2021 Midyear AOTY: Top 20 Albums
Welcome! It’s time to break down my favorite 20 albums from the first half of this year. Anything that came out between January and June is fair game and I’ll share my thoughts on great releases that have dropped since then (Isaiah Rashad, Boldy James and The Killers just to name a few) at the end of the year. I’m already late so let’s not waste any more time!
20. “Super Monster” by Claud
Claud delivered an easy-going but surprisingly meaningful blend of indie rock and bedroom pop on their debut album, “Super Monster.” All their songs follow a simple pop structure, but the quality of the writing and the pillowy mixes of warm guitars keep the project consistently engaging. Upbeat jams like the tongue-in-cheek “That’s Mister Bitch To You” and groovy “Gold” complement “Super Monster’s” softer and more emotional tracks like “Jordan,” which paints a harrowingly vivid picture of a dysfunctional relationship our protagonist stays in out of desperation. On “Rocks At Your Window,” Claud engages in some clear Elliott Smith worship that makes it obvious why they’re signed to Phoebe Bridgers’ label. So if you’re a fan of Bridgers’ latest projects or indie acts like Soccer Mommy or Snail Mail, don’t let “Super Monster” pass you by.
19. “To See the Next Part of the Dream” by Parannoul
This anonymous South Korean student’s bedroom project reveals some staggering ambition and fine-tuned production if you’re willing to accept a few rough edges. From the moment the piano arpeggios and shoegaze guitars kick in on opener “Beautiful World,” the album’s title fits perfectly with the music’s atmosphere. “To See the Next Part of the Dream” crafts a captivating and surreal mood while delivering a refreshingly diverse batch of songs, from the catchy indie pop of “Analog Sentimentalism” to the 10-minute odyssey of “White Ceiling.” The album isn’t perfect; the record’s best songs are all in the first half and sometimes the rough production holds back the dramatic climaxes. But if you enjoy Parannoul’s inspirations, chiefly Car Seat Headrest and Weatherday, you owe it to yourself to check them out.
18. “Is This Some Kind Of Joke?” by The Blunt Force Trauma
Canadian lo-fi rock and folk band The Blunt Force Trauma, the latest project from singer, songwriter and all around weirdo Hunter Hart, makes quite a first impression with the debut album “Is This Some Kind Of Joke?” The band covers a lot of stylistic ground in a little more than an hour, delivering everything from acoustic ballads to blown out blues and noisy psychedelia, with only Hart’s drunken croon and the consistent strangeness holding the album together. To any sane person, that should sound intimidating, but if you keep an open mind, The Blunt Force Trauma’s creative and at times truly affecting songs might speak to you. The dynamic build from muffled guitars and distant vocals to a crushing and feverish finale on “where have all the anvils gone?” and the melancholy ukulele balladry on closer “that don’t sound all that bad to me” truly transcend the raw aesthetic’s limitations and deliver something powerful you can’t find anywhere else.
17. “A Dream Is Just a Big Thought” by Codist
Scottish indie rockers Codist took an impressive step forward on their sophomore effort, “A Dream Is Just a Big Thought.” Unlike their rougher debut, Codist’s latest presents some unforgettable hooks with production just gritty enough to give it character without distracting from the songs. “Carrying the Milk Around” hurls you through relentlessly catchy verses, choruses and guitar riffs while more restrained songs like “Malamute” slowly add layers and melodic ideas until setting off a dynamic bomb at the end. The album suffers from a few pacing issues; the opening and closing tracks are both a little disappointing and some songs start to bleed together after 40 minutes. But Codist shows more and more songwriting and production skill with every release and definitely deserves a listen.
16. “Nakazora” by Amie Waters
After the intensely meaningful and ambitious sci-fi exploration of identity, spirituality and sexuality on her last album, “Cosmos of the Soul,” it seemed like Portland-based electronic artist Amie Waters would welcome some quiet contemplation. And although the ambient piano and synth pieces of “Nakazora” have dark and heavy moments, these lush yet subtle songs inspire exactly the kind of peaceful meditation we need on the other side of finding new parts of ourselves. With half of the tracks reaching beyond 10 minutes and the rest not far behind, “Nakazora’s” pieces take their time, slowly adding warm synths, spacey pianos and sparkling effects until the atmosphere has become almost overwhelming. Some moments can feel cold and lonely, but Waters always places a comforting human element right around the corner, from the distant vocals and bright guitar arpeggios on “CCU28” to the playful melodies on closer “TOSKA.” If you need an oasis of safety and calm, you just might find it in “Nakazora.”
