2021 Music In Review: Best Albums
Welcome to the final post in my year-in-review series! You can check my last few posts to see my favorite labels, EPs and songs of the year ranked from great to greatest. So let’s finish this off and dig into my top 30 albums of 2021!
30. “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.” From sensual bangers like “Put It Down” to the heartbreak and doubt of closer “Girl Like Me,” Sullivan paints a complete portrait of the party-girl lifestyle, mixing just enough blunt comedy with empathetic storytelling to make “Heaux Tales” just as entertaining as it is meaningful.
29. “Bright Green Field” by Squid
Even when competing with all the other critically acclaimed post-punk bands from the UK making waves in the music scene right now, Squid stands out and establishes its raw and thrilling approach on debut album “Bright Green Field.” Throughout the tracklist, the band delivers infectious grooves and ambitious compositions, hinting at a cohesive revolutionary themes with Ollie Judge hollering his brains out with more than enough passion to sell it.
28. “Santa Barbara” by Fat Ray
Danny Brown’s Bruiser Brigade fed hardcore hip-hop fans well this year and no album from the Detroit-based collective was grimier and catchier than Fat Ray’s debut. “Santa Barbara” hits you with plenty of variety despite the consistently gritty subject matter, with dark Wu Tang-influenced tunes like “Menacing” and darkly funny boom bap bangers like “Old Faithful” with a top tier performance from labelmate Bruiser Wolf, making for a tight and uncompromising listen that’s easy to spin over and over again.
27. “Cheater” by Pom Poko
Norwegian post-punk band Pom Poko blends the abrasive and dreamy on “Cheater,” stretching rock songwriting to its limits while sticking some incredible hooks deep in your head. Although the band brings insane production and mathy switch ups in almost every single song, no track ever feels too weird to nod or eventually sing along to, making for a remarkably cohesive but unpredictable listen unlike anything else last year.
26. “Things Take Time, Take Time” by Courtney Barnett
Australian singer-songwriter Courtney Barnett comforts and commiserates with her simple and sweet third solo album. Over warm electric guitars and gentle drum grooves, Barnett croons existential musings and heartfelt confessions in equal measure, making for a cozy listening experience that feels like catching up with an old friend.
25. “TYRON” by slowthai
British rapper slowthai’s second album is a massive step forward and a defining moment for his versatility and depth as a lyricist and performer. From side one’s distorted trap production and animalistic performances to the second half’s gorgeous melodies and mellow meditations on depression and troubled relationships, the album uses even its least similar moments to build a cohesive and thoughtful picture of the person slowthai is today and how his past struggles have shaped his present.
24. “C-Girl” by City Girl
Los Angeles-based producer City Girl expands her sound drastically on this collaboration with several of bedroom R&B’s most talented and charismatic voices. Breaking away from the lo-fi chillhop that’s defined most of her output, City Girl crafts energetic beats overflowing with personality, perfectly complementing everything from straightforward love songs to melancholy meditations on heartbreak and mental health.
23. “CARNAGE” by Nick Cave and Warren Ellis
On “CARNAGE,” legendary singer-songwriter Nick Cave and producer Warren Ellis embark on a gorgeous and haunting detour, switching out the mellow soundscapes from their latest work with The Bad Seeds for more electronic production and energetic performances. Cave and Ellis approach every song here with clear attention-to-detail and heartfelt poetry that are almost sure to make the album timeless, despite just how well it’s subject matter speaks to our present political and cultural climate.
22. “G_d’s Pee AT STATE’S END!” by Godspeed You! Black Emperor
The Canadian post-rock pioneers of Godspeed You! Black Emperor approach our modern world’s chaos and darkness with surprising and refreshing optimism, more so than the band’s past work has ever done. Despite the eerie ambient passages and propaganda samples GY!BE has always used still showing up here, the album’s bright guitar riffs and tear-jerkingly gorgeous string sections push us to keep fighting and show that even more than 20 years into the band’s career, Godspeed is still innovating and pushing rock music forward.
21. “Absolutely” by Dijon
Very few debut albums in 2021 made me more excited for an artist’s future than Baltimore-native Dijon Duenas’ endlessly charming fusion of classically compelling songwriting and the adventurous genre-blindness of modern pop. Whether he’s tackling a bittersweet bedroom pop banger, neo-soul odyssey or vocal jazz ballad, Dijon brings raspy soul and heart-wrenching passion to every song, making for a unique and comforting listen you shouldn’t miss.
