound it brings makes it all worth it. Along with the incredibly complementary vocal performance and the great introspective lyrics that take the listener through the distorted psyche of Ugly Mane, volcanic bird enemy and the voice concern is as confusing and distorted as the title is, but it’s equally as gratifying.
37. Things Take Time, Take Time — Courtney Barnett
I’m not sure why this is here if I’m completely honest. Face value it’s pretty basic compared to a lot of the other albums it beats out. A few sparse instrumentals over typically short tracks, paired with Courtney Barnett’s unique voice and some albeit great songwriting. That’s supposedly the formula for a good record, not a great one. But this is great. I don’t know why it’s great and I know for a fact it’s great.
It’s simple really. Nothing on this album is particularly groundbreaking. The instrumentals remind me of a more stripped-back Beach House and the songwriting is very singer-songwriter-esque. Yet the way all these independently simple concepts come together and the way Barnett has ensured all these elements blend together creates a work of simplicity I think everyone could benefit a little from learning from. Sometimes less is more, sometimes going for the expected is alright, and sometimes, things just take time, so take time.
36. Home Video — Lucy Dacus
Lucy Dacus finds herself in an interesting landscape of indie. Longtime collaborator Phoebe Bridgers is about the biggest thing in rock right now, and Home Video risks itself for potential comparisons to Bridgers. Even if it makes all the sense for them to employ similar styles (after all, Dacus and Bridgers formed the acclaimed Boygenius just a few years back), critical comparisons may have been inevitable… if it weren’t for how successfully distinct Home Video is from its contemporaries.
From the get-go, Home Video gives an interesting take on the indie rock genre that is so pervasive in music right now. Between its contrasting soft melodies and raging electric guitar riffs, Home Video sets itself apart by making daring moves that land well on the album. While the pacing of the album may be a little off, the core tracks are all phenomenally crafted. Dacus shows an incredible understanding of the indie rock space by pushing the boundaries of what’s doable. Dacus is certainly at a great point in her career with this album, and it’s great to see her able to set herself apart from her critical contemporaries.
35. King’s Disease II — Nas
Nas is at a precarious point in his career. It’s been well over 20 years since his debut and opus, Illmatic, and he’s yet to top it. While previous attempts have been unsuccessful at best and horrifying at worst, it seems he’s taken a new approach to making new music. Rather than pretend like he’s the freshest thing in hip hop, or even pretend like he has the ability to top Illmatic, he plays to his strengths as a veteran of the industry, as he now seems okay with not being the best right now, because he knows he’s one of the best ever.
This was a trend begun by the first iteration of this album, but King’s Disease II seems like an improvement on all fronts. Nas continues to use his place as a hip hop legend to his advantage to deliver sage messages of wisdom and retrospective verses that position him as a mentor rather than a superior to the current generation of rappers. Seen in his feature list, drawing from both veterans and newcomers, Nas acts as an intermediate between the new and the old, which he does both lyrically and instrumentally.
Hit-Boy’s production on this album is a more refined version of his work on the first King’s Disease. Being able to take modern trends of trap and incorporating them into beats Nas feels comfortable creates a unique sound that consistently gratifies listeners who were a fan of Nas’ early work. And that’s what this album works so well in: consistency. There aren’t many rappers who can flow at a level as consistent as Nas, and he plays to that level heavily, as he works not to impress, but to maintain. It’s impressive the level of output Nas has found himself generating this late into his career given the work of his era counterparts, but it’s certainly not a surprise. Nas has more to say, and King’s Disease II is proof of that.
34. GUMBO — Pink Siifu
There are very few times in modern music in which I will laud an album for being conceptually scattered. After all, I love albums that are concise, straight to the point, and have favoritism towards the ones with a cohesive narrative. However, I have to stray from my biases and appreciate GUMBO for the scattered mess it is. Nowhere in the tracklist will you find two sounds that sound the same. Conceptually, GUMBO is all over the place, but the execution is so genuine and well done that I can’t help but appreciate the genius that this album required.
Incorporating great elements of trap, R&B, and soul, among other genres, Pink Siifu takes each style and makes it his own. While these incorporations aren’t super forward-thinking or groundbreaking in most ways, the way Siifu appears on each of these sounds is immaculate and makes me wonder what can’t this guy do. The rapping is absolutely eclectic, the instrumentals are executed creatively, and there’s nothing I can say bad about this album in the way it’s executed. It’s a great journey through what’s possible when you’re good at everything, and it certainly sets Pink Siifu up as one of the most interesting voices in all of music right now.
33. For the first time — Black Country, New Road
Post-rock is surely seeing a small renaissance. With great releases from around the world focusing on incorporating elements of rock with punk and jazz, it’s easy to get lost in this wave of albeit great post-rock releases. However, Black Country, New Road find themselves standing out at every step of the way, mostly thanks to their jaw-droppingly infectious execution at this tough genre.
Not many albums this year can match up with the poignant intensity of For the first time. More impressively, not many albums can match up with the contrasting dynamics this album brings to the table. Black Country tells a story across each song, whether that be lyrically [“Leave Kanye out of this” they sing] or instrumentally, like on the song suitably titled “Instrumental.” Black Country, New Road have near perfected the craft of making an album that makes sure you stay hooked on every single song, every moment of the way, even if those songs last upwards of 9 minutes long. If this is how they’re taking it their first time around, I can’t see them doing any wrong on their second, third, or fourth album, because this was absolutely just mindblowing.