15. “Bright Green Field” by Squid
Alongside the other critically acclaimed post-punk bands coming from the UK like black midi and Black Country, New Road, Squid has established itself as truly remarkable with “Bright Green Field.” With instrumentation that tastefully flows from raw simplicity to chaotic excess and lead singer Ollie Judge hollering his brains out over it all, it’s not hard to see why Squid has earned such fanfare. Every song delivers unexpected turns and gripping performances, from “Paddling’s” contrasting hooky licks and abstract ambient passages and “Narrator’s” slow build from angular guitars and hypnotic chanting to a distorted wall of sound and unhinged shrieking. Along with dishing out plenty of raw spectacle, “Bright Green Field” dissects consistent themes of propaganda and control, infusing a revolutionary spirit into even slower songs like “Documentary Filmmaker” and “Global Groove.” If you’re hungry for more of England’s post-punk invasion or haven’t been impressed yet, don’t miss Squid’s promising debut.
14. “ENTERTAINMENT, DEATH” by SPIRIT OF THE BEEHIVE
If you can imagine what a Mac DeMarco and Death Grips collaborative album might sound like, maybe you can begin to prepare yourself for Philadelphia-based outfit SPIRIT OF THE BEEHIVE’s fourth album. “ENTERTAINMENT, DEATH” is a shocking yet cohesive blend of indie pop and industrial noise, delivering some of the catchiest experimental rock around today. Tracks like opener “ENTERTAINMENT” pound this juxtaposition right into your skull, beginning with a passage of abstraction somewhere between gabber and noise music before breaking into an instantly catchy indie pop tune with off-kilter effects and lush strings. This contrast between experimentation and dream pop hooks never relents, from the sour guitar licks and throat-destroying vocals of “THERE’S NOTHING YOU CAN’T DO” to the singalong melodies, sharp synths and watery effects of “THE SERVER IS IMMERSED.” Expect to be completely disoriented by the end of your first listen, but if you’re courageous enough to return, there’s so much to uncover and appreciate.
13. “Heaux Tales” by Jazmine Sullivan
Philadelphia-based R&B singer Jazmine Sullivan makes a powerful and nuanced statement on the short but sweet “Heaux Tales.” Sullivan’s charismatic vocals, empathetic storytelling and clever lyrics make her portrait of the party-girl lifestyle equally gripping and funny, from her Gold Digging behavior playing against Anderson .Paak on “Price Tags” to her hilariously blunt desire on “Put It Down.” But despite its lighthearted moments, “Heaux Tales” presents a genuinely powerful narrative. “Bodies — Intro” opens the album with our heroine asking herself why she makes such bad decisions, only to slowly reveal the deeper hangups behind her habits, until closer “Girl Like Me” reveals the depth of her self doubt and heartbreak. Despite the skit-heavy tracklist that can interrupt its momentum, “Heaux Tales” stands as one of the year’s most compelling R&B releases.
12. “Cheater” by Pom Poko
Norwegian post-punk band Pom Poko blends abrasive and industrial sounds with dream pop on “Cheater,” stretching rock songwriting to its absolute limit without giving up the chance to get some incredible hooks stuck in your head. Although the band crams insane production and mathy switch ups into every single song, no track ever feels too weird, resulting in a remarkably cohesive yet unpredictable listen. Sugary hooks and riffs on tracks like “Andrew” and “Danger Baby” are effortlessly addictive, while other tracks will leave you shocked at just how abrasive Pom Poko gets. The borderline-metal breakdown on the title track and the screamed self-help mantras backed by tortured guitar tones on “Look” might take a few revisits to appreciate. Luckily, the strange balancing act Pom Poko performs on “Cheater” goes over shockingly well, so you may find yourself coming back to this contradictory mess way more than you expect.