20. “The House Is Burning” by Isaiah Rashad
Despite the undeniable appeal of the catchy hooks and luxurious southern style, Tennessee-born MC Isaiah Rashad’s comeback album can seem a bit simple on the surface, from Zay’s laid-back and melodic delivery to the understated beats and materialistic subject matter. But dig in and listen closer and you’ll find a cohesive and therapeutic journey in “The House Is Burning,” focusing on working through trauma to find peace, not just success, in a broken world.
19. “A Gift To Us All” by Cacola
Anonymous Louisiana-based producer Cacola delivers an indulgent hardcore masterpiece with this record, a true testament to just how expansive and criminally underrated underground electronic music floating around the web can be. With propulsive earworm synthlines and creative sampling, including a joyously irreverent My Chemical Romance inclusion at the album’s midpoint, every second of these progressive drum-and-bass onslaughts oozes unrestrained ambition and creativity.
18. “Fragments of a Dying Star” by Dispirited Spirits
Portuguese one-man band Dispirited Spirits pays tribute to influences like The Flaming Lips and Car Seat Headrest while establishing his own cosmic sound on this well-realized and ambitious debut album. From unforgettable indie pop anthems indulging in the fantasy of space travel to heartfelt ballads facing the troubles that make fantastical escape so appealing, “Fragments of a Dying Star” paves the way for Dispirited Spirits’ bright future and stands as one of the best rock albums of the year.
17. “We’re All Alone In This Together” by Dave
It’s not hard to see why more and more American hip-hop fans are coming to love rap from the UK when MCs like Ghetts, slowthai and Little Simz all dropped quality projects this year and Dave’s second album stands as one British hip-hop’s crowning achievements. Much like Kendrick Lamar’s debut album did at the beginning of last decade, Dave paints a vivid picture of his struggle to rise out of street violence and hopelessness, using everything from club bangers, bittersweet heartbreak stories and fiery protest songs about the struggles of immigrants and the poor in Britain to do only what the best hip-hop does: broaden our perspective and put us in someone else’s shoes.
16. “Nurture” by Porter Robinson
Porter Robinson’s follow up to his modern classic “Worlds” completely reinvents the producer’s aesthetic and artistic focus, pulling from a wider range of influences and placing personal songwriting front and center. On joyous anthems, experimental sound collages and mellow ballads, “Nurture” pushes listeners into a blissful space where lush strings and artificial glitches both feel just as human, representing a massive step forward in creativity and maturity for one of EDMs best.
15. “Bo Jackson” by Boldy James and The Alchemist
Veteran hip-hop producer The Alchemist has been making more than enough waves lately with recent projects with Freddie Gibbs, Conway the Machine and Armand Hammer, along with his two fantastic “This Thing Of Ours” EPs in 2021. But none of his recent albums have been quite as cohesive and cutthroat as his second collaborative album with Detroit-based rapper Boldy James. Over soulful guitar licks, dusty drums and psychedelic effects, James spits equally dark and smooth verses about the street violence and drug dealing surrounding him, standing above his peers with the effortless charisma and gritty imagery in his rhymes. If you’re a fan of hardcore hip-hop, don’t miss this underground rap opus from one of the most talented duos in the genre.
14. “volcanic bird enemy and the voiced concern” by Lil Ugly Mane
At this point, Travis Miller is an online icon for his dark and progressive take on southern hip-hop and cloud rap with his releases as Lil Ugly Mane. But as his most dedicated fans already know from his many melodic side projects, Miller also has a knack for bringing his dreamlike and downtrodden style to rock and pop songs, which “volcanic bird enemy and the voiced concern” demonstrates with shocking genre fusions and immersive production. Pulling influence and samples from music boxes, ragtime, pop punk, boom-bop, demented carnival sounds and much more, Miller’s dizzying blend of moods and styles becomes the perfect complement for his dark, self-depricating and impressionistic lyrics. By the end of this unique and oddly catchy album, you might feel an odd kinship with the figure in the album’s cover: a wasted punk slumped over a bar surrounded by creepy, beaming puppets. If you need something to be there with you in your frustration and chuckle with you at the absurdity of it all, give “volcanic bird enemy” a try.
13. “Half God” by Wiki
The Alchemist and Boldy James aren’t the only incredible hip-hop duo that left their masterful mark on 2021; New York-based MC Wiki’s third album “Half God,” produced by beatmaker and rapper Navy Blue, is his most cohesive and well-written project yet. Wiki’s storytelling and scene-setting have never been more vivid and compelling, weather he’s describing the view from his rooftop in New York City or showing us a delicate scene with a lover as he struggles to confess his feelings for her. Every featured artist, from fellow underground artists Earl Sweatshirt and MIKE, along with Navy Blue himself, delivers some of their best verses and perfectly complement Wiki’s self-reflection and confidence, making the project feel like a small but essential part of the vibrant scene it represents. Don’t miss this love letter to The Big Apple in one of the best underground rap albums of the year.
