BPM's Top 50 Albums of 2021 - Beats Per Minute

This week the BPM staff have shared our top songs, overlooked records, ... Vince Staples takes just 22 minutes to rule the rap game in 2021. About Staff RatingSystem RatingSystemforDummies PrivacyPolicy TermsofUse Advertising Contact Home Reviews Features News&TrackReviews Podcasts UpcomingReleaseCalendar Contact BPM’sTop50Albumsof2021RobHakimian,ChaseMcMullen,TimSentz,JoshuaPickard,JohnWohlmacher,RayFinlayson,JohnAmen,MimiKenny,KyleKohner,AndyJohnston,JTEarly,CarloThomas,EthanReis,JeremyJ.Fisette,AleksandrSmirnov,GradyPennaandHarrisonSuitsBaer·December16,2021Bestof2021FeaturesLists Andsothesunsetsonanotheryearofmusic.ThisweektheBPMstaffhavesharedourtopsongs,overlookedrecords,andfavoriteEPsof2021allinabuilduptothetraditionalalbumlist. Theconceptbehindan“album”asanartformmaygetlostovertheyears,butwestillfindappreciationfortheminthedigitalage.Thefollowing50albumscapoffanothertumultuousyearintheworld,whichseemstobethenormlately.Nevertheless,throughoutthisyearthesearethealbumsthatwereachedforwhenwesoughtcomfort,inspiration,andstabilitybutalsoinourtimesofheartacheandsorrow. 2021wasayear,that’sforsure,butasalwaysmusicwasthepresencethatkeptmanyofusgrounded. ListentoaSpotifyplaylistofourhighlightsfromourTop50Albumsof2021here. 50. Grouper–Shade [kranky] Foroneofhermoststripped-downeffortstodate,LizHarrisakaGrouperhonescalmnessdirectnessacrossninesongsshe’sbeenassemblingforthelast15years.Shadeisthesinger’slatestexcursiontofindhermovingclosertothehazyspotlightofherexpression.Adecadeago,Harrishidbehindthicklayersofambienceandmuddledproduction,butherewearefinallyseeingher–sortof.Shadeteetersbetweentraditionalandnon-traditionalGrouper,stillminimal,butstructurallyit’sHarrisexposingherselftoheraudiencecomfortably.  Songslike“UncleanMind”andcloser“Kelso(BlueSky)”aresomeofherclearestrecordings,teasingapotentialnewdirection,whileopener“FollowedtheOcean”pullsusbackdown.Since2014’sRuins,Grouperhasbeenremovinglayersofshroud,garmentbygarment.It’shardtoimaginehernextstepafterShade.She’sneverbeenthetypetofullyexposeherselfoutsideoftheshoegazeysideprojectHelenfromafewyearsback,sosufficetosayShademightbethemostaccessiblesoundwe’llgetfromher,andit’smadebetterbythatfact.–TimSentz ShadebyGrouper 49. MoorMother–BlackEncyclopediaoftheAir [ANTI-] BlackEncyclopediaoftheAirisahypnoticgalleryofhistoricalhurtandlonged-forresolution,aprocessionofroomsandexhibitsthatspeaktoMoorMother’screativeintent.Foryears,she’sbeenmodelinganexperimentalsoundarchitecturethataddressestheinequitiesofoursocialhierarchieswhilealsopinpointingwaysthatchangecan,andmust,occur.Withoutchange,wecannotmoveforward,andifwecannotmoveforward,everythingfallsapart. Acrossthese13tracks,we’reexposedtospokenwordrevelation,fracturedjazztextures,austerehip-hoprhythms,andvariouslaboratorytestsregardingoddpercussiverealignment.Thepassageoftimecanbeanenemyorprovideasenseofconsolationtotheacheofourlives,andthesesongsallowforbothperspectives,thoughthereisstillmuchtobeaccomplishedregardlessofhowyouseethetimeline.MoorMotherisofferingassistanceinwadingthroughthesecomplicatedissuesandwithdealingwiththeweightofourpersonalbaggage.Thisrecordisbothsalveandwarning,afierycallfromthefrontlinesofsocialdevastationandindividualredemption–awailtoguideusfromthedepthsandanchorusatatimewhenweneeditmost.–JoshuaPickard BlackEncyclopediaoftheAirbyMoorMother 48. TWICE–FormulaofLove (O+T=<3) [JYP] Whenconsideringthethree-yeargapbetweenTWICE’sfullalbumsTwicetagramandEyesWideOpen,itwasawonderfulsurprisethattheirthirdalbumFormulaofLove(O+T=<3)arrivedonlyayearafterthelast.Across15tracks,thegroupdeliveredaneclectic,kaleidoscopicprojectthatrefusedtoberemotelypredictable.Engaginginmultiplegenresfromsmoothelectro-popon“Scientist”,tothemysteriouslybewitching“LastWaltz”,andevento2000s-influencedR&Bon“Espresso”,thegroupcontinuedtoconquernewsonicterritory. Inahugelysuccessfulefforttoexpandtheiralreadyconsiderableinternationaloutreach,theinclusionofEnglishtrackssuchasthedeliciouslyretro“Moonlight”,thesnappyandconfident“ICON”–andofcourse,thephenomenallyexuberantsingle“TheFeels”–provedfruitful.Thereleaseisalsonotableforintroducingthreesub-unitsincludingthenotable“Hello”(withmembersNayeon,MomoandChaeyoung)whichistheirmostovertlyhip-hopinfluencedtrack. Analbumthatissimultaneouslypackedwithtunesyetneveroverstaysitswelcome,TWICEcontinuereachingnewheightssixyearsintotheircareer.–JTEarly 47. DivideandDissolve–GasLit [Invada] Melbourne’sTakiayaReedandSylvieNehill–akaDivideandDissolve–haveCherokeeandMāoriheritagerespectively.Itdoesn’ttakemuchdiggingtorealisejusthowfuckedtheirancestorshavebeenbytheWest,yetthey’vebeenbroughtupinaworldwheretheyaretoldtheyshouldbethankfulforwhattheyhave.Toputitsuccinctly,they’vebeenGasLit. D/Dfightfirewithfireintheirmusic.Theydon’tutlisewordsonGasLit(exceptapowerfulspokenportionfromMinoriSanchiz-Fung),asrawsoundistheonlywaytofullyexpresstheirrighteous,furiousindignation. Justasthehorrificrealisationoftheworld’sillscreepsuponyouunsuspectingly,sodoesD/D’smusic.Hauntingtendrilsofsaxlureyouintotheirworld,onlyforthemtobringa1000-tonneweightstraightdownonthebackofyourheadwiththeirgrindingsludgerockonslaught.It’satricktheyrepeatthroughoutGasLit,butonethatneverfailstomakehairsstandonend,especiallyastheyfindnewdimensionsanddynamicstoensuremaximumdamage.Evenwithoutvoices,GasLitisanunmistakablebattlecry.–RobHakimian GasLitbyDivideandDissolve 46. MarisaMonte–Portas [Sony] Notmanyartistscouldreleasearguablytheirmostcharmingalbumtodate30yearsintotheircareer–letaloneaftertakinga10yearbreak.Indeed,PortasisBraziliansingerMarisaMonte’sfirstalbumsince2011,andcertainlyranksamongherbestwork.Forthoseofuswhodon’tspeakPortuguese,naturally,it’sentirelyanemotionalexperience,oneofsound.Yet,thisisjustwhereit’sstrengthlies.Throughitsgentleinstrumentationandheralluring,hypnoticvoice,ithasatrulycalmingeffect.Evenacross16tracks,shenevermissesastep,takingusforajourneythatwilldoubtlesslyhaveyoufeelingbetteraboutwhateveritisgoingoninyourlifebeforethealbumends.It’simpossibletolistentoPortaswithoutemerginginabrightermoodthanyouwentinwith.Especiallyinthesecloudeddays,abitofsunshinecouldn’tbemorevaluable.–ChaseMcMullen 45. NavyBlue–Navy’sReprise [FreedomSounds] Onhisthirdalbumintwoyears,SageElsesserakaNavyBlue,findstheperfectbalanceforhissound.Hardenedexteriorspairedwithpiano-ladensampleshelpexorcisetheman’sdemonsacrossNavy’sReprise,whichactsasthefinalacttothetrilogystartedwithlastyear’sAdaIrin.Acrossthesethreerecords,Navy’srunthegamutonhisdarkandlightcharacteristics,butit’swithNavy’sReprisethathetrulystartlesthankstohiscolorfullyintricatesoundsandpoignantlyricism. Elsesserisstillfresh-facedtothegame,andhe’singoodcompanywithMIKEandEarlSweatshirt,buthisprowessexpandsonNavy’sReprise,showingjusthowintrospectivethemanisthisearlyoninhisjourney.