11. “TYRON” by slowthai
British rapper slowthai made a strong first impression with 2019’s “Nothing Great About Britain,” but “TYRON” truly defines his versatility and depth. Side one deals out the grimy bangers we’ve come to expect from slowthai, with distorted trap beats, provocative lyrics and animalistic delivery. Side two is a drastic departure, switching out the distortion and anger for melancholy beats and introspective lyrics. While side one has a few issues (slowthai is handily out-rapped by Skepta on “CANCELLED” and A$AP Rocky on “MAZZA”), the second half is a surprisingly emotional and staggeringly consistent switch up. From the chipmunk-soul of “i tried” to the heartbroken piano-trap anthem with gorgeous James Blake vocals on “feel away,” slowthai proves that his skill as a writer and performer reaches far beyond mere shock value. After the equally transparent and aggressive closer “adhd” fades away, you may find yourself revisiting “TYRON,” even if slowthai’s debut didn’t click with you.
10. “G_d’s Pee AT STATE’S END!” by Godspeed You! Black Emperor
Legendary Canadian post-rock band Godspeed You! Black Emperor has been making haunting and epic music about extremism, apocalypse and societal collapse for more than two decades. And GY!BE has approached these topics with fairly consistent pessimism. So it came as a surprise that the band’s response to 2020’s chaos, death and widespread unrest was an album that refuses to let go of optimism. “G_d’s Pee AT STATE’S END!” is more than happy to face the world’s darkness with eerie ambient passages and propaganda samples, but will respond with some of the most energetic and bright guitar riffs or tear-jerkingly gorgeous string sections the band has ever recorded. Although some fans may miss the darker and more contemplative tone of GY!BE’s classic albums, the latest record is just as profound and perhaps even more needed. No matter the loss and dissolution we face, “G_d’s Pee AT STATE’S END!” is a reminder to fight on.
9. “CARNAGE” by Nick Cave and Warren Ellis
After Nick Cave & The Bad Seeds wrapped up their solemn 2010s trilogy with 2019’s “Ghosteen,” singer and songwriter Nick Cave and producer Warren Ellis embarked on quite a detour. With “CARNAGE,” the duo depart from the mellow soundscapes of the band’s recent work and deliver a gorgeous and haunting display of almost everything Cave does well. Stylistically, this record always keeps you guessing, opening with a Radiohead-esque blend of gritty electronics and theatrical strings on “Hand of God” while making room for subtle ballads like “Shattered Ground” later in the tracklist. Cave’s performances and lyrics can proudly stand beside his classic work, addressing current events with his surreal imagery and sobering perspective. Over the eerie electronics and tense percussion on “White Elephant,” Cave writes from the perspective of far right extremists defending statues of Southern slave owners from protestors, lacing his words with perverse symbolism and vicious threats that capture the fever dream of the American experience in 2020. Along with his disturbing satire, Cave addresses the loneliness and sadness of quarantine on “Albuquerque,” lamenting the loss of adventure time spent with loved ones we all hoped to experience over heart-wrenching pianos, strings and chimes. Although the album’s subject matter is undeniably contemporary, Nick Cave’s empathetic voice and Warren Ellis’ immersive soundscapes will keep “CARNAGE” timeless.
8. “C-GIRL” by City Girl
Los Angeles-based musician City Girl expanded her sound drastically on “C-GIRL,” breaking away from the lo-fi chillhop that’s defined her career so far and producing some of the most fun R&B jams out today. Collaborating with singers like Kelsey Kuan, tiffi and ry, City Girl crafts infectiously catchy tune after tune, bringing each vocalist’s performance to life with snappy trap drums, soft keys and warm guitars. Although most of these are fairly innocent and straight-forward love songs, little details in the stories they tell keep them fresh, like bonding over video games on “WII DATE” or frustration over someone’s inability to read signals on “EASY.” The songwriting on “C-GIRL” holds up even when tackling more serious topics, like trying to push through stress and burnout on “RESTART” or fighting the bitterness of heartbreak on closing track “SEA.” If you’re looking for some quality R&B tunes, either to escape or to process tough times, City Girl’s latest is for you.