32. Heaux Tales — Jazmine Sullivan
I have a gripe with this one. For about a month, the second track on this album, Pick Up Your Feelings, was my alarm. This was at the beginning of the year, I was still locked up inside and doing online school, so every day this song was a reminder that I had to wake up and face the treacherous reality of life in quarantine. Because of this, I abandoned this track and this album as a whole for a few months, not wanting to constantly be reminded of one of the weirdest and toxic points in my life. However, in revisitation of this project, it’s taken on new meaning, specifically, one of hope.
Jazmine Sullivan takes a journey of storytelling throughout this album, as she hopes to show people that there is a brighter reality, no matter who you are and what you’re going through. Stacked with interludes of recovery amongst pain, betrayal, and loss, Heaux Tales quickly became the poster child on how to make quality R&B in 2021. Through the best vocal performances you’ll find in any album, in any genre, from any artist this year, laced on top of simple but weirdly gratifying instrumentals that create such a genuine experience, Jazmine Sullivan navigates hard topics and does it all near flawlessly. Certainly, this is the definitive R&B record of not only 2021, but the COVID experience altogether, and that’s thanks to Sullivan’s incredible foresight and talent.
31. G_d’s Pee AT STATE’S END — Godspeed You! Black Emperor
Godspeed You! Black Emperor is one of the most interesting bands of the last 25 years. After releasing two of the greatest post-rock albums of all time in F# A# ∞ and Lift Yr Skinny Fingers Like Antennas to Heaven!, Godspeed You! has been making solid post-rock albums on and off for the last decade. After their albeit well-received 2017 release, they’ve made a return to form in their latest release, G_d’s Pee AT STATE’S END, whose title is just as confusing and enigmatic, but well thought out as the album in question.
G_d’s Pee AT STATE’S END is definitely less dense than the two albums that made Godspeed so well known, as there are times where you feel there’s not much happening, but the album is largely great at creating far-reaching dynamics, incorporating great highs and emotional lows. The way Godspeed is able to manipulate the elements of post-rock that they know so well and modernize all of them to create a record that doesn’t feel dated is impressive, given their industry history and veteran status. This album is certainly for the more patient-hearted, as it does take its sweet time at getting to the point, but the end result is an incredibly rewarding package featuring the most enigmatic and mysterious this band has sounded in two decades.
30. Vince Staples — Vince Staples
I know Vince Staples as the guy who got Kendrick Lamar to rap over a SOPHIE beat (and for that, I’ll be forever grateful), so when I decided to give his newest LP a gander, staring at a closeup mugshot of his face, as opposed to the dynamic art of FM! and Big Fish Theory opened a curiosity in me. On his 4th LP, however, it really does feel like you’re staring straight into the eyes of Vince Staples as this 22 minute, Kenny Beats-produced album takes you on a journey of his inner psyche.
Vince Staples provides a fresh change of pace to the 20 song bloated messes we’re so accustomed to seeing in this climate. Without a single track going over 3 minutes, the quiet production and introspective rapping don’t pretend to be anything it’s not, yet that’s what makes it so good. Every part of this album feels so refined, so smooth, and so well done it doesn’t feel scant or unrealized, like many albums of this length tend to be. While this does make the ideas presented on the album feel elementary at times, there’s no reason to not love this album.
29. Stand for Myself — Yola
Country gets a bad rep for having a lot of bad music within the genre. As a result, this reputation extends towards sister genres like Americana and bluegrass. Therefore, when I heard one of the most critically acclaimed records of the year is an Americana record, I wasn’t really confused, but I was definitely interested. On a simple first listen, I was sold. Yola has created one of the most uplifting and soulful albums of the year, all while staying true to the Americana roots this album’s clearly drawing from
This isn’t to say this is a strict Americana or country album. The elements of rock and pop she generously incorporates give this album its own particular identity that no one else is able to replicate. Her lyrics of self-discovery and self-confidence bring an energy that I’ll definitely seek out further down the line. I don’t think this album could’ve been anything else, I believe the genre influences it draws on adds so much to the soul of this record that you can’t in any other instrumental influences. Don’t knock it till you try it, Stand for Myself is definitely a record that deserves all its glory and esteem.
28. Valentine — Snail Mail
Snail Mail had something to prove in her second go. After releasing one of the most critically acclaimed projects in the indie rock world in 2018, her follow up had to show that wasn’t just a splash in the pond. With Valentine, she’s done it, a thousand times over. The album is chronically COVID, focusing on internal themes of solidarity, mental health, and love. There’s not much getting in its way of being great, and I’m really happy that’s the case.
Lindsey Jordan flexes her skills as a musician throughout the entire record. The immaculate execution of so many different styles of the genre shows her conceptual mastery of the realm. From the quiet nature of various songs, to the blaring intro track where she’s screaming her heart out, it’s hard not to fall in love with this project from the get go. The trajectory Snail Mail’s career is taking is one everyone should take interest in, and Valentine is surely proof of it.
27. DONDA — Kanye West
Donda. Donda donda. Donda donda donda donda donda donda donda donda donda donda.
Well this album’s here.
I think I’d have a hard time talking about this album without going into the long winded history and story of both Ye and the album that ended up being DONDA , and that may be why I haven’t rated this higher.
There’s not much to say about this album’s qualities that hasn’t already been said already. The songs’ concepts are ambitious, the instrumentals have hints of genius, and the features are masterful. We know all this, but I feel the place this album holds in global perception comes from its notoriety and history, as you don’t get many albums that take 3 different stadium listening parties to release. It creates this understanding of this album being flawless, and I truly don’t believe people would hold it as highly as it is if it weren’t for the rollout. At a musical level, this album has its flaws. I don’t want to sit here and call this album awful or anything, I think it’s very good. I just wanted to explain why I don’t think it’s THAT good. Shoutout Ye though, this album has some masterpieces.