–TimSentz 44. SophiaKennedy–Monsters [CitySlang] Oneofthemostunderratedpopreleasesofthisyear,SophiaKennedy’ssecondalbumMonstersdivesintoadistortedworldofidiosyncrasyandjuxtaposition.Witharichandsoulfultimbre,Kennedy’sdynamicvocalsconveydarknesswithasprightlytheatricalslantthatfeelsdeceptivelywelcoming.Whethersheislamentingtheprivilegeofignorant,ignoblemen(“Francis”),processingthegriefofsomebody’sabsence(“I’mLookingUp”),orthementalexhaustionthataccompaniespursuinggoals(“DraggedMyselfIntotheSun”),Kennedypresentsgrimsubjectmatterincuriousproductionpackages. Thealbum’ssoundscapeisvariedfromthedreamyminimalismof“Seventeen”tojauntypianopopon“ICanSeeYou”,butalwayspunchyandexciting.Kennedy’sprimarystrengthisinherabilitytodeliverpolaroppositesinaseamlesscombination.Theembodimentofsuchdualityisfoundinleadsingle“OrangeTicTac”whichhasKennedydevilishlyswitchingfromabjectpessimismintheverses(“Manicpressurefulltime”)toalyricallybrightchorus(“Likeaghostinasuit/Ontheavenue/I’mfloatingdowntown”).Likemanytracksonthealbum,itisstriking,effectiveandsatisfyinglyexperimental.Monstersissimplyaphenomenalrecordthatrevelsingreyareaswheresituationsareneverwhatwequiteperceivethemtobe.–JTEarly MonstersbySophiaKennedy 43. IndigoDeSouza–AnyShapeYouTake [SaddleCreek] Brazilian-AmericansongwriterIndigoDeSouzaisonlyacouplealbumsdeep,butsheisn’tafraidtowearherheartonhersleeveandlayherheavyburdensonthetable.HersophomorealbumAnyShapeYouTakeisfilledwithsombertracktitleslike“Die/Cry”,“RealPain”,and“KillMe”,yetthemusicimpartsasurprisingamountofhopeandstrength.  AnothersurpriseisthesheeramountofmusicalvarietyDeSouzaattemptsonthisrecord,andhowwellshepullsitoff.Openingtrack“17”isanindie-popgem,withpitch-shiftedvocalsandglassysynths,whilealbumhighlight“HoldU”employsfunkyguitarsandelectricdrums,and“BadDream”cranksthedistortionforahard-hittingbanger.EvenasDeSouzabouncesbetweenstyles,hersimplebuteffectivelyricsandpassionatevocaldeliveryhelpcarryeachsongwithavervethat’strulyarareandpreciousthingtobehold.–GradyPenna AnyShapeYouTakebyIndigoDeSouza 42. TheWarOnDrugs–IDon’tLiveHereAnymore [Atlantic] I’mwageringthatAdamGranducielneverimaginedthatpeoplewouldmentionJohnCougarMellencampandtheEaglesinthesamebreathasTheWaronDrugs.Thenagain,maybehedid,andwe’realljustracingtocatchuptohisowncognizance.IDon’tLiveHereAnymoredoesn’tbreakthemoldestablishedonanyoftheband’spastrecords.They’vealwaysbeenbesottedbyaspectsofHeartlandRock,butheretheyattainasortoflow-keyeuphoriawheretheirbucolicimpulseshavebeenmarriedtoagrandersenseofambitionandmelodictheatricality.  WithnodisrespecttoMellencamportheEagles(unlessyouwant,thenbemyguest),Granducielandthebandhavechartedacoursefreeofthebanalitysooftenattributedtothesesounds.Thegrandjourney,whateverthatmightbe,liesattheheartofthesesongs.We’realwaysgoingsomewhere,dealingwiththefalloutofthemovementfromplacetoanother.Everythinghereisfamiliarbutpresentedasifthiswasallsucharadicallynewthingtoconsider.Andmaybeintheirhandsitis.IjustknowthatIcan’twaittoseewhereweendup.–JoshuaPickard 41. Deafheaven–InfiniteGranite [SargentHouse] ThepopularityofblackgazeandevenblackmetalwouldbediminishedtoamereglimmerandnicheconceptwithoutthecontributionsofCaliforniaobserversofthedarkandbleak,Deafheaven.Butwhointhehellthoughtitwasagoodideatomoveawayfromtheveryformulathatmadethemsoadored?It’saboldmove,yettheirfully-devotedtransformationandtransitionintoetherealpost-rockandshoegazeworkswondersonInfiniteGranite. Withtheirgalaxy-consuminglatestrecord,Deafheavenhavebecomeaborderlinedream-popoutfit.Positiveornegative,strongreactionscontinuedtopushDeafheaventodopreciselytheoppositeofwhatcriticsandfanswantedfromthem,andInfiniteGranitebecamethecatalystthatdetonatedthedividewideopen.Yes,fans.EvenlongtimedevoteeshaveemergedfromtheauralhazeandcelestialwoodworkofInfiniteGranite,frustratedwiththeband’slackofmuscularmetallicstrength.  Buttoresistchangeoutofsheerdiscomfortseemsratherinsular,doesn’tit?AnopenmindtotheastralmagnificenceofInfiniteGraniteyieldsadeepappreciationofDeafheaven’sdesiretostrayfarfromcomplacency.Imean,whywouldn’tyouwanttoletyourguarddownforanalbumthatsweepsyouawayintoanendlessvoid?It’saninevitableexperience,bothdauntingandoddlycomfortinginitsimmensity.–KyleKohner  InfiniteGranitebyDeafheaven 40. NTsKi–Orca [OrangeMilk/EMRecords] Orcabeginssparsely,simplythesoundofNTsKi’svoice,eventuallylayeringitselfandaddingheavybreathingtothemix:andthenithits.Alongsidethesoundsofthetitularwhale,thealbumissuddenlyconsumed–absolutelyawash–insounds. BrianEnomayseemlikeanunusualcomparisonfortheyoungartist,butitfits.Shefullyembraceshisthoughtofthestudioasaninstrument,drawingoutmoresoundsandcolorfullayersthanaretobefoundinjustaboutanyotheralbumin2021. TolistentoOrcaistoabsolutelybatheinsound,venturingrightintothewaterstheartistsoclearlyidealizes.LayeringherWesterninfluenceswithanundeniablyJapanesesoundandapproach,twistingbetweensingingthatbordersonchantinginhernativelanguagewithabstractdialoguesinEnglish,NTsKihasarrivedessentiallypeerless,playingagamewhoseconceptandrulesonlysheseemstounderstand.Itmaytakeussometimetocatchupwithher,butthepursuitofOrcacouldn’tbemorethrilling.–ChaseMcMullen OrcabyNTsKi 39. InjuryReserve–ByTheTimeIGetToPhoenix [Self-released] Theworldburns.Asthefourhorsemenslaughtertheirsteeds,theirbloodacid-burningsoil,agiganticsun-facedentityharvestssouls.Thisistheend–inmorewaysthanone.Anapocalypticvisiondevoidofhope,InjuryReserve’ssecondalbumisanagonizedbattlecry. MarkedbythesuddenpassingofMCStepaJ.Groggs,itshattersintokaleidoscopicmemoriesandhypnagogicwhispers.Butnoneofitisfantastical:theborderlineschizophrenicbattlerappingof“Outside”andgrimlockdownimageryof“GroundZero”characterizeadyingworld.  Lossseemseverpresent–beitinthemournful“TopPicksForYou”(“Yourpattern’sstillinplace,algorithm’sstillinaction/AsIscrollthroughIseeapiеceofyouisstillreacting”)orviaGroggs’shadowin“Knees”,whereheeerilyruminates“Shit,Ican’tevengrownomore/Well,atleastnotvertically”.Butnexttothecataclysmic,paranoidnatureofsyntheticonlinedesertsin“WildWildWest”andmanic“FootworkinaForestFire”,thesemomentsseemliketeardropsinthelowestlevelsofhell.–JohnWohlmacher BytheTimeIGettoPhoenixbyInjuryReserve 38. AroojAftab–VulturePrince [NewAmsterdam] AroojAftab’srecentGrammynominationsforher2021recordVulturePrinceareashockingbutwelcomecherryontopofhergreatyear.VulturePrinceisanalbumthatblendsseeminglydisparatemusicalthemesandstylings,frombluestojazztoHindustaniclassicalmusictoUrdughazalsandpoetry,intoawarm,overwhelming,impeccable,emotionalwhole.It’sadelicatealbum,fullofevocativeguitars,harps,bass,andstrings,buoyedbyAftab’samazing,powerfulvoice.It’saninstrumentthatfeelsbothofthepastandthefuture,almosttimeless,equallylikelytohavewanderedinfromathousandyearsagoasitmightbetobebeamedinfromtheyear3000. Acrystallineproductofmultitudinousgeography,hyalineproduction,andlusharrangements,AroojAftabhasgiventhemusicworldararetreatwithVulturePrince,itssevensongsunfurlingattheirownunhurriedpacethatcouldgoonforeverwithoutgrowingtiresome.Itclearlybelongsinconversationwiththebestrecordsoftoday.