12. “An Evening With Silk Sonic” by Silk Sonic
We knew music from pop star Bruno Mars and neo-soul staple Anderson .Paak would be great. Then the debut single “Leave The Door Open,” with its lush production and endless charisma, was even better than we expected and earned its place as one of the defining songs of the year. And even after that, we still weren’t ready for just how consistently entertaining and genuinely powerful their debut album would be. From the infectious confidence of “Fly As Me” and “777” to the genuine heartbreak of soul slow jam “Put On A Smile,” with Bootsy Collins providing the perfect support as hype man, Mars and .Paak both write and perform at a level that runs laps around their recent solo work. Even if these two masters never team up again (which, given how incredibly successful artistically and commercially this team up was, is extremely unlikely), they have already left their mark on modern soul and funk music forever.
11. “Sometimes I Might Be Introvert” by Little Simz
British-Nigerian rapper Little Simz followed 2019’s “GREY Area” with something even more compelling and personal, switching it out the raw and dark production for instrumentation that celebrates everything from orchestral music to afrofunk, trap, gospel and classic boom bap. But more than a tour through all the styles Simz has mastered, “Sometimes I Might Be Introvert” uses each unique beat from producer Inflo as the perfect canvas for each part of her story, from her facing her anger at her father on “I Love You, I Hate You” to telling her cousin’s near death story in the streets of London on “Little Q Pt. 2.” There’s a reason the album’s title is a backronym of Simz’s name: Simbi. The whole album demonstrates a downright heroic level of self-reflection and maturity, taking us along to examine her internal conflict and eventual triumph. If you want to experience true inspiration through an artist’s wisdom, humility and raw determination, listen to this absolute masterwork as soon as possible.
10. “By The Time I Get To Phoenix” by Injury Reserve
Arizona hip-hop trio Injury Reserve has made challenging music ever since the release of their debut mixtape in 2015. But although the group’s previous projects had their experimental and even industrial moments, none of their music has been anywhere near as dark, abstract and alien as “By The Time I Get To Phoenix.” Injury Reserve’s second album is almost impressionistic in its approach; Parker Corey’s aggressively chopped and sometimes unrecognizable samples suggest apocalyptic landscapes while Ritchie with a T’s verses often devolve into bursts of unfinished thoughts and labored breathing. If you’re willing to work for it, “By The Time I Get To Phoenix” reveals a powerful exploration of despair and grief, tempered by brief moments of energy and hope. These themes hit all the harder given the death of Stepa J. Groggs, Injury Reserve’s third member, who only appears briefly for two career highlight performances on the album, but whose presence dominates every heartfelt and mournful moment. RIP Groggs.
9. “Any Shape You Take” by Indigo De Souza
Singer-songwriter Indigo De Souza’s second album is easily one of 2021’s most dynamic releases, both in its production, which swings between bright and lovesick indie pop to heavy and dejected rockers, and in its tone, which can rejoice in the support of loved ones in one moment and sink into the depths of depression in the next. Despite the striking tonal shifts, “Any Shape You Take” never feels scattered, steadily progressing through a heartbreak, using pivotal moments like the switch from steadily growing distortion and screaming to driving guitars on “Real Pain” to guide us along De Souza’s emotional course. Although it delivers plenty of catchy and bright moments along the way, the album ends with closer “Kill Me,” delivering blatantly suicidal lyrics with just enough dark comedy to make the absolutely sincere moments hit all the harder by comparison. You should tread lightly if you’re particularly sensitive to topics like depression and suicide, but if you can get through the harowing journey, “Any Shape You Take” delivers unforgettable songs and moments of confessional honesty and genuine hope that make the darkness worth it.
8. “God’s Trashmen Sent To Right The Mess” by Fievel Is Glauque
Especially early in the year when live music was completely inaccessible in California, Fievel Is Glauque’s globetrotting lo-fi jazz pop was an absolute godsend. And even now that I can go see a show if I want (unless it’s canceled because of COVID-19 related concerns, which can and does happen), this collection of live recordings led by multiinstrumentalist Zack Phillips and singer Ma Clément haven’t lost any of its appeal thanks to fantastic performances, electric chemistry and soulful vocals. Putting on headphones and hitting play feels like walking around a corner in Paris and stumbling across the best buskers in the world. That appeal will never fade, and I’ll be coming back to “God’s Trashmen Sent to Right the Mess” for years to come, whether going out for a live show is possible or not.