26. HEY WHAT — Low
The cover of HEY WHAT features what looks like a piece of metal that has been scratched and lined to oblivion. That is what listening to this album feels like.
The music is somehow dense and sparse at the same time. Utilizing abstract instrumentals that are distorted into the ground then brought back up again, the album spares no moments in making sure you’re as uncomfortable as possible, but in the best way possible. The rhythms throughout this album are absolutely fascinating, and the urgency of the record can be felt in so many places. Even though the focus of the album is the instrumentals, the vocals and lyrics should definitely not be overlooked. Especially in the single “Days Like These,” LOW find themselves reminiscing on the past and some of their regrets, something all of us can relate to. This album is just the most jarring thing you’ll hear in a hot minute, and I can’t recommend it enough.
25. Promises — Floating Points, Pharoah Sanders, London Symphony Orchestra
The concept of a motif has been beaten into the ground in quite literally every aspect of art, including in literature, music, movies, etc. However, Promises brings about one of the most flawlessly executed examples of a motif I’ve seen in modern music ever, as an arpeggio played by a harpsichord lingers throughout each of its 9 movements. While acclaimed electronic producer Floating Points, legendary saxophonist Pharoah Sanders, and the London Symphony Orchestra may be an unlikely combination of individuals, what it brings is one of the most interesting yet understated albums of 2021.
Promises doesn’t exactly work like an album in the way it flows. Hell it barely works like a classical piece with movements. Instead, each movement flows seamlessly into the next, bringing forward a varied production behind the harpsichord motif that continues into each song. While it may take a few listens of this record to truly see the beauty of its smooth dynamics and modulating components, the way Floating Points is able to combine all three elements in his production, Sanders’ saxophone, and the orchestra is a work of genius that sets it apart from the ever growing ambient scene. The effort you have to apply to understand is no small feat, but understanding this album is a gift in itself, as the beauty of this record is hidden in its subtleties, which you must work for.
24. Let Me Do One More — illuminati hotties
Derange is the only word I feel properly describes this album. illuminati hotties takes the simple concept of an indie rock album and packs it with the most out of pocket and hilarious ideas you’ve heard in music this year, all while maintaining the artistic integrity of the genre.
From the crazy intro where she literally screams POOL HOPPINGGGG at the top of her lungs, to the ending track where she’s reminiscing on a broken relationship, illuminati hotties covers her bases in this album. There’s no moment on this album where you can’t learn something about her as an artist and individual. The way this album sticks to its instrumental roots in rock, but does it to a degree of quality where it feels fresh, is absolutely brilliant and shows off how well she can construct a piece of music.
There’s no real ways I can describe the journey Let Me Do One More takes you on, as it’s literally just chaos and insantiy the entire way through, but once you get to the end of it, I can’t see anyone not enjoying it, even with no context to the genre.
23. Friends That Break Your Heart — James Blake
James Blake has developed himself to be an artist on the cutting edge of innovation in all aspects of music. His quiet approach to electronic music has garnered him acclaim after acclaim, and with Friends That Break Your Heart, he takes it a step further as his latest record is not only technically engaging, but lyrically and vocally engaging.
Blake plays to his strengths on this album and it works beautifully. By delegating a lot of the large verses to guest artists that fit to his style rather than the other way around, along with the immaculate placing of these features, the album has a great pace that never makes it feel depressively bogged down. The features themselves are a masterclass too, with SZA, JID, and slowthai all delivering verses that fit the cadence of the album perfectly, even if they may assumably be out of their comfort zone.
Of course, Blake’s production is impressive and mind blowing as always. Simplifying his more dynamic electronic pieces and creating a more subtle, soft spoken record complements the large amount of introspection Blake undertakes on this album. Every piece of the productive puzzle slips into place as necessary, as does the lyrical ability of James and his co writers. The topics covered are heavy hitting, relevant, and timely, given the state of the world. Going through a plethora of emotions throughout the record, Blake’s verses are well vocalized, well written, and while singing has never been his strong suit, they’re certainly enough to carry their weight on this record. Friends That Break Your Heart is an incredibly relevant and timely record, and if you’re looking for something a little more soft especially given the winter season, this is your pick.
22. kick ii, iii, iiii, iiiii — Arca
Releasing a double album is nothing special. Releasing a triple album, a little more laudable. Releasing a quadruple album? Unheard of. Releasing a quadruple album all featuring strikingly different genres across four days? What the fuck. While KICK ii, iiii, iiii, and iiiiii are technically four separate albums, each with different themes and productive qualities, they all compile into one of the most interesting musical concepts of the last year. Arca has been one of the many pioneers of the experimental pop realm for the last few years, and with the kick series, she shows she can take on other genres, all by herself. (While kick i is technically a part of the series, 2–5 were released in 2021, so that’s the focus of this piece.)
From the start, KICK II (2) is uncompromising, unrelenting, and massively enjoyable. Focusing on reggaeton elements, the experimental themes last throughout the entire record, making this one of the most unique listens of the year. Admittedly being my least favorite, KICK II (2) makes an attempt at creating a mainstream banger with Born Yesterday ft. Sia (and fails in my opinion), but it still stands on its own as an incredibly unique album that needs no context. As the series progresses, the albums become sparser and sparser. By far my favorite, KicK III (3) is an experimental dance record that focuses on innovating on the realms of hyperpop Arca has influenced so much of. The songs are mind-blowing and eclectic, Arca is as confident as ever, and it’s great to see fresh innovations being applied to the genre. kIck IIII (4) and kiCK IIIII (5) are truly where this series sets itself apart, as IIII stands as a lo-fi electronic record with classical elements, and IIIII is a hyperpop influenced ambient record. Both records are insane listens especially in succession with II and III, but I think they both truly go to show the versatility and talent Arca holds compared to her contemporaries.