–JeremyJ.Fisette VulturePrincebyAroojAftab,DarianDonovanThomas 37. CleoSol–Mother [ForeverLivingOriginals] ThetendernessandbeautyofCleoSol‘sMotherseemedunrivalledinayeardominatedbyemotionaleruptionsofvolcanicintensity.Over66minutes,Britain’smostelusivesoulsinger,whoisalsorumouredasoneoftheleadcreativesbehindtheanonymousSault,weavesablanketof jazzysoulmusicofintrospectiverumination.Mother-Childrelationshipsareintheforefront,butthensoarequestionsofabandonmentanddomesticstruggles. “There’snohopeintheseroomsofloopeddreams/Allthesepictureslookingatme”,shesingson“Don’tLetMeFall”,observingtheharddecisionsandsacrificeswomenfacewhentheydecidetoleavetheirlifebehind.“Thelittlestarsandthelockedupdreams/Themissingpieces–they’reinme”.Imageryofeverfallingrain–thesadnessofexperiencingatornhouseholdandgrapplingwithamotherstrugglingwithresponsibilities–iscontrastedbysunshine:thewarmthandlovethatSol’sownmotherhoodprovides.It’sdeep,spiritualmusicofthehighestcaliber.–JohnWohlmacher MotherbyCleoSol 36. DawnRichard–SecondLine [Merge] SecondLineissubtitled‘AnElectroRevival’forgoodreason.Ifnewbreedwasarelativelystraightforwardsongwriting-focusedR&BstyleforDawnRichard,SecondLinesurrendersitselftotheinfectiousflowofagoodDJmix.It’sashockinglycohesivealbum,consideringhowitssongspulsein-and-outofclub-readyhouse,hiphop,R&B,slowerreflectivepiecesinthesecondhalf,evenregularinterludesofRichard’smotheroverthephonewithoutmissingabeat.Atthispoint,it’snotasurprisethatRichard’sputoutanothergreatalbum–thejoyisinthesurpriseofhearinghowsheshapesandconductsherdisparatemusicalpassionsintosuchacohesivestatementof‘DawnRichard’.Intimate,nocturnal,andbreathless.–JoshSand SecondLinebyDAWN 35. AnnaBSavage–ACommonTurn [CitySlang] SomanysongwritershaveusedbirdsasamusethatAnnaBSavage’semphasisonthemonherdebutalbum,ACommonTurn,mightinitiallyseemabitredundant.Hersongsarepopulatedbycorncrakes,doves,terns,andowlmugs.Blackfeatherscoverherfaceonthealbumcover.Themusicencompassesthecomplexityoftheirspecies:attimesgrounded,attimessoaring,alwayswondrous. WhatmakestheseavianencountersandothermomentsdescribedonACommonTurnsoengrossingaren’tthemomentsthemselves;it’stheawethatSavageconveysinrecountingthem.AlazyafternoonlisteningtoSpiceGirlsandArcadeFire,asubwayride,andamasturbationsessionareallturnedintoastonishingshowstoppersthroughSavage’spassion,hermessageunignorablewhethershe’sleaningmoretowardsawoundedhowloramore-reservedtone.ACommonTurnisautobiographicalsongwritingatitsfinest,andit’sgoingtobeathrilltoseeSavagewriteherstoryfurther.–MimiKenny 34. clairerousay–asofterfocus [AmericanDreams] There’ssomethingdeeplytransfixingandyetmystifyingaboutclairerousay’swork.Onthisimmaculatealbum,rousaygivesuspiecesthatareasmuchsoundcollagesastheyareminimalistmusiccompositions.Hersubtlebutdazzlingmixofmediums,whichincludesthingslikewaterandpeoplechatteringalongsideplaciddrones,createsaworlduntoitself.Listeningtoasofterfocusonheadphones,inadimlylitroom,withyoureyesclosed,youfeelasthougheverythingaroundyouismeldingtogether,alldefinitioneffacingwhiletheroomcreatesanaltogethernewversionofitself,noticeablybutindefinablydifferentthanitwasbefore.–JeremyJ.Fisette asofterfocusbyclairerousay 33. GreenteaPeng–MANMADE [AMF] GreenteaPengispeerless.It’snochancethatMANMADEwasmasteredbythesamemanwhooversawLaurynHill’sclassicTheMiseducationofLaurynHill;henodoubtsawasimilarsparkinPeng.Hersingingboastsapowerbeyondthecapabilityofthewrittenwordtotrulycapture.Acrossgenuinelylushinstrumentationandproduction,shegetsmeditative,traversingjustabouteverycornerofourwearyworld,seekingtodiscover–andmoreover,offer–somesortofmedicinalcureforalltheillsconstantlyinvadingourpsycheinthemodernworld.Ifthissoundsoverlygrand,well,simplygivethealbumalisten.You’llbesuretoseeforyourself.–ChaseMcMullen 32. SnailMail–Valentine [Matador] “Let’sgobealone/Wherenoonecanseeus,honey,”thefirstwordsheardonSnailMail’ssecondalbumValentine,aren’twordsofaffection.They’refraughtwithobsessionandinsecurity,thesymptomsofsomeonewho’sworriedtheymightlosewhat’sclosesttothem.Thislossisaworstnightmarethat,forLindseyJordan,cametrue. Heartbreakcanbeasurrealswirlofconfusionandunbridledemotion.Momentsofmalignedacceptance(“Guesssomebodyfinallytamedyou/Neverseenyoulooksosure,”shesingson“Headlock”)collapseintoself-destructiveheartachethenext(“Drinkingjusttotastehermouth”).Jordan’svoiceishuskierandthealbum’ssongsfeelmorevaried–seetheintimateguitarballad“c.etal.”thatfollowstheslyandslinkystandout“Madonna”.ThedrivingforceofValentine’sisthelawthatloveisabattlefield,butmostimportantly,Jordanreturnedtotellthetale.–CarloThomas ValentinebySnailMail 31. LoraineJames–Reflection [Hyperdub] Inrecentyears,LoraineJameshasbeenaleadinglightintherisingtideoftechnothathasmoreintentionsthantopurelymakeyoumove,andwithhersecondfull-length,Reflection,shedeliveredavitalmissivethatmulledoverracialtensionsandpersonaltrials,fromdeepintheheartoflockeddownLondon. Shetakessomeopportunitiestoshowoffherstraight-upproductionskills,mostnoticeablyontheskittering,perception-warping“LetGo”and“SimpleStuff”.Shealsotakesupvocaldutieson“SelfDoubt(LeavingTheClubEarly)”,whereshe’salmostdrownedoutbymultipleboomingbeatsasshebashfullypontificatesonherpersonaltics.Hervoiceappearsagainforanotherheartfeltmomentintheatmospheric“Reflection”,asoftly-intonedmessagesenttolovedonesaroundthecountrywhomshehasn’tbeenabletoseeduringthepandemic. However,themostmemorabletracksarewheresheapplieshertechnotrickstohip-hoptemplates,enlistingdiversevocalists,largelyundergroundrappersfromaroundtheUK,tohammerhomethemessages.There’sLe3bLACKspittingonthegrimtruthsbehindtheflashysurfaceofBlackcultureon“BlackTing”,whereJamesprovidesaskeletalbeat.TheproducerprovidesaDrexciya-esquearrayon“InsecureBehaviourandFuckery”,whichNovamatcheswithalow-keybutvividlydenserap.EdenSamaraprovidesadelectablevocalturnon“RunningLikeThat”,takingJames’soundintoR&Brealms.BestofallistheclosingIceboyVioletfeature,whichisdedicatedtoallvictimsofpoliceviolenceandispackedwithdeterminedbars,leavingthealbumwithapromiseforthefuture:“We’reBuildingSomethingNew”.–RobHakimian ReflectionbyLoraineJames 30. Spellling–TheTurningWheel [SacredBones] “Isthis…isthisBritneySpears?”It’sNovember2021,andI’mlisteningto“Always”bySpellling.IlikedMazyFly,butitinnowaypreparedmeforthis,ahoney-sweetballadwiththechorus“Pleasedon’tstealmyheart”–tomeitbrilliantlyrecallsBritney’s“Everytime”. Spellling’sTiaCabralexplainedtheunexpectedfront-halfofTheTurningWheeltoBPM:“Theyallfeltoutsideofmycharacter,songsI’dgiveaway.Butinstead,Ijustembracedit,”shetoldourJasperWillemsthisSummer.Ifthisfirstsideishertakingalateralleapintonewterritory,thesecondisherdiggingdeeperintoherestablishedsound:aspellbindinguniverseequallyinformedbytarot,UrsulaK.LeGuinandStevieWonder.“BoysAtSchool”isTiaathermostbreathtaking,while“Revolution”(likeaturningwheel–ha!)spinsouttowardtranscendencebefore“SweetTalk”wrapsthingsupwithabowontop.Apleasantsurpriseandstepforwardfromanartistburstingwithtalent.