7. “fishmonger” by underscores
San Francisco-local Devon Karpf isn’t the first musician to blend hyperpop and pop punk, but when compared their contemporaries, underscores stands out with the wildest and most seamless fusion of those sounds on their debut “fishmonger.” The album tears through nostalgic and futuristic sounds without losing the best parts of either, whether dabbling in lo-fi rock, drum-and-bass, ambient music, folk music or all of them at once. Although this patchwork of styles of influences will draw in newcomers, underscores’ oldest fans already know their unforgettable songwriting is what makes their projects special. You can’t get through a single song on “fishmonger” without tripping over earworm choruses and guitar licks. With such catchy writing and inventive production, underscores’ debut earns the declaration their producer tag repeats throughout: “It’s the new wave of the future!”
6. “LP! (offline)” by JPEGMAFIA
Experimental hip-hop auteur JPEGMAFIA continues a mind-blowing run of albums with “LP!” More than any of his past few records, this record demonstrates Peggy’s versatility with a wide range of styles and sounds, from the soulful and melodic boom bap of “HAZARD DUTY PAY!” to the gritty aggression of “REBOUND!” or the neo-gospel Britney Spears interpretation on “THOTS PRAYER!” Peggy approaches each distinct sound with seemingly boundless aggression and passion, backing his energy up with constantly clever writing and smooth flows. Not only are these songs some of Peggy’s catchiest and most varied, but he also writes some of his most personal content, with every posturing bar coming with a couple revealing how he sees himself and the world, from the anthemic self-love on opener “TRUST!” or the borderline paranoia and romantic discouragement of the bittersweet “THE GHOST OF RANKING DREAD!” If you have ever enjoyed anything JPEGMAFIA has ever released, there’s no reason you won’t absolutely love “LP!” (but please do yourself a favor and listen to the offline version on Bandcamp or YouTube; the tracklist available on streaming removes some of the record’s best songs).
5. “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.
4. “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!”
3. “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.
2. “Wilds” by Andy Shauf
Canadian singer-songwriter Andy Shauf’s fifth solo album is entirely unpretentious in its presentation. The rough recording, minimal arrangements and direct songwriting make “Wilds” much less involved than Shauf’s last two records, with “The Party” telling the story of a house party from the perspective of a different character on each song and “The Neon Skyline” following our narrator as he reckons with his past when he runs into his ex on a night out drinking with friends. And although “Wilds” expands on Shauf’s previous by focusing on more of the background and epilogue of “The Neon Skyline’s” tale, the demo recordings of these folk and indie pop songs with their intimate stories make it an even more personal and intimate experience. When our narrator grapples with the depths of depression on “Jaywalker” or takes responsibility for the actions he sees tearing his relationship apart on “Wicked and Wild,” the lines between Shauf’s characters and his own personal experience become more blurred than ever before, making “Wilds” not only a satisfying example of his immersive storytelling and songcraft, but a chance to get to know this songwriter and share in his contemplation. “The Neon Skyline” is my all-time favorite album, so I can’t say “Wilds” beats it, but I’m so thankful for the new and honest direction Shauf took and I hope you can find just as much comfort in these rough little gems as I have.
1. “For Those I Love” by For Those I Love
This self-titled album blending densely produced dance beats and solemn spoken word pieces is so many different things at once. It expresses intense joy and just as visceral grief. It focuses on fond memories along with the struggles of the present. It’s about both love and pain and how they aren’t as different as we might think. Dublin-based producer and poet David Balfe began this project in memory of his best friend and fellow-musician Paul Curran, who killed himself in 2018. Through his thick Irish accent and gruff tone, Balfe pours his heart out over his heavy and atmospheric production, weather he’s raging against the oppression of the poor on the fiery “Top Scheme” or struggling against isolation and alcoholism on the tense and fearful “The Myth / I Don’t.” Every song ties back into how the loss of Curran has shaped Balfe, but not all hope is lost in these pieces. From remembering playing demos in the car with Curran on the opener to resolving to hold on tighter to the love of friends over the bustling soul samples on “Birthday / The Pain,” Balfe celebrates just how special their friendship was and how much he loved and still loves Curran just as much as he grapples with the pain of his loss. And in the album’s final words, Balfe twists the mantra he’s repeated across the whole record to drive home one message: “I have a love and it’s full of pain.” In the end, “For Those I Love” pushes us all to love without fear, to express that love and to face the pain that comes with loss, knowing that the love is worth the pain and that our lost loved ones live on in how their love has shaped those who remain.
Thank you, David, for reminding us to hold on a little tighter.
You can follow John on Twitter at @JohnMichaelBr15.