It’s not often you see an artist this ambitious and outgoing with their projects have all of them land so well, especially in such a short amount of time. Coming out with nearly 3 hours of original material in 4 days is a feat unheard of, and it’s certainly one of my favorite musical moments of this year. I recommend checking all four of these projects out, but any of these four albums would stand on their own, with or without the help of its siblings.
21. Smiling with No Teeth — Genesis Owusu
Genesis Owusu easily cemented himself this year as an artist to look out for in the coming years. Hearing about this album floating around for the first time around the internet, I was pretty skeptical. The main points were this is a fun but scattered record featuring some incredible personality that’s missing in music right now. However, diving into this thing, it’s clear that this guy had no problem showing himself off in his first go at this. Pulling from sounds of R&B, pop, hip hop, even rock and dance, Genesis Owusu has quickly made his name on the scene as a voice to look out for, whether you want to or not.
In his debut, Owusu shows off a whole lot of maturity. With topics like racism and mental health on the forefront of Owusu’s mind in this LP, it creates an interesting journey through his scattered psyche as he shows off parts of himself not many artists want to show on their first go. In other parts of the album, he focuses on materialism and heartbreak, all while combining it into one of the most productively satisfying albums of the year. Every section of this album is filled to the brim with great ideas that are unabashedly him, even if he’s not directly producing these songs. This entire album is just peaking with phenomenal execution and fun bangers, resulting in an album that is so clearly, wholly, and unabashedly Genesis Owusu, even though not many may know what that means just yet.
20. TYRON — slowthai
slowthai has a reputation. Famous for his political lyrics and even more political actions (like holding a severed head of Boris Johnson on stage), slowthai is usually punching outwards, targeting political disagreers and systemic wrongdoings. However, on TYRON, slowthai takes a peer within himself, focusing on his place in the world and takes the time to slowly delve into his psyche.
As the shortest double album in existence, the two sides focus on two different aspects of sound and lyric. The first half, listed in all caps, boasts gritty instrumentals with even grittier performances. It’s essentially slowthai’s My Beautiful Dark Twisted Fantasy after a few controversies pre-COVID, except he’s not really that sorry. The second half is slow paced, with slower instrumentals paired with a more stream of thought style lyrical endeavor, with each track getting deeper and deeper into the mind of the maniac that is slowthai. There’s no real way I can describe this amazing piece of art that slowthai has produced in words, so I recommend you just listen to it. It may take a few tries, but you’ll walk out of it understanding what makes both TYRON and slowthai so smart.
19. Mercurial World — Magdalena Bay
Pop is in an interesting place right now. Between the floodgates opening for the revival of 80s sounds and aesthetics [See: The Weeknd, Dua Lipa] and the crazed, more underground qualities of avant garde and hyper pop [See: 100 gecs] there’s no clear definition for pop in 2021. However, if I were to pick one album to define the state of pop this year, it’d be this one.
Acting as Magdalena Bay’s debut into the world of music, Mercurial World is a fusion of everything there is in pop right now. Synthpop, hyperpop, even elements of noise and electronic find its way in Bay’s culmination in all that is 2020s pop. The songs each delve into different aspects of the pop world, ensuring no corner is left unexplored, and it’s just great to see such a new artist already find their unique sound and landscape in a world where everything seems to have been done twice or more. Mercurial World is the definitive 2021 pop record, and if you haven’t heard it yet, get on it. They’re gonna be big, and you can claim OG.
18. GLOW ON — Turnstile
Often I accuse an album of incorporating a series of good ideas but not allowing any of these ideas to truly flesh out into the musical landscape they deserve to be. If you look at the tracklist of GLOW ON, you might think I’d apply this criticism. An album with 15 songs and only one of them breaking the 3-minute mark may be a giant red flag for half baked songs and skimpy ideas being packaged to get the attention of streaming platforms and boost sales. However, off the bat, you can tell this is not at all what GLOW ON and Turnstile are going for at all.
Throughout the tracklist, Turnstile utilizes great combinations of metal, hardcore punk, dream pop, and even post-punk to create one of the most interesting rock records of the entire year. With hard-hitting but bright instrumentals that make you feel like you’re floating on a cloud of cotton candy while you’re being eaten out by a fluffy bunny, Turnstile has no boundaries in this record. It’s clear Turnstile wants to be one of the most forward-thinking players in the scene of punk and rock as a whole with this record, and I’m all for it, especially if the output’s going to be this good.
17. ROADRUNNER: NEW LIGHT, NEW MACHINE — BROCKHAMPTON
My favorite thing about BROCKHAMPTON is their inability to repeat. After breaking through to the public consciousness with the absolutely amazing SATURATION series, BROCKHAMPTON has consistently reinvented themselves while still maintaining what makes them BROCKHAMPTON. From the colorful scenery set in their original trilogy, to the amping of that in IRIDESCENCE, to focusing on moodier parts of their characters in GINGER after the reshuffling of their members due to the sexual assault scandal that hautned former group member Ameer Vann, BROCKHAMPTON have returned with what I think is their best work since the SATURATION era.