–EthanReis TheTurningWheelbySPELLLING 29. NickCave&WarrenEllis–Carnage [GoliathEnterprises] OverwhelmingemotionhasalwaysbeenanintegralpartofNickCave’soeuvre,whetherittakestheformofreligiousecstasy,bonemarrow-deeppersonalloss,oraraucousexpressionofidentitywithinaninsidiousworld.AndhislatestalbumwithWarrenEllis,Carnage,isnoexception.Infact,therearemomentswhenwestoplisteningtoanalbumandsimplybegintoseesnapshotsofCave’smentalanguishatdifferentpointsinhislife.It’shardtolookatthisalbumwithoutthecontextprovidedbythepastfewBadSeedsreleasesandthefamiliallossthathauntedthesongstherein.  CarnagebothcontinuestheskeletalframeworkestablishedonGhosteenandbuildssomethingabitmoremusculartohelpstaveoffthehurtforafewminutesatatime.We’reofferedglimpsesintoCave’susualspiritualreferences(a“kingdominthesky”ismentionedmorethanonce)asheattemptstofindsomesortofsolaceinaterribleworld.Howcanwefindhopeinthechaosofourlives?Isitevenpossiblegivenourcurrentcircumstances?CaveandEllisseektoshowthatthereisalwaysalightbattlingagainstthedarkness,aconstantfeudbetweenthedevilsweareandtheangelswehopetobe.–JoshuaPickard 28. Iceage–SeekShelter [MexicanSummer] Forsome,aband’smoveintoamoreaccessiblesoundautomaticallyimpliesadipinqualityor,worse,thesuccumbingto‘sellingout’.LeaveittotheDanishbandIceagetodismantlethesenotionswithzerosubtletyontheirfifthalbumSeekShelter.Thethumping“DearSaintCecilia”isaroaringpunkrocktrackwithEliasBenderRønnenfelt’spleadingvocalsrippingthroughthenoise.Songsliketheshuffling“Vendetta”and“DrinkRain”wearateasing,sinistersheen,whiletheballad“TheWiderPowderBlue”twinkleswithsincerity. Underscoringthesesongsistheurgetobopyourhead,tapyourfoot,or,Idaresay,singalong.Takeopener“ShelterSong”–sure,it’sa1990saltrock-inspiredballadaidedbyagospelchoir;sure,thesong’schorusreliesonfamiliarphrases–“Theykickyouwhenyou’reup,theyknockyouwhenyou’redown.”Butalso,whocares?LiketherestofSeekShelter,thesongisadramaticandenvelopingexperience.–CarloThomas SeekShelterbyIceage 27. HanaVu–PublicStorage [Ghostly] WithPublicStorage,21year-oldHanaVuoffersasubtlyeclecticyetnotablycohesiveset.Onthetitlesong,acatchymelodyunfurlsamidstmoodyatmospherics.“Aubade”includesoneof2021’smostcaptivatingandsubtlydanceablerhythms.“Keeper”featuresasynth-yintro,Vucontinuingtoexploreherknackforversesandchorusesthatarehyper-accessibleyetunderstated,asif,perhaps,she’sdrivenbyacommitmenttounabashedself-expressionandanurgetomaintainprivacyoravoidfeelingexposed–analluringmeldofconfidenceandmodesty.With“Maker,”sheborrowsfromthechamber-popandalt-folkplaybooks,blendingelectronicsandacousticsoundings.Inthisway,Vuconcludesaconsistentlyengagingproject,miningvariousgenresandsubgenreswhiledefinitivelyassertingherownvoiceandstyle.–JohnAmen PublicStoragebyhanavu 26. LostGirls–Menneskekollektivet [SmalltownSupersound] ThegreatnessofMenneskekollektivet,thedebutalbumbytheNorwegianduoLostGirls(JennyHvalandHåvardVolden),restsinitsrawness,itsunpredictability.“Inthebeginning,thereisnoword,andno‘I,’”Hvalstatesonthealbum’sopeningandtitletrack,alinethatfeelslikeacommentaryonthecreativeprocess(thespokenwordhashadquitetheyear,andHval’sdeliveryshouldn’tbeoverlooked).Thealbum’shighlight,“Love,Lovers”,evolvesfromaquietintimateexperiencetoanexplosiveindustrial-housetrackwithHval’scooingevokingthedarkestdiscofloor.ListenershavenoideawhereLostGirlswillgo. Thealbumcloseson“RealLife”;thesong’scomposition–whichhasHval’svocalsoverVolden’splayfulandseeminglyimprovisationalguitarplaying–feelsalmostskeletalcomparedtowhatcamebefore.“Whenwediewebecomepaper/Charcoalsandamarkerpen,”Hvalpostulatesasshewondersaboutlifeafterdeath.IsthisthebestmetaphorHvalcoulduse?Maybe,maybenot;itstayswithyounonetheless.–CarloThomas MenneskekollektivetbyLostGirls 25. JapaneseBreakfast–Jubilee [DeadOceans] MichelleZaunerhadahellofayear.Shereleasedherfirst-everbook,thepoignantandpowerfulmemoirCryinginHMart,whichwasaninstantbestseller.AndshealsoputoutherthirdrecordasJapaneseBreakfast,Jubilee.Bysomemeasurehersharpestandfinestrecordyet,Jubileeisbright,catchy,andnothingbutforwardmomentum—eventheslowercutsburstforwardwithacertaindiamond-cuturgencythatfeelsmorepointedthanprioralbums.Songslikethesoaring“Paprika”andthe80s-indebted“BeSweet”arepunchyandsticky,whilemoreemotiveandsearchingcutslike“InHell”aremelancholyandtender.Bestofallis“PosinginBondage”,whereZaunerdescribesthespecificfeelingofwaitingforsomeonetonoticehowhardyou’vebeentryingoverthere.It’savariedandtexturedalbum,fullofthefranknessandclevernessZaunerhasbeenknownfor,butit’salsocatchierandclearerthaneverbefore.–JeremyJ.Fisette JubileebyJapaneseBreakfast 24. VinceStaples–VinceStaples [Blacksmith/Motown] WherecertainmegastarrappersreleasegrosslyoverstuffedalbumsthatcomeclosetochallengingtheruntimesofyouraverageMarvelmovie,VinceStaplestakesjust22minutestoruletherapgamein2021.Onhisverypurposefullyself-titledlatestalbum,Staplesismoreunfilteredthanhehaseverbeen.Thisalbummaybeshort,butit’sasdenseasaneutronstar,andisbuiltforrepeat-listening.Gradually,KennyBeats’instrumentals,whichinitiallystrikeyouasstrangelyuninvitingandanxiety-inducing,tapintosomethingsubconscious:avibetemperedbydepression,akindofsuicide-chill. “Deadhomies”hauntVinceStaples;thehoodisendlessandpopulatedwithghosts,everystreetcornerholdsamemoryofpastmisdeeds,andeveryturnholdsthepotentialfordanger,soyoubesthaveyourguntuckedintoyourshorts.ThereissomuchtounpackonVinceStaples,fromtheknottedversestothedetailedproduction;there’ssimplynofatonthisthing,it’sallmuscle,leanandtensefromalifetimespentlookingoverone’sshoulder.YoucankeepyourDondasandyourCertifiedLoverBoys;theyspendfartoomuchtimesayingnotmuchatall.VinceStaplesspeaksvolumesthroughbrevity.–AndyJohnston 23. Backxwash–ILieHereBuriedWithMyRingsandMyDresses [UglyHag] Thetransexperienceissogreatlymisunderstoodandmisrepresented.Medianarrativespresenttheideathattobetransistobeinpain,butnotunderstandingthatthepainoftencomesnotfrombeingtrans,butfrombeinginasocietythat’sactivelyresistingyourexistence.  AshantiMutinta,alsoknownasBackxwash,isarapper,producer,immigrant,andtransBlackwoman,havingtocontendwithhostilityonatleastfourdifferentlevelsofintersectionality,withoppressioncomingfromforcesproclaimingrighteousness.Onherimmensethirdalbum,ILIEHEREBURIEDWITHMYRINGSANDMYDRESSES,sheandherguestspushthroughanindustrialclamorofherownmakingtotellofthehorrorsthey’remadetofacebutneverdiminishingtheirresistancewithwhichthey’refightingback.DRESSESisareclamationofidentitythatshowstheferociousoverwhelmofdaringtobeauthentic.–MimiKenny ILIEHEREBURIEDWITHMYRINGSANDMYDRESSESbyBackxwashfeat.CensoredDialogue 22. KyaryPamyuPamyu–CandyRacer [KRKLAB] Adecadeonfromtheviralsuccessof“PONPONPON”,KyaryPamyuPamyuandproducerYasutakaNakataarestillgoingstrong.OvertheyearstheirparticularcombinationofEuro-styleclubbeatsandelementsof90sShibuya-Keimusichasevolvedtothepointwhereitisoftenmistakenforhyperpop.However,wherehyperpopdrawsheavilyfrommalignedturn-of-the-millenniumgenreslikepop-punkandthirdwaveska,KyaryPamyuPamyutakesamoretraditionalistapproach,drawingfromJapan’srich,uniquehistoryofpopmusicdatingbacktothe1970s.  