7. “A Gift To Us All” by Cacola
To be honest, “A Gift To Us All” means very little on the surface. It has almost no lyrics to tug your heartstrings and no cohesive story to tell. What the album does have, however, are some of the most danceable and progressive drum-and-bass the underground EDM scene has to offer. Anonymous Louisiana-based producer Cacola crafted an indulgent hardcore masterpiece with this record, a true testament to just how expansive and fun criminally underrated online art can be. From the ear grabbing vocals and synth leads of “Birds” to the sudden thrash breakdown in “Unused Assets” and the joyously irreverent My Chemical Romance sample at the climax of “Birthday Girl,” every second of this album oozes unrestrained ambition and creativity. Whether you’re well versed in drum-and-bass or just dipping your toes into electronic music, you’re bound to find something to love in “A Gift To Us All.”
6. “Nurture” by Porter Robinson
Porter Robinson not only followed up his modern classic “Worlds” with an album just as evocative and grand, but completely reinvented himself as an artist along the way. More than anything, “Nurture” is a triumph for Robinson as a songwriter, allowing him to express his voice at the center of his songs while supporting it with his most inventive production yet. Robinson’s music reflects a much wider array of influences than “Worlds” did, reflecting hyperpop in his pitched vocal performances, orchestral music in his arrangements and even experimental music in the most abstract and repetitive moments of “Wind Tempos” and “dullscythe.” Although the hits like “Look At The Sky” and “Get Your Wish” are fun, “Nurture” is at its best when Porter pushes his music beyond its stylistic limitations and incorporates intense personal reflection in his writing. Tracks like the acoustic ballad “Blossom” and closer “Trying To Feel Alive” provide genuine and moving insight on how Robinson deals with mental health issues, relies on loved ones for support and finds a way to find inspiration and joy as an artist. Overall, “Nurture” is a wonderfully realized and surprisingly mature step forward from one of EDMs best.
5. “God’s Trashmen Sent to Right the Mess” by Fievel Is Glauque
Especially in January when most things hadn’t reopened and live music still felt completely inaccessible in California, Fievel Is Glauque’s globetrotting lo-fi jazz pop seemed like an absolute godsend, then and now. A collection of live recordings with varying lineups led by multiinstrumentalist Zack Phillips and singer Ma Clément, “God’s Trashmen Sent to Right the Mess” is overflowing with fantastic performances, live chemistry and soulful vocals, all made even more powerful by the project’s low fidelity. Putting on headphones and hitting play feels like walking around a corner in Paris and stumbling across the best buskers in the world. From the frantic switches between easy-going art pop and thunderous free jazz on “Simple Affairs” to the sounds of the band hollering on “We’re Lost,” every single song gains an alluring character from the live sound that probably would have been lost or at least diminished in a studio. “God’s Trashmen Sent to Right the Mess” gives you an opportunity to witness some incredible music happening somewhere wonderful without leaving your room. And in the crazy world we’ve all been living in for this last year and a half, that’s priceless.
4. “fishmonger” by underscores
San Francisco-local Devon Karpf, known by their underscores moniker, isn’t the first musician to smash the sounds of hyperpop and pop punk together. But when compared to contemporaries like brakence or Aries, underscores stands out with the wildest and most seamless fusion of those sounds on their debut album “fishmonger.” Underscores dances their way through many nostalgic and futuristic sounds, often without losing the best parts of either, like on the pop punk banger turned hyperpop assault of “Spoiled little brat” or the dueling acoustic guitar and crushing bass of “Bozo bozo bozo.” Although the patchwork of styles of influences is definitely what will draw in newcomers, underscores’ hardcore fans already know that the unforgettable songwriting is what makes their projects special. From the lo-fi rock ballad of “Kinko’s field trip 2006” to the melancholy indie tune of “The fish song,” you can’t get through a single song without tripping over choruses and guitar licks that will get stuck in your head. With such catchy writing and inventive production, “fishmonger” earns the declaration underscores’ producer tag repeats throughout: “It’s the new wave of the future!”
3. “Cavalcade” by black midi
With its sophomore album, British post-punk quartet black midi have completely transcended the genre and created one of the most horrifying, beautiful and best rock albums of the century so far. Abandoning much of the style that made 2019’s “Schlagenheim” such a breath of fresh air, black midi call back to not only classic post-punk but even the jazziest and softest shades of Canterbury progressive rock, which are made all the more wondrous and strange when placed alongside the brutal aggression and crushing speed of the band’s most vicious performances yet. From the moment the cultish breakneck opener “John L” transitions into the lush and inviting jazz pop of “Marlene Dietrich” until the closing orchestral moments of “Ascending Forth,” black midi revels in contrast between soft melodic passages and animalistic walls of noise, even within the spans of single songs. And along the way, black midi delivers so much evocative imagery and thematic exploration in Geordie Greep’s often unhinged vocals, obsessing over the nature of fame, the futility of existence and the immortal power of music. If you have a single rock-loving bone in your body, you owe it to yourself to give black midi’s mind-bending masterpiece a try. And once you have, DM me so we can talk about the end of “Chondromalacia Patella!”