ROADRUNNER doesn’t try to be a replication of anything BROCKHAMPTON has done in the past. After all, looking at their discography, no two albums sound the same, arguably not even the three SATURATION albums. ROADRUNNER takes a seemingly more traditional approach to the style they usually take, including more guitars and traditional hip hop elements, only to take that all and spin it in such a futuristic direction that you’re not ready for what comes next at any given moment. ROADRUNNER’s energy throughout the album is amazing, due in part to the songs that fill the tracklist, and the order of the tracklist itself. Starting with an amazing high in BUZZCUT, the roller coaster ROADRUNNER takes you is unlike anything you’ll see this year.
As a modern iteration of Odd Future that never fails to both impress and reinvent, BROCKHAMPTON constantly finds themselves on the cutting edge of not only hip hop, but popular music in general. BROCKHAMPTON has always teased the prospect of breaking up, but it’s always great to see what they’re able to come out with, as it’s usually a prediction of upcoming trends. BROCKHAMPTON will always have a mark in the public consciousness of innovation in popular music, and ROADRUNNER is no different in that rhetoric.
16. Carnage — Nick Cave & Warren Ellis
Movie scores have a different intention as the rest of music. As a cinematic complement, soundtracks have to be equally as grand as the movie itself, lest it be a letdown in the combination of the senses that is experiencing a film. Nick Cave has made a name for himself over the years doing various things, with movies scores being one of them. However, even if I didn’t know this tidbit, I could’ve immediately told you his roots within the first few minutes of this album being on.
Every song on this album is a grand experience. There’s a level of storytelling being done on every track, whether that be instrumentally or otherwise, and there’s no denying its brilliance in that regard. I don’t know how Nick Cave has somehow made me feel like I’m watching a movie every time I put on this record, but it’s brilliant and I hate it. It trascends what an album can be and puts itself in a realm of its own. The quality of every track is undeniable, and while some ideas may be cut short or there may be an overabundance of ideas being presented, there’s no denying how wonderful this album is on both a casual and in depth listen.
15. Disco! — Mike
Since the release of Earl Sweatshirt’s massive 2018 opus Some Rap Songs, abstract hip hop has taken over the scenes of alternative and underground hip hop. While most of these projects land as solid, but nothing special, MIKE’s Disco! stands out from the crowd it comes out from. It takes the brilliance of SRS and cranks it to 12, focusing heavier on rough samples and sparse beats, contained in brief tracks that allow MIKE to settle for a project that may seem a little less ambitious, but lands incredibly well.
Pulling from productive influences like Navy Blue and Black Noise, the production on this album is a cut rougher than that on its genre counterparts, but it lands so well. The edgy production, laced with sample noise and shoddily mixed drums and vocals, creates an atmospheric feeling that both feels incredibly engineered but genuine and authentic. Incorporating lo-fi energies into this project is probably the best artistic decision he could’ve made, as it contributes to the loopy, sensual feeling of the entire project.
While Earl’s influences are incredibly apparent, it doesn’t knock any of the quality out of the project. MIKE applies his own unique ideas and concepts onto what could’ve been another throwaway abstract hip hop project. Forward thinking flows and incredibly smart lyrical themes push this album to be a special piece of the puzzle it finds itself in. This album adds another level of edge and grime we don’t usually see in the genre, creating a mindblowing and sometimes mindfucking experience that makes Disco! one of the most enigmatic, unpredictable, but gratifying rap projects this year.
14. SINNER GET READY — Lingua Ignota
Lingua Ignota has been through some shit. And it shows. Hot off the heels of her 2019 masterpiece Caligula, Ignota paints another harrowing picture of her experiences in SINNER GET READY. Loaded with genuinely terrifying instrumentals, SINNER GET READY doesn’t pull its punches while addressing the topics it wishes to. Filling the album to the brim with lyrics of pain and suffering throughout her lifetime that you can’t help but cry out with her, SINNER GET READY combines so many elements of so many genres to create something that’s wholly unique. With no genuine way to describe this album, you’ll just have to listen to it.
It’s how intimate this album ends up being that really stuns. You feel like this is Lingua confessing all these “sins” to you, while it’s really just the harrowing reality she’s faced throughout her life. Begging God to literally kill someone is a hard topic to hear in a song already, but adding the scariest, harshest, and most intense instrumental over it just adds salt to the wound. The scant amount of actual lyrics and the lack of any true lyrical complexity actually works in the favor of this album, as it says what it wants to communicate incredibly clear, and it forces you to think about it and lets it resonate with you constantly as the tracklist burrows along with each song adding more layers to that forced introspection you experience listening to this project. This album is more than just music, and I’d hardly call it enjoyable, but it’s truly some of the best art that’s come out of this year, in one twisted way or another.
13. Nurture — Porter Robinson
I didn’t think an electronic album would make me cry this year.
Making most of my conscious memories in the 2010s, I remember dubstep, albeit at a really young age, so up until recently, electronic faded into background noise for me. Seeing the album cover of Nurture for the first time a few days after it came out was a pretty interesting moment. A man laying face down in a field of unrealistically green grass and sparse flowers (maybe I just live in an urban area) was noteworthy to say the least. I didn’t understand why I found the album cover so interesting. Then I heard the second track on the album. Then I understood. Then I cried.
Porter Robinson’s magical touch on this album makes it an ethereal listening experience. The simple electronic elements combined with the wide array of genres, including lo-fi, synthpop, ambient, etc. make such a grand statement about the state of the world, not to mention the lyricism that lands so simply but so succinctly that, again, it made me cry. In a hopeful way. Not a sad way. This is a happy album
12. The Turning Wheel — SPELLLING
Spellling did something amazing with this album. There’s no words to describe the way she can make you feel with just a few violins and a bassoon here or there. No, it’s beyond words. It’s just a feeling. The same feeling you get when you watched Bambi for the first time with your parents at the age of 4, and the same feeling you get when you watch those around you age with you as you move onto greater things in life. Spellling took a leap of faith with this album, and it just paid off so well.