CandyRacerplayslikeajourneybackintime,surgingoutofthegatewithitsdancefloor-readychiptune-and-technotitletrack,makingitswaybackthroughtimetotheCityPophomage“WorldFabrication”.ForthoseunfamiliarwithJapanesepop,CandyRacerwouldmakeforagoodprimer,butforthosealreadyintheknow,it’sKyaryPamyuPamyu’sstrongestofferingyet.– HarrisonSuitsBaer 21. Squid–BrightGreenField [Warp] SquidareabandinitiallyfromBrightonandnowadaysbasedinLondon.ThatmovehadagreateffectontheperspectivethatweseeontheirdebutBrightGreenField.They’vecreatedafictionalcityexperience,whichbothfeelsbasedontherealitiesthattheyfaced,aswellasonpureimagination.Itisconveyedbythelyrics,whichareinsomewaysreminiscentoftheRashomonapproachoftellingonestorythroughmultiplesetsofeyes.  Squid’sinstrumentalsbeginascold,straightandalmostmathematicallycalculatedpost-punkintrosandprogressintoanabsolutelychaoticandinsanelyenergeticclimax.Thebandhaveadmittedtoconstantlyvisualizingtheirmusic,whichmaybethereasonwhysomefilmscometomindwhenlisteningtotheirdebut.WiththepermeatingabsurdityonBrightGreenField,thelistenersexperiencefearandanxietyofmoderncitylife,whichiscounteractedwithagreatsenseofhopefulness,whichprobablyhasitsrootsinthesunnyseasideofBrighton.–AleksandrSmirnov BrightGreenFieldbySquid 20. KingWoman–CelestialBlues [Relapse] EveryonewantstobelikeLucifer–nobodywantstofallfromheaven.Havingyourwingscutoffhurts,afterall.Inagestureofabsolutedefiance,KristinaEsfandiaribaresherbackonthefrontcoverof KingWoman‘sCelestialBlues,twodeepcutsstillseepingblood.Ontheninesongscontainedtherein,thesingerembodiesanancientmystic,channelingthedoomedMorningStar’sperspective.LikeninghimtoaJoker-likescapegoat,shemarriesiconicimagerytoswelling,doom-ladenmetalriffs:occultR’n’B.Slowlyunravelling,CelestialBlues’storiesofcosmicsufferingturnintohymnsofemancipationandresurrection,allowingEsfandiaripersonalcatharsis.AsloomingasLuciferMorningStarhasbecomeinmodernpopculture,theIranian-Americansingeristhestandoutonarecordwithoutweakmoments.Anelysianblessingofinfernalproportions,CelestialBluesis2021’suntold,dark,luciferianmasterpiece:abattlecryforlostsouls.–JohnWohlmacher CelestialBluesbyKingWoman 19. KarimaWalker–WakingtheDreamingBody [KeeledScales/Orindal] Asthetitlesays,WakingtheDreamingBodyisanalbumoftransitionalstates.Beittheslowyawnedreturntorealityfromasubconsciouslefttowanderaimlesslyduringslumber,orthatreconnectingwithrealityafterstaringintothedistanceforjustthatlittlebittoolong,KarimaWalkermarvellouslycapturestheseinbetweenstates.Openingtrack“Reconstellated”ispositivelyreadytoevaporateintothesurroundingair,muchlikethedissolvingendof“Softer”.Everythingheresoundslikeitcoulddisappearbeforeyoureyes–andontheextendedswathesofwindyambienceon“WindowI”theydojustthateverysooften,thenoiseevaporatingintosilence.Walkerre-establishesherselfasshereconstructs(anddeconstructs)hermusic;softacousticballadsandwater-damagedpianochordsbecomeonewiththesurroundingnaturalworld.It’slikemusicreturningtonaturebybeingsweptawaybygentlezephyrs,orbydisintegratingintostardust,settotakeitsplaceinthenightsky.Liminalspacesneversoundedsobeautiful. –RayFinlayson WakingtheDreamingBodybyKarimaWalker 18. PinkSiifu–GUMBO’! [DynamiteHill] LookinglikesomepsychedeliccontortionofTheMaskonhisalbumcover,PinkSiifugaveusanaccuratepreviewofhisshape-shiftingabilitiesasanartist.Siifu,whoshinedlastyearasone-halfoftheDOOM-influencedFlySiifu’s,showsaspecialtalentfordiversityonGUMBO’!. Herewehaveadelightfulmix(hencethealbumtitle)ofpunkrockenergy,DungeonFamilygrooves(featuringBigRubehimself),hallucinogenicbangersandlaid-backstonerrap.Andthat’sallinthefirst10minutes.SpeakingtoSonemicearlierthisyear,hedescribedapproachingtheprojectasagreatesthits:“Ireallywanty’alltotakethisin,havesomefun,andplayitloud.”Followhisadviceandyou’llgetit,straightup.–EthanReis GUMBO'!byPinkSiifu 17. PortrayalofGuilt–WeAreAlwaysAlone/CHRISTFUCKER [ClosedCasketActivities/RunForCover] AustinhardcoretrioPortrayalofGuiltbookended2021withJanuary’sWeAreAlwaysAloneandNovember’sCHRISTFUCKER.Thosealbumtitles,whilestark,onlytouchthetipofthedarknessofthesetwoslabsofinescapablybrutalhardcore. Itstartedwith“TheSecondComing”,theopeningtrackofWAAA,whereMattKingspatacidasheinformedus“Theskyisfalling/Hopeisdwindling.”Everythingafterthatpointexistsinaworldwheretheskyhasindeedfallen,buthope,whiledwindling,stillexists–onlytofuelPoGtocreateevermorescabrousandblacksongs. Throughout,thetriothunderwiththepowerofabattalionofhorses;King’sguitarandBlakeGiven’sbassmeldingheavymelodies,whicharewhippedintoafrenzybytheindustrialchurnthatisJamesBeveridge’sdrumming.Whatmightseemlikeawallofuglynoisetoanewcomerisactuallyfullofatmosphereandluminouslybruisedhews.Theloud-LOUD-louddynamicisperfected,openingaportaltoeuphoricacceptanceoflife’spointlessness.Justseethewayinwhichtheline“anendlesscycleofache”soundsheroicamidstthepyreofpainthatis“MasochisticOath”,ortheway“GardenofDespair”slithers,bouncesanddestroyswithgenuineexcitedenergyeventhoughthebandremindusonceagain“thepainneverends”. IftherewereanycracksoflightonWAAA(andit’dbefairtosaythereweren’t),theywerecompletelyshutoutonthefollowingCHRISTFUCKER.AmovetobelovedindielabelRunForCoverdidnottemperPoG’sdespaironebit,andnorwouldwehavewanteditto.Theonlydetectablechangewasagreaterattentiontodynamics,bothintheplayingandtherecording,addingmorehuestotheblack.“TheSixthCircle”exemplifiesthis,asitfeaturescascadingriffsthesizeoftsunamithataremadeevenmoreimpactfulbytheclarityofeverydrumbeatandnihilisticgrown.It’satrendthat’smaintainedthroughtherestofthe30-minutedeluge;fromthesidewindinginsanityof“Sadist”totheanti-matterswallowinghissof“BedofAsh”tothetrillion-tonnepiledriverthatis“Possession”. WeAreAlwaysAlonewelcomedusto2021byremindingusthattheworstof2020wasfarfromover.CHRISTFUCKERclosedout2021byofferingusaglimpseofthefuture:it’sallflames.AtleastwehavePortrayalofGuilttosoundtracktheinevitableapocalypse.–RobHakimian CHRISTFUCKERbyportrayalofguilt 16. serpentwithfeet–DEACON [SecretlyCanadian] Itshouldneverfeeldifficulttogiveloveandtobegivenitinreturn.Workingasserpentwithfeet,musicianJosiahWisehasbeendiscoveringthatlovecomeswithitsowntrapsandtribulationsandobstaclestoitsrealization.Previousrecordshavedealtwithvariousromanticfantasiesandthewaysinwhichtheymoldedhisownviewpointontheconsequencesofaffection.  OnDEACON,however,itseemsthathe’sfinallyfoundsomeonetomatchhislovelywarmthonasimilaremotionalwavelength.Makinghiswaythroughavenuesofgospel,R&B,andsoul,hecreatesajoyousodetoBlackqueerloveandthedetailsthatfeelsorelevantandnecessaryforanyoneinthethrallofphysicalandemotionaladoration.Hisvoiceisasmesmerizingasever,awondrousthingfilledwiththeblissofcompanionship.There’slessovertdramaherethanonpreviousoutings,withWiseoptinginsteadtofocusonthepleasuresofsimplybeingwithsomeoneandinhabitingthesamephysicalspaceforaslongaspossible.  