2. “ROADRUNNER: NEW LIGHT, NEW MACHINE” by BROCKHAMPTON
BROCKHAMPTON’s latest album is definitely not the hip-hop collective’s best or most cohesive album. The first few songs are taken up by underwhelming singles that, although they feature some incredible verses and production, don’t really deliver the quality songcraft and group chemistry that the boyband is known for. But despite a false start, “ROADRUNNER” hits its stride and delivers some of BROCKHAMPTON’s most inventive and personal material yet. From cutthroat posse cuts like the nocturnal “WINDOWS” and the frantic “DON’T SHOOT UP THE PARTY” to some the group’s poppiest tunes like “I’LL TAKE YOU ON,” the boys serve up just as many infectious hooks and quotable verses as on their previous albums. But perhaps even more than some of BROCKHAMPTON’s previous projects, “ROADRUNNER” is at its best when it dives into the intensely personal. Although other members have the chance to share their innermost feelings on tracks like the nostalgic “WHEN I BALL,” Joba’s traumatic reflections on his father’s suicide define the emotional depth and weight of the entire album. Whether meditating on how his father’s struggles influence his self image over the distorted guitars of “THE LIGHT” or just begging for a chance to tell him life is worth living on the sorrowful closer “THE LIGHT PT. II,” Joba’s lyrics and performances are shockingly honest, courageous and painfully relevant to anyone who has considered suicide or seen depression hurt those closest to them. As a whole, “ROADRUNNER” is a bold and painful reckoning with the darkest parts of life and death, reminding us just how important it is to feel loved and extend that love to those closest to us.
1. “CALL ME IF YOU GET LOST” by Tyler, The Creator
I’m almost certain that 2017’s “Flower Boy” will always be my favorite Tyler, The Creator album. It arrived at a very important time in my life and opened me up to not only Tyler and Odd Future’s discography but also played an important role in my appreciation of rap music in general. And it proved Tyler was a particularly talented and vulnerable voice in the artform. But despite how personally connected I feel to “Flower Boy,” I have to recognize “CALL ME IF YOU GET LOST” as Tyler’s most impressive, diverse and meaningful representation of his holistic identity as an artist. This globetrotting luxurious adventure is an amazing triumph of hip-hop escapism on the surface, delivering some of Tyler’s best songs like the summertime R&B gem “WUSYANAME” and the buttery smooth “HOT WIND BLOWS” featuring opulent flutes and a rare-form verse from Lil Wayne. But as both politically conscious bangers like “MANIFESTO” and addictive flex fests like “JUGGERNAUT” fly by, another level of meaning and depth starts to peek through. Whether Tyler directly addresses his experience falling in love and having to let go on “SWEET/I THOUGHT YOU WANTED TO DANCE” or chants lovesick wishes on “RISE!,” it becomes clearer and clearer that Tyler is hiding in luxury, travel and his own ego to escape the pain of heartbreak. And when the curtain finally falls away on the massive story song “WILSHIRE,” Tyler shares every intimate and painful detail of getting romantically involved with a friend’s partner, ruining a friendship for a fling while having to accept that he was in the wrong from the beginning. “CALL ME IF YOU GET LOST” takes you along for a beautiful ride, one that fulfills every style Tyler has ever explored, subtly hinting at the deeper story before culminating in the single most emotionally affecting and honestly written artistic statement of his career. For anyone who longs for the open road and has a broken heart, Tyler created this for you. Get lost in it.
Editor’s note:
Hunter Hart and I have been online friends for the past few years so feel free to take my opinion on “Is This Some Kind Of Joke?” with a grain of salt or two. I haven’t shown this to him or the band before I published it, but I’m not going to pretend not to be biased. If you’re reading this, hi Hunter!
You can follow John on Twitter at @JohnMichaelBr15.