The entire album is reliant on this magical aesthetic that it executes so well, as each song makes you feel like you’re hearing an album within each track. Each minute of this album is jam packed with great ideas being fleshed out to the nth degree, and there’s no part of this album that feels lacking in any way. However, unlike many albums that I’d describe in this way, it’s incredibly friendly to the ears, even to the most casual listeners.
The way it relys on these aesthetics creates such a great energy throughout the entire project you can’t help but be happy through the entire thing, even if some of the lyrical themes don’t reflect that. Seriously, I listened to this album for the first time when I got some pretty bad news, and it just helped me so much in every way. I don’t know what I can further say about this album without ruining it, but with immaculate vocal performances that will sweep you off your feet and the most amazing instrumental arrangements you’ve heard since Mozart, I guarantee everyone will enjoy this record.
11. Jubilee — Japanese Breakfast
Persimmons are a fruit native to China, having been spread to Japan and Korea some thousands of years ago. There are two types of persimmons meant for consumption: persimmons with astringent fruit and ones with non-astringent fruits. As the astringent fruits tend to be bitter, one common form of consumption is the Japanese hoshigaki. In hoshigaki, the fruit is peeled and hung to dry, which makes the fruit incredibly sweet and allows it to last longer than regular fruits. This dried fruit is used heavily in New Year’s celebrations, as it has an association with good luck and longevity, as many things in Asian cultures are.
In Jubilee, Japanese Breakfast’s upbeat and hopeful 3rd album brings exactly that; a blessing of good luck and longevity and a hopeful season of transition. After Japanese Breakfast’s last two albums focusing on the dreary reality frontwoman Michelle Zauner found herself in after her mother’s death from pancreatic cancer, Jubilee is here to tell you everything will be okay, in a timely manner too. With a cover littered in hanging persimmons, even Zauner holding one up herself, it’s clear this album is trying to force its way out of the upsetting history the band’s left itself in after their first two records.
It’s incredibly successful in this manner, bringing about sweet instrumentals paired with Zauner’s hopeful and cheery lyrics of paradise and hope that culminate in the happiest piece of music to come out this year. In the world of tumultuous events happening every day a global pandemic rounding out its 2nd year of fucking with the world, Jubilee brings about a little something we all need this year: hope. And maybe some persimmons
10. Frailty — dltzk
Internet music has come to be one of my favorite topics in the modern age. Between rising stars making a name purely off TikTok (See: PinkPantheress) or artists posting their music anonymously on Bandcamp (See: Parannoul), the internet has given way to some of the most captivating artists of our generation. While dtlzk and their latest album Frailty both stand out from the crowd it came in, it’s almost obvious that a release like this would’ve come out eventually. Citing other artists that also rose from the internet as their influences (Skrillex, Porter Robinson, etc.) dltzk wastes no time in making a sound that is so significant to them.
Everything about Frailty is just so internet-esque. Taking a cool spin on the PC music/hyperpop wave that has taken the internet by storm, dltzk develops a significant emo style of this sound. The nihilistic production coming through, filling every song to the brim with noisy synths and an even noisier vocal production, Frailty tackles the dreary reality everyone’s facing right now head on. Their ballads of love, existentialism, and anxiety can resonate with anyone living in 2021, and it shows with the amount of love this album has gotten off nothing but pure fan love.
This album certainly isn’t perfect, but it doesn’t matter. Everything that has the potential to break this album just adds to the beautiful complexity of the dread this album wants to deliver, but also the hopeful nature it’s trying so hard to grasp. With ever changing tempos, melodies, and dynamics in each song, the album never gets old and it feels like you’re taking a trip to the psyche of dltzk, something that’s evidently everything but calm. I love this record, I don’t like using the word underrated but this one definitely is.
9. To See The Next Part of The Dream — Parannoul
Parannoul is the encapsulation of music in the internet age. Hailing from South Korea, the world knows essentially nothing about the artist that we call Parannoul. The only descriptor we have of him is his labeling of himself as an “active loser.” Further describing himself, he laments “he had never played the guitar while he was 21, his singing skills are fucking awful, and is below average in height and appearance and everything.” Clearly a stand-up guy.
I think those qualities speak miles on the album, however. To See The Next Part of The Dream is a shoegaze album that doesn’t hold back from its lamentations and aspirations. It wants to be something so much greater than it is, yet feels it can’t. In the 11 loaded tracks we get from Parannoul, the journey we’ve taken on through the painfully average life he seems to live speaks miles on the lives we all live. He wants to be insignificant. He wants to fade into obscurity as time goes on. The only thing he wants to be judged on is his art, and that makes this album so much purer.
The two legs this album stands on are strong. There is no context. There is no history. You don’t need to know anything about anything. Though this album is sung in Korean throughout, you feel so emotionally in touch with every part of it, and that’s what makes To See The Next Part so great. You need nothing. You don’t have to be anything. In fact, he wants you to be nothing. That way, you can be the active loser he aspires to be.
8. A Beginner’s Mind — Sufjan Stevens & Angelo De Augustine
Mystery encapsulates the man that is Sufjan Stevens. Starting his career off with a claimed 50 state-based projects, Sufjan has set himself to be one of the most intriguing artists through the 21st century. From the left turn that The Age of Adz was, to the critical summation Carrie & Lowell was, Sufjan’s career has been unpredictable at best and a mindfuck at worst. In 2021, he’s back with a project that may seem reminiscent of his previous work, but with a whole new conceptual angle.