TherearemomentsonDEACONwhendarknessthreatensthehorizon,butitisquicklydispelledandreplacedwithacontentmentthat’sexploredsointimatelyitfeelsasthoughweshouldn’tevenbelistening.–JoshuaPickard DEACONbyserpentwithfeet 15. CassandraJenkins–AnOverviewonPhenomenalNature [BaDaBing!] CassandraJenkinsisgoodforthesoul,andifyoueverfeellikeyouneedsomeaspectofyourlifeorchakrarealigned,thenAnOverviewOnPhenomenalNatureistheprescribedmedicine. Likeahearty,warmsoup,Jenkinsticklesthatareainsideyourchestthatmakeseverythingfeellikeitwillbeokay.OnherwonderfulalbumAnOverviewOnPhenomenalNatureshewandersaroundtheworldquietly,lookingforanswersandmeaning.There’stripstoNorwaytodiveintofreezingwaterin“NewBikini”(“Thewater/itcureseverything”);conversationswithaninsightfulsecurityguardandathoughtfulbookkeeperon“HardDrive”(“Themindisjustaharddrive”);andponderingatcloudsintheskyon“AmbiguousNorway”(“Iseearangeofcumulus/Themajesty’stransmutation/Distant,ambiguous”). PhenomenalNature,wrappedupingentlyscufflingdrums,pleasinglymeanderingsax,andsoftguitars,iswholesomeandeasytodigest.Youmightnotfindtheanswer,buteverytimeyoulistenyoumightjustfindananswertosomethingyouneedaresponseto,evenifyoudidn’tknowyoudid.“AllIwantistofallapart/Inthearmsofsomeone/Entirelystrangetome,”Jenkinsmusesdelicatelyon“Crosshairs”,andthatmightjustbeit.Realignmentcomeswithrepeatedlistens,sotakeanotherdosePhenomenalNatureasandwhenrequired.–RayFinlayson AnOverviewonPhenomenalNaturebyCassandraJenkins 14. HeladoNegro–FarIn [4AD] WithFarIn,RobertoCarlosLange,akaHeladoNegro,furtherstylizestheelectro-pophoned on2016’sPrivateEnergyand2019’sThisIsHowYouSmile,mixingglossyproductionapproachesandanaucourantDIYvibe. On“WakeUpTomorrow,”Lange’svoiceshimmersamidstaflamenco-styleguitar,snarebeats,andambientflourishes.With“GeminiandLeo,”heemploysaLatin-inflectedpercussivepalette.Thelanguidchorusof“ThereMustBeaSongLikeYou”–thetitlerepeatedfourtimes–isperhaps2021’smostinfectiouspophook.Ontheclosingtrack,“MirrorTalk”,Lange’sechoeyvoicemeandersdreamilythroughaquasi-psychedelicblendofelectronicaandchamberpop.Theset,anhour-plusinduration,unfoldsfluidly,alistenerenthralledbyLange’stranscendentvoiceandseductivesoundscapes.–JohnAmen FarInbyHeladoNegro 13. DryCleaning–NewLongLeg [4AD] On“ScratchcardLanyard”,FlorenceShawpurrs,“doeverythingandfeelnothing,”hintingattheaestheticthatinformsDryCleaning’sfull-lengthdebut,NewLongLeg:sonicexpressionismcontrastedwithShaw’spunk-inflectedspoken-worddelivery.Thistensionisfurtherexploredon“Leafy”,sultrybassandbuoyantguitarpartsundergirdingShaw’saloofyetslightlyvolatilevocal.Onthetitlesong,Shaw’svoiceoccursassimilarlydisembodiedyettense,bolsteredbyashufflingbeatandbrassyguitarriff. Lyricsare21stCenturyDadameetssocial-media-inflecteddiarism(imagineGertrudeSteinwithaTwitteraccount).Oncloser“EveryDayCarry,”Shawoccursasaschizophrenicghost,deliveringdisjointedimagesandepigramsasifthey’rebeinggeneratedbyasupercomputer,instrumentationflaringinthebackground.NewLongLegoozesenthusiasmandcynicism,energyandennui–adistinctworkofartandanti-art.–JohnAmen NewLongLegbyDryCleaning 12. CircuitdesYeux–-io [Matador] HaleyFohr,alsoknownasCircuitdesYeux,isnotofthisworld.Onherfourthfull-lengthalbumunderthatname(FohralsorecordsasJackieLynn),-io,hernear-androgynousbaritonedodgesinandamongstplayfullyornatearrangementsthatareoutofspaceandoutoftime,simultaneouslydeeplyindebtedtoherforebears,andstartinglynovel-sounding.  There’saheavydoseofScottWalkerinthetwistedcrooningof“TheVanishing”,Third-eraPortisheadkrautrockin“Dogma”,thePTSD-streakedart-popofXiuXiuisstrewnliberallyamongstmomentsofarch-theatricality,LinguaIgnota,andyet,therealsomomentsofquiet,vulnerableintrospection,ofdisarminglywoundedbeauty.Writtenintheaftermathofdevastatingpersonalloss,-io,seesFohrretreatintoaninnerworldthatsomehowmirrorsthevast,implacableexpanseoftheuniverse,inallitswonderandterror.  ThisvastnessfindsitsexpressioninthegrandestcompositionsofFohr’scareer,whichwouldbeallstylewithoutsubstance,ifnotfortheimpeccablequalityofthesongwritingondisplay,andherdeeplyimpassionedperformances.Fohrhassentoutasignalfromtheplanet-iothatwillgoonrepeatinguntiltheslowheatdeathofthecosmostakesusall.–AndyJohnston -iobyCircuitdesYeux 11. Ka–AMartyr’sReward [IronWorks] ThesamplethatopensKa‘ssixthalbumproclaimsthatthey’regoingtoshowittousinblackandwhite,andyetAMartyr’sRewardistheBrownsvilleundergroundraplegend’smostcolourfulalbuminsometime.Therearestylisticnodstopsychedelicrock,trip-hopandevenRadiohead-esqueelectronica-tingedkrautrockinamongstKa’ssignatureloopingsamplesandoldschoolNewYorkhip-hoprhythms.Andwherehisworkhasbeenmostlycharacterisedbyanoir-ish,downbeatmood,AMartyr’sRewardmakesampleroomforlightandwarmthand,onthelikesof“SadtoSay”,genuinelywistfulbeauty.  AsKarapsaboutthepaththat’sbroughthimtowherehestands,andthethreatoffalling,heexploreshowhisidentity,hissacrifices,hissuccessandhisfailuresareirrevocablyintertwinedwiththeidentity,sacrifices,successandfailureofhispeople,ofhiscommunity.Thefactthatforthesecondconsecutiveyear,IamwritingaboutaKaalbumforBPM’sendofyearbestoflist,isproof,ifitwereevenneeded,thatheremainsasconsistentashisgravelly,monotonousdelivery.Longmaywereaptherewards.–AndyJohnston 10. Tyler,TheCreator–CALLMEIFYOUGETLOST [Columbia] DowereallyknowwhoTylerOkonmais?Overtheyears,we’vebeenpresentedwithahostofpersonalitiesreflectinghisevolvingprivateandprofessionallife.Offensivefirebrand,purveyorofyouthfulennui,andself-reflectivescoundrel.Therearejustafewoftheidentitiesthathe’sinhabitedsincehereleasedBastardin2009.Andhe’smadehisnamebyfullyembracingthecomplexities,hypocrisies,andvariousotherproblematicaspectsthathavearisenduetohiscompletesubmersionwithineachperspective.  Whetheryoustandinaweoftheunexpectedmaturationinhislaterworkorjustcan’tseparatetheearlierhorrorcoretendenciesfromhiscurrentpositionasoneofhip-hop’sgreatestinnovators,there’snodenyingthatTyler,TheCreatorhasshapedthelandscapeofrapmusicandwillcontinuetodosowhileotherrappershavecomeandgoneandbeensweptintotheforgottenrecessesofthegenre. Afterthedensecauldronofsoundshepresentedthroughout2019’sIGOR,itwasdifficulttopredictwherehe’dlandonhisnextrecord.Butnowthatwe’vebeenabletospendsometimewithCALLMEIFYOUGETLOST,it’sbecomeapparentthatTylerisn’tdoneadaptingtohissurroundings.Inthiscase,itmeanslookingbacktomixtapeaestheticsandsharingacollectionofsongsbornfromagrimylaboratoryfilledwithexposedwiring,assortedbodyparts,andalifetime’sworthofabandonedmelodies.  These16tracksactasaprimerofsortsforTyler’scareer,awayforhimtoexaminehisowncreativeimpulseswhiledrawingoutthebestinthemusiciansaroundhim.Thereisbloodalloverthesetracks,withTylerrecallingyearsofpainwhilealsomanagingtoinjectahelpingofsordidhumorandhonestpathosintothedarkestcornerofhisexperiences. CALLMEIFYOUGETLOSTisalivingbreathingexplorationofallthemusicalinstinctshardwiredintoTyler’sbrain.Sprawling,oftenbewilderingandheartbreaking,it’sexactlywhathewantstosayrightnowandexactlyhowhewantstosayit.–JoshuaPickard 9. SelfEsteem–PrioritisePleasure [Universal] Itfeelstoooftenclichéwhenwetalkabouthowanartistcancomeintotheirownvoiceonaparticularproject.Thislineofthinkingseemsslightlydisingenuousasitimpliesthattheirpastworkisfreeofappreciablemerit,andthatthisisthethingtheyshouldberememberedfor,thattheyshouldbeproudof.I’veseenthisreasoningappliedinrecentcritiquesofthelatestrecordfromRebeccaTaylorunderherguiseofSelfEsteem.PrioritisePleasureiscertainlyadefinitivestatementfromTaylor–andonethatrefusestobeboundbyeithergenreorherownmusicalhistory.  Buttoviewitinavacuumapartfromeverythingthathascomebeforedoesit,andher,adisservice.Thesesongsdemandagreatdealmoreexcavation,ifonlytounravelthefullpictureofwhatshehasaccomplished.WemustseehowherpastexperiencesinindiepopduoSlowClubhavegivenherasuitablepopperspectivethroughwhichshecreatestalesofheartache,socialhorrors,andself-confidence.Thisisalllensedthroughadecadenttheatricalitywhichsheusestopullapartouremotionalconnectionstothesespecificsounds. Thesesongsfeellesslikeindividualdeclarationsandmorelikeacoherentphilosophy,acohesivecoreofthoughtaroundwhichsherelatesthestruggles,joys,andalternatingtidesofrelationshipnuancesthathaveshapedthewaysheseestheworldaroundher.It’ssuchafullyformedworldthatanysinglepartfeelsasthoughitcontainsmultiplesofcrisscrossingnarratives.Hervoiceisinsistent,bitter,playfulevenattimes,anddecoratesthesesongswithapainterlyprecision.Therearemomentsofbrashdissonance,silkypoppersuasiveness,andundilutedsentiment.  Despitetheecstaticnatureofmuchofherworkhere,thisisstillaconfrontationalrecord,andsheusesthesemusicalstandoffsasawaytopeelbacktherealitiesthatshefaceseveryday.Therearepointsherethatshereallyshouldn’thavetomake,thatnooneshouldhavetomake,butthisworldisfullofterriblethingsandtheconsequencesoftheseterriblethings.PrioritisePleasureisTaylor’swayofaddressingtheseunfortunatetruthsandpushingbackagainstthecomplacencythatallowsthemtomaintainsuchaprominentholdonourlives.–JoshuaPickard 8. ArmandHammer&TheAlchemist–Haram [BackwoodzStudioz] ArmandHammerhavereleasedanalbumalmosteveryyearforthelasthandfulofyears–nottomentionalltheotherprojectsthatElucidandbillywoodshaveputoutinthattime.Ontheonehand,youcouldsaythey’reoverflowingwithinspiration,ontheother,youcouldsaythattheworldjustkeepsprovidingthemwithmoretargetsfortheiruncompromisingpoisonbars.OnHaram,theduoareheretodismantleperceptionsanddeliverharshtruthsabouttheillsthatplaguetheirhistory,societyandartistry.  WorkingwithTheAlchemistthistimearoundhasn’tchangedtheirapproach,butithascertainlygiventheirmusicgreaterheft.Hisdetailedproductionhelpstobringoutthegreyareasoftheirraps;hedoesn’tputtheircuttingadmissionsonapedestal,nordoesheshroudthemindarkness,but,byprovidingmutedsamplesandwallsofamorphoussynths,heallowsthemtoexistinanin-between.Inthismindset,wecanlistentotheduopontificateaboutslumsinVenezuela,reflectontheirbrutalupbringings,orrelaystoriesaboutstrung-outsexworkers,andremainhooked-inobservers,justabreathawayfromtheconversation.ArmandHammeraren’theretosendamessage,they’reheretoopenyoureyestothehorrorsseepingoutofeverycrackofsocietyandchallengeyoutodecidewhatyourreactionwillbe.–RobHakimian HarambyArmandHammer&TheAlchemist 7. SpiritOfTheBeehive–ENTERTAINMENT,DEATH [SaddleCreek] Philadelphia’sSpiritoftheBeehivemasqueradeasexperimentalmusicianswhileunderneaththeyhaveasoftandwarmpopunderbelly.They’vebeenparadingaroundlikethisforyears,fusingshoegaze,sampling,andpsychedeliawithgranularpop.Butthenot-so-secretweaponofENTERTAINMENT,DEATHisthefullimmersionoftheweird. Previousefforts,like2018’sstellarHypnicJerks,foundthebandpushingtheirownboundariesfurtherandfurther,andSpiritoftheBeehivedon’tsoundlikeanyoneelseonENTERTAINMENT,DEATH.Refinedtojustatrio,andonanewlabel,SpiritoftheBeehivehaveexploredtherightsectorsofthemindtogivetheirlatestafullerandmoregiganticsound.Fromthevocalshreddingof“THERE’SNOTHINGYOUCAN’TDO”tothe60s-psych-pop-indebted“THESERVERISIMMERSED”,SpiritoftheBeehivemaketheirultimatepitchtobecomethenewpurveyorsofdeconstructedpop,atorchpreviouslycarriedbyDeerhunterandAnimalCollective.  Thedigitizeddepressivestateillustratedbyasonglike“WRONGCIRCLE”isreallyonlythetipoftheicebergofthealbum’snervousdisposition.It’sonethatbegsforitsprotagonisttofindmeaninginadifferentway.And,ifyouaskthebandanyway,thatleavestwooptions:entertainment,ordeath.–TimSentz ENTERTAINMENT,DEATHbySPIRITOFTHEBEEHIVE 6. BlackCountry,NewRoad–Forthefirsttime [NinjaTune] LondonersBlackCountry,NewRoadaresingersoftheanxietiesofthemodernworld–notonlylyrically,butthroughtheirinstrumentationandarrangementsaswell.  ForthefirsttimemakesseamlessjumpsbetweenGypsy-stylejazz,Britpop-esquesensitivity,math-rock-influencedriffs,andsomethingbizarrereminiscentoflate80snowave.Mostputitunder‘post-punk’,butthatisanunderstatementofwhatthisdebutis;BC,NRaremuchmorethanthat.Boththeever-changingsoundofeachtrackandthewordsthereinpersuadelistenerstodroptheseirrelevantthoughtsandfocusonsomethingconsequential,likehowitmakesusfeel. Thereisamacroleveltotheselyrics.IsaacWood’suniqueanddeeplypersonalapproachtosongwritingcreatesabrilliantjuxtapositionbetweenourinabilitytocompletelytunethecrumblingworldaroundusandthethingsthatmakeitallworthwhile,likelove,expressingourselves,hopingtoneverfeellikeyou’ve“alwaysbeentheguest”. Althoughmostofthelyricscouldbeperceivedasnegativeorpessimistic,thereisnoregretinthem.BC,NRdon’twishfortheworldoftodaytohavebeendifferent;theyknowitwillcontinuechanging,sothereisnousecryingaboutit.Afterall,intheend“whatwebuiltmustfalltotherisingflames”.–AleksandrSmirnov ForthefirsttimebyBlackCountry,NewRoad 5. PanDaijing–Jade玉观音 [PAN] There’ssomethingwrongwiththisalbum.No,notinthewayyouthink,notinitsmixorincessantindustrialshuffle.Somethingaboutitis…deeplyatoddswithreality,oratleastourunderstandingthereof.Ithasthesoothing,calmassuranceofahorrorfilmplot,leadingtheprotagonistslikepigstoslaughter.Thefactthatitisnamedafterapreciousstone–abeautifulmaterialthatlookslikesolidified,greenliquid–can’thidetheoutrightdemonicqualityofsomeoftheentitiesencasedtherein.There’sthestrangegoatofthesecondtrack,whichseemsmorelikeanoddtypeofbug,buzzingoverwhispered,barelyaudiblevocals.  On“Tilt”,theprotagonistencountersapersoninthestreetwhosemockinglaughterandraspy,inhumanvoiceisthestuffofnightmares.“Let”hasthespeakerbathintheocean,ponderingthepossibilityofadoppelgängerand–possibly–theirowndeath.Butthemeaningisveiled,hiddeninghostlylabyrinthsofatmosphericxylophonesanddistant(clarinet?)screams.  Inrecentyears,there’sbeenarenaissanceofincrediblefemaleindustrialmusicians,allofthembringingauniqueperspectivetotheirsound.Pharmakon’sanguishedbodyhorrorandPuceMary’spoliticalnoisecometomind,buttheclosestcomparisonshouldbeSadaf’s“HistoryofHeat”.WheretheIranianmusicianwasinfluenced byNewYorktocraftdarkrhythmicpoetry,PanDaijingmarriesauniquesenseofAsianhorrortothedarkavant-gardeelectronicatypicalforBerlin.  