A Beginner’s Mind is a concept album that focuses each song on a different film, drawing inspiration from the themes and motifs of each one. From Silence of the Lambs to The Wizard of Oz, each song brings the movie in question to life with existential lyrics, loving instrumentals, and the most gorgeous voice you’ll find in music. It’s clear Sufjan Stevens is in the pinnacle of his career at this point, combining the best parts of every project he’s released thus far; the productive angst of The Age of Adz, the conceptual ambition of Illinois, and the quiet cumulative of the indie folk masterpiece Carrie and Lowell. Sufjan combines everything he’s learned, done, and wanted to do into this one project, and it’s one of the most satisfying listens all year. Whether it’s just a straightforward listen through, or an in depth analysis into the concept and narrative of every songs, A Beginner’s Mind allows for an enjoyable experience no matter what camp you find yourself in.
7. I LIE HERE BURIED WITH MY RINGS AND MY DRESSES — Backxwash
Rap rock has had an…interesting history. Rap metal? Horrifying at best, offensive at worst (See: Limp Bizkit & Kid Rock). When I heard so much critical buzz for an album of the genre that seems to be so full of misses, I wouldn’t say I was skeptical, but I certainly had my doubts. I’m happy to say, though, by the end of the second track, all doubts were washed away and I was taken through the most insane, crazed, yet concise series of songs I’ve heard this year.
This album is certainly not for the faint of heart. Employing traditional metal techniques and productions, but incorporating some of the loudest elements of experimental hip hop to create one of the best auditory landscapes of the year, this album is meant for those who fall asleep to Death Grips and find Nine Inch Nails just a little too calming. Not just in the production end, but with Backwash screaming lyrics about religion, addiction, and capitalism, among other intense topics, you don’t get a moment to breathe in this incredible, 33 minute package of an LP.
The nature of this album is simple: to grab attention. Backxwash has something to say, and she wants you to hear it. Ensuring her voice doesn’t get washed out, she makes sure whatever narrative she’s delivering not only hits your ears, but breaches through your skull and lands in your bones. This is the most scared I’ve been listening to a project this year, and in some dark, masochistic way, it’s the most satisfied I’ve been listening to a project like this. I’d give this a massive recommendation, but I’m not sure how many people this album will kill, so I’ll just say listen at your own risk.
6. Cavalcade — black midi
I distinctly remember my first time hearing this album. It was the end of my summer PE semester I was taking for credit, and later I was heading to the city for a big event I was attending with friends. I remember this album playing in my earbuds as I scrambled to gather my things, and as it played, song after song, I wondered what the fuck I was listening to.
On further relistening, I realized what I was listening to: pure musical genius. black midi had successfully combined every element they were incorporating into one dense, enigmatic, and chaotic piece of rock excellence. Every piece of jazz appearing in this project is well placed and well timed, every prog rock element is executed to perfection, the arrangements that give this album the math rock energy it aspires to have are made to perfection. Simply put, there are very few albums this year that execute this amount of ambition this well.
The style black midi is going for can be somewhat of an ear sore, so this album makes sure it doesn’t overstay its welcome. By the end of the 8 tracks, you get a satisfying amount of the crazed energy in this album, along with a master class in how to create prog rock in 2021. Black midi has assuredly created one of the most ambitious albums of 2021, and they’ve done nothing but succeed in the realm.
5. Daddy’s Home — St. Vincent
Daddy’s Home doesn’t feel like an album. Not with the way it flawlessly executes the energy of the 70s it pulls heavy influences from. Not with the way it pushes for a modern analysis of vintage ideas in a way that pushes the boundaries of psychedelic and alternative in the 21st century. No, Daddy’s Home feels like a performance. A show. It feels like St. Vincent has sat down in front of you, as the cover art shows, and is about to take you on a journey through her own life in the retro lens Annie Clark has employed.
Daddy’s Home pulls no punches. The opening track makes sure you know that this album isn’t playing to the standards and perceptions people have; no, it makes sure you know Annie Clark is now in control, whether you want to participate in it or not, well that’s up to you. St. Vincent makes it clear multiple times through the album that she’s not making any compromises, through the funky instrumental of the opening track, the introspection that appears on multiple tracks throughout, or the interludes that are purely comprised of hums, anything goes in this wild ride of an LP.
No album this year matches the absolute charisma and seductive energy Daddy’s Home brings. Everything about it is a call back to a “simpler” time, as many claim, and everything St. Vincent and Jack Antonoff tries to do on this album is perfected to a tee. There’s not many words I can use to explain how great this album is because it’s so simple, so standard, yet so well made, it’s just something you have to hear for yourself.
4. By The Time I Get To Phoenix — Injury Reserve
This album seems to be the culmination of a few large events. As every piece of art released in the last 2 years, COVID had a large hand in the creation of this album, along with the racial injustice and its subsequent reaction in 2020, and more specifically and personally, the death of Injury Reserve member Stepa J. Groggs. In near flawless fashion, Injury Reserve makes all these elements strikingly apparent throughout their 2021 release, By The Time I Get To Phoenix.
There’s no denying this album is different. Between the sparse elements of hip hop, to the noisy and distorted vocals, many, including myself, have started to describe this album as the first step in the development of the “post rap” genre, akin to the post rock genre that emerged in the late 90s after a decline from rock’s peak in previous decades. In By The Time, Injury Reserve takes every element of experimental hip hop that has been employed in the last 10 years and pushes it to the boundaries of what’s still considered music. The eclectic nature of minimalistic drums, the synths that lull you into a false sense of security, and the vocals that are distorted and mixed into the ground create such a paranoid soundscape that you can’t help but feel like the blurry guy in the photo.
Touching on topics like the urgency of our political climate, COVID, and the aforementioned death of Groggs, Injury Reserve places each track and lyric masterfully to perpetuate this horrifying narrative delivered throughout the entire album. Any artist in the next few years that wants to delve into this intense level of glitch hop and any experimental hip hop, really, needs to look towards this album and Injury Reserve as a whole to know how to do it well, because they’ve simply knocked it out of the park on their first go at this genre.
3. CALL ME IF YOU GET LOST — Tyler, the Creator
I think we can all learn a little bit from Tyler, the Creator on CALL ME IF YOU GET LOST. Perfectly encapsulated by the phrase “tried to take somebody bitch cause I’m a bad person, I don’t regret shit,” Tyler’s bold confidence paired with his brutal self-awareness makes CALL ME IF YOU GET LOST the perfect energy everyone should be carrying into 2022. There’s not much to say about this album that hasn’t already been said. The production is a synthesis of the growth Tyler’s experienced over his last few LPs and the rapping is refined, it shows how much Tyler cares about the little things in his music. The genre fusions are brilliant but they make so much sense, and every feature shows off Tyler’s conceptual genius. But you knew that already. What I choose to focus on is what this album means for the lore of Tyler, the Creator. He’s done everything an artist could possibly want to. Be one of the most controversial yet interesting figures in music? Done. Make one of the most interesting comebacks of modern hip hop? Cleared. Create one of the best albums of the 2010s? Easily. The question for an artist like Tyler is where he goes from IGOR. Where does an artist of his caliber move on from one of the most critically acclaimed albums of the last 5 years? What could he possibly do?
The answer was CALL ME IF YOU GET LOST. A victory lap of the last decade of his career, the album does land as incredibly self-indulgent, rapping about his cars, bitches, and success. However, we get a more detailed insight into the real-world psyche of Tyler, as opposed to the stories he’s delivered in his previous albums. In this, we can see he’s not done. Tyler has more to do. He’ll get more nuanced, more specific, and become the better artist he wants to be.
When asked about his opinions about Kendrick Lamar’s now-iconic verse in Baby Keem’s Family Ties, everything on CALL ME IF YOU GET LOST suddenly made sense. “You know why it ruined me? Because it’s someone at that level still gunning. [Kendrick’s] trying new voices. He’s trying new shit. He’s still learning. You can tell he was off his phone for a few months.” Tyler aspires. He wants to be a better version of himself and his peers, and there’s no knowing what he’ll do to get that. After all, the sky’s not the limit for the Creator. “The sky is just what he stands on to reach the beyond.” And I think we could all learn a little something from that
2. LP! — JPEGMAFIA
One day, JPEGMAFIA just started tweeting. As he progressively got drunker and drunker and higher and higher, the tweets began to get more enigmatic. Basically yelling on the app for the rest of the day, Peggy mentioned everything from wanting to collab with Zack Fox, Thom Yorke, and Danny Brown, to talking about Marvel vs Capcom. Initially, I thought “wow he is really fucked up right now.” Then I followed up that thought with “is this how he made LP!?” The answer is probably.
I don’t think anyone else could’ve made this album. Who the hell is out here dedicating an entire track to interpolating Britney Spears’ Baby Hit Me One More Time, and then sampling Just-Ice on the most experimental boom-bap beat I’ve ever heard on another track. LP! covers such a range of experimental ideas, themes, and production in this tight 54-minute package that it’s insane nearly everything ends up flawlessly done.
How do you make an experimental hip hop album that’s able to be enjoyed by even the briefest fans, but also be a master class in the world of hip hop that everyone should be taking notes on. I’m not sure, but what I do know is JPEGMAFIA is a once-in-a-lifetime talent, and I firmly believe LP! is the pinnacle of that.
1. Sometimes I Might Be Introvert — Little Simz
SIMBI. Sometimes I Might Be Introvert. When I was reading the album title, it kinda pissed me off. Why was it not Sometimes I Might Be IntrovertED. After all, introvert is a noun, a title placed onto someone. However, I feel the definition of the word has been lost upon many.
Originating from a psychology theory introduced by Carl Jung, it’s described as “attitude-type characterized by orientation in life through subjective psychic contents.” Introversion has often been characterized as the guy at the corner of a party with a book, the person who prefers to sit inside and watch TV versus going outside with friends. In actuality, it’s an attitude someone carries through life where they’re primarily interested in their own mental self. This means that an introvert makes the distinction of focusing on their own thoughts, ponderings, and emotions, rather than the dynamic outside world.
I make this specification to bring it back to my interpretation of the usage of the word introvert vs introverted. In Sometimes I Might Be Introvert, Introvert is not the description of Little Simz, Introvert IS Little Simz. Introvert is the character she dons, and true introversion is the dynamic she acquires on the album.
Throughout the album, acting as Introvert, Simbi takes us through that interest in her mental self. Her lyrics give us a deep insight into her life as Little Simz and Simbi, using the medium of Introvert to take us on a journey through the dichotomy. Themes of being a woman in rap pervade along with the conflicted feelings of her status of fame and acclaim, among the various topics discussed. The entire album is a master class in introspection and through the album, you feel like you understand Simbi like a best friend venting to you about their problems. Conceptually, this is one of the most well formed albums I’ve heard in a hot minute.
I don’t feel the need to laud about this album’s production, vocals, or anything else. It’s perfect. The arrangements are genius, the new spins on traditional elements are amazing, and Simbi continues to have one of the most compelling voices in rap. This album is perfect and it’s the greatest piece of music to come out in 2021.