WhatexactlyitisthathauntsJADEremainselusive–andmaybeitis somethingfarolderandfarmoresignificantthanitappears;somethingwhichraisesitsheadoccasionally,asonThrobbingGristle’sD.O.A.orSPK’sLEICHENSCHREI,tosignaltousthatit’sbeenthereallalong,nameless,hungryanddevoidofempathy.Maybeit’sonthisrecord,orwaitinginanalley,laughingbehindourbacks,takingsomethingfromuswedidn’tevenknowwepossessed.–JohnWohlmacher Jade玉观音byPanDaijing 4. FloatingPoints,PharoahSanders&TheLondonSymphonyOrchestra–Promises [LuakaBop] Sevennotes.Arippleofsomethingbetweenapiano,harpsichord,andceleste,isperhapsthemostdefiningsoundoftheyear.Thosenotes,playedrepeatedlybySamShepherd(akaFloatingPoints)arethebeginningtouchstonesforsomeofthemostexquisiteandenchantingmusicof2021.  Theyarejustonepoint,though,onarecordfullofsupremelytalentedplayers.NotonlydoesShepherdwrangleinthedivineswellandfullforceoftheLondonSymphonyOrchestra,hegivesthespotlighttoveteransaxophonistPharoahSanders,whoseplayingtrulybringstherecordtolife.Alucidweaverofmusicalstringsthattiealltheambient-likeglistensofkeysandcrescendosofstringstogether,Sandersfeelslikeboththealienlanguageyouwanttodecipherandthetranslatorturningthewordlessenvironmentintosomethingtangibleandcomprehensible;whenhespeakswordlessfluttersofhisownvoiceon“Movement4”yourememberforabriefmomentthatthisismusicofearth. It’sarepeatedmetaphorandsimile,butPromisesreallydoeshaveanotherworldly,celestialqualitytoit.Wheneverythingburblesuptoapeakon(especiallyduringthealbum’ssecondhalf,whentheLSOswimintothepicturefullyandalmostthreatentotakethespotlightawayfromSandersentirely),it’slikeyou’rewhooshingthroughnebulasandexplodingsupernovas,starssurroundingyouandgaseousformspepperingthelandscape.(Italsomakesthemomentsofpindrop-stillnessandsilenceallthemoreaffectingandstirring.)  Andthatsevennoterefrain–asortofCloseEncounters-likecommunicationdeviceforallthemusicianstoworkfrom,tetheringthelistenertoafixedpointthatmagicallyalwaysfeelsjustoutofreach–isourRosettaStoneforthisworld.Decipherit,andPromiseswillsurelyonlyburstopenwithmorelife.Butevenwithoutanytranslation,thismagical,extra-terrestrialalbumwillenraptureinineffablewayswewilltrytoputwordstofordecadestocome.–RayFinlayson PromisesbyFloatingPoints,PharoahSanders&TheLondonSymphonyOrchestra 3. LinguaIgnota–SINNERGETREADY [SargentHouse] NoartistmanagestowrenchoutatearandshiveroffearlikeKristinHayter;LinguaIgnota.Herlastrecord,2019’sCaligula,wasabrutalizingalbeitempoweringlisteningexperience,butonethatalsobroughtwithittrigger-warning-worthytraumaalmostimpossibletotakeinallatonce.WiththehorrifyingheftbehindHayter’showldrivingthisunrivaledexorcismofrighteousrage,andgiventhepainedstorieswrittenuponherheart,wecouldeasilyhaveexpectedhertomakearecordcutfromthesameclothas Caligula. Butthere’snothingeasyaboutHayter’smusic,neitherinhowit’sconsumednorcreated.OnthememorablytitledSINNERGETREADY,Hayterproveswithsea-partingpowerthatshecouldpackanemotionalpunchjustasdevastatingwhenshe’snotscreaminguntilhervocalcordsarefriedorwhenthesoundsenvelopinghervoiceareneitherblisteringnormurderous. Byremovingtheusualdenselayersofharshnoiseandtraumaticscreams,whichkeptsomeatarm’slengthinthepast,she’sdrawninpeopleandmadetheminvestedinhercontinualstoryofconsuminghellfollowedbyrebirth.And,thosewillingtowadethroughhertoilingwatersarepresentedwithanimpossiblydevastatingexperiencethatcanhardlybefathomed.Now,listenerscanseeandhearHayter.Truly,trulyIsaytoyou,sheisLinguaIgnota,sheisall-embracinginhercommunicationofthepainthathashauntedher–andthatwhichisembodiedbythespiritofhumandepravity.–KyleKohner SINNERGETREADYbyLINGUAIGNOTA 2. blackmidi–Cavalcade [RoughTrade] Toplaceexpectationsuponpostpunk’sbelovedweirdosblackmidiwouldbeagestureofimmensedisrespecttowardjusthowinventivethisoutfithasbecomeandwillcontinuetobe.2019’sSchlagenheimwaseverythingandnothingwe’deverheard–grating,explosive,daring,yetsteepedintraditionalprogandjazz.Itwasaphenomenaldebutthatwasuniquelyblackmidi,andsomethingonlytheycouldcreatebutneveragain.  Butalas,theyoungstersfromEnglandreturned,justtwoyearsremovedfromreleasingoneofthebestexperimentalrockdebutsinrecentmemory,withaworkofartfarmorecomposedyetsomehowmorebizarre.Cavalcadeseesitsaxe-wieldingsurgeonstransitionfromtheirunfetteredthirstforhabitualimprovisationsandspasticfreakouts,optingformorepatientandoperativepostures,andyieldingsprawlingepicsthatarenothingshortofjawdropping.Fromthemouth-frothingmonstrosityof“JohnL”tothetender-huedbossanovaof“MarleneDietrich”,Cavalcadeseesblackmidi,oncemore,keeplistenersontheirtired,achingtoes.  Eventhosewhothinkthey’vesurrenderedtoblackmidi’sunexpectedanticswillhavetheirspinningmindsinevitablytrying–andfailingmindyou–tonavigateandpredictCavalcade’slabyrinthianwiringofadventurousart-rock.Theremaynotbeenoughwordstostringtogetherandcapturewhatblackmidiisdoingforthepost-punkgenreandeventhefutureofguitarmusicasawhole.Butwhateverthatsignificancemaybe,itwillremain–undefinable,ever-changing,anduninterestedintheboxesplacedprematurelyfittedtotheirevolvingsound.–KyleKohner Cavalcadebyblackmidi 1. Low–HEYWHAT [SubPop] Low,themarriedduoofAlanSparhawkandMimiParker,havespentthenearly30yearstogetherwritingandperformingtheirmusicwiththehopethatitchangestheworld,andHEYWHATmaybetheirboldestreachyet.Here,theyoptedtorepurposethefractureddisplacementofitsastonishingpredecessorDoubleNegativeanddrivehomeanewmessageofhopeandremediation. ThemessageisheardloudandclearonHEYWHAT–withanemphasisontheloud,asLowreachsonicbreakthroughsoncethoughtimpossibleforabandtraditionallyclassifiedasslowcore.Thestunningopener“WhiteHorses”nearlyreinventsthesoundofguitarsaltogetherthankstoproducerBJBurton,whiletheblitzkrieged“More”,withParker’squiveringvocal,skittersacrosstheeardrumslikeapensiveangel.  Thehealingprocessafteratraumaisalongroad,withobstaclesandsetbacks;andprogressalwaysseemstotaketwostepsforwardandfivestepsback.Duringthewritingprocess,Low’shomestateenduredriotingasaresultofpolicebrutality,andtherestoftheworldwatchedandburnedwithit.Lowdon’tnecessarilyfantheflameswith“ThePriceYouPay(ItMustBeWearingOff)”,butratherinstituteanestablishmentofresponsibilityforouractionsbywayofit’schorus“AndIknowwhattheywant/toforgetthehurt/Buteithersideyou’reon/It’snotwhatyoudeserve.” ActivismhasalwaysbeenatLow’scenter,butthislatecareerreinventionthatstartedwith2015’sOnesandSixesrepresentsastrongerawakeningwithinthem.WhileHEYWHATisfilledwithreflectionandhonestyabouttheirownrelationship(“Don’tWalkAway”)andreservationsaboutmovingon(“ICanWait”),mostresoundingisthenotionthatsocietycanreconnectifwesimplyunderstandourplacehereandrebuildwhatwasdestroyed.HEYWHAT,justlikeDoubleNegative,isveryofitstime,andactsasasignalofthegradualreplenishmentofourfaithinhumanity,whichisextremelyvaluableinanerathatdoesn’tseemtoharbormuchofit.  –TimSentz HEYWHATbyLow CatchupwiththerestofourBestof2021content here. ListentoaSpotifyplaylistofourhighlightsfromourTop50Albumsof2021here. 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