Top 50 Albums of 2021
#50 slowthai - TYRON // Alternative Trap
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slowthai effectively splits her personality in half on TYRON, baring his soul in a dichotomy of aggression and softness. This isn’t me reading into it–all of this is plain as day if you take a single look at the tracklist. It’s split into two discs, one composed of UPPERCASE SONGS BECAUSE IT GOES FUCKING HARD, one composed of lowercase letters because they’re much more demure, and easy on the eye. The reason I spend so much time elucidating on the whole duality of the record is because I believe it executes the cliche concept quite well, even if I’m not as big on slowthai’s pen-game this time around. He raps an awful lot about cancel culture, and while I sympathize with his time in the spotlight of controversy, it’s still eye-roll-worthy to hear a fairly successful rapper talk about how they’ve gotten cancelled. Besides a few cringeworthy lyrics (“what’s Rick without Morty?”), this is a solid follow-up to an incredible debut.
Favorite Tracks: CANCELLED, MAZZA, VEX, DEAD, i tried, terms, push, nhs, feel away, adhd
Least Favorite Track: WOT
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49. Bladee - The Fool // Cloud Rap
Bladee sounds like a garden fairy on The Fool, bringing Swedish whimsical joy into a usually dour genre. In fact, Bladee even says it himself–”I’m a good boy on the track, no cussing (don’t you cuss)”. He’s here to give us a family-friendly good time, although I definitely won’t be showing this record to my future kids. Not because it isn’t good, but I just feel like kids shouldn’t be exposed to Bladee. It might turn them into well-adjusted eboys–and that’s not what we want, is it? Anyway, what Bladee accomplishes here is a pretty damn solid batch of cloud rap tracks that have this upbeat, spacey energy that’s infectious as fuck. You’ll find yourself booking tickets to a Swedish fjord before you know it, and when you get there, Bladee will be hovering underneath a waterfall, keeping nature in balance with the spirit realm, like a Drain Gang avatar.
Favorite Tracks: The Fool Intro, Let’s Ride, Hotel Breakfast, I Think…, I Want It That Way, BBY, Inspiration Comes, egobaby, Wett
Least Favorite Track: N/A
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#48 McKinley Dixon - For My Mama And Anyone Who Look Like Her // Jazz Rap
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Combining jazz and rap is far from uncommon in hip-hop, yet few execute a perfect blend quite like McKinley Dixon on For My Mama. Even though every track feels like its own expansive jazz journey, Dixon manages to remain personal and heartfelt through it all, with themes ranging from childhood trauma to systemic racism. An issue I personally had with the project was the overwhelmingly fast pace. Most of the tracks feel too chaotic for my liking, although it is a kind of chaos Dixon clearly has control over, like an orchestral conductor of sorts. As cliche as the comparison is, I believe that any hip-hop fan who enjoys To Pimp a Butterfly by Kendrick Lamar will enjoy For My Mama thoroughly.
Favorite Tracks: Chain Sooo Heavy, Never Will Know, Bless the Child, make a poet Black, protective styles, Swangin’, brown shoulders, Twist My Hair
Least Favorite Track: N/A
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#47 Ashnikko - DEMIDEVIL // Pop-Trap
Apparently, straight guys are worse at finding the clitoris than I expected. I thought DEMIDEVIL was gonna be a scatterbrained TikTok pop project, but it surpassed my expectations, with focus on some key subjects; feminism and straight cis men being cucked by Ashnikko, who operates on a level of confidence I greatly admire. One of my favorite cuts off of the mixtape is L8r Boi, a flip on the pick-me girl classic Sk8er Boi, singing from the perspective of the chastised ballet-obsessed antagonist–the one who rejected the poor ol’ skater boy. It’s actually kind of cathartic, because Ashnikko’s lyrics here represented a lot of critiques I’ve had of the original song, as catchy as it may be. I also have a soft spot for trap punk, which DEMIDEVIL inhabits to a T. Overall, it’s a solid project and a nice entry into the pantheon of female empowerment art pieces we’ve seen over this last decade.
Favorite Tracks: Daisy, Toxic, Slumber Party, Cry, L8r Boi, Good While It Lasted, Clitoris! The Musical
Least Favorite Track: Little Boy
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#46 Squid - Bright Green Field // Post-Punk
What Squid accomplishes on Bright Green Field is pretty damn incredible–they manage to get me to enjoy post-punk, a genre that I generally don’t have much appreciation for. I’ve never been particularly down to clown to heavy rock instrumentation, but Squid executes it in a way that just WORKS for me. Their songs have clear narrative arcs to them, and they don’t beat you over the head with raw noise. It all feels very exact, and meticulous. I first discovered these guys off of their Town Centre EP back in 2019, and I like seeing just how far they’ve come.
Favorite Tracks: G.S.K., Narrator, Boy Racers, Documentary Filmmaker, Peel St., Global Groove, Pamphlets
Least Favorite Track: The Flyover
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#45 6 Dogs - RONALD. // Cloud Rap
The late 6 Dogs (Rest In Peace) reminds me of one of my closest friends in the music biz, none other than Yung Brent. Both occupy a similar space in the spacey sad whiteboy trap lane, and both do it with such grace and confidence that I can’t help but applaud them for their hustle. Unfortunately, 6 Dogs’ hustle was cut tragically short, but this posthumous record just makes me wish I’d gotten into his music before he passed. I typically dislike emo trap, but for some reason, RONALD resonates with me. Perhaps it’s the Cudi-esque affectations in 6’s voice. Maybe it’s the melancholic Drain Gang influence on the production. Hell, maybe I just think the dude looks sexy as hell on the cover (no homo). For one reason or another, RONALD just connected with me.
Favorite Tracks: When I Was a Baby, Beach House, Post Malone, Starfire, Genie in a Bottle, Indigo Daydream, Spy Kids, Time Machine, Good Wings
Least Favorite Track: N/A
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#44 Lorde - Solar Power // Folk Pop
On Solar Power, Lorde takes on the role of a millennial crystal enthusiast, like somebody straight out of the pot-choked streets of Santa Monica. Like a shark salesman white girl, she dons the persona of the au-naturel–dreamcatchers, piss-smoothies, and all. It’s a remarkable shift in style from the heavy and burdened dance pop tunes on Melodrama, instead opting for a more folky approach, produced by Jack Antonoff, who is this generation’s Max Martin. Solar Power celebrates nature, in a shallow manner, which is either ironic or completely unironic, depending on your perspective. While I’m not the biggest fan of of some of its more ‘generic’ tracks, Solar is still a pretty damn solid entry into the Lorde discography.
Favorite Tracks: The Path, Solar Power, California, Secrets from a Girl, Mood Ring, Oceanic Feeling
Least Favorite Track: The Man with the Axe
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#43 Quadeca - From Me To You // Alternative Hip-Hop
Never would anybody have expected the artistic development of Quadeca to arrive at this point. From impersonating rappers and beefing with gamers, Quadeca now puts out a magnum opus of a record, full of personality and extravagantly produced. It’s clear he’s putting it all on the line, and I truly admire the effort put forth to create a sonic experience rather than just another album. From Me To You is exactly as its title suggests–a message from Quadeca to a woman he was dating, and to his fans. It’s an album that reflects upon his newfound fame, the interactions he has with his passionate fanbase, and keeping his relationships in balance as well. It’s a celebration of the decade-long grind he’s subjected himself to, as well as a lamentation on the fleeting and fickle nature of internet fame. What makes From Me even more impressive is that despite sounding like a big budget project, it was almost entirely produced by Quadeca himself. With this record, Quadeca goes from being a “youtube rapper” to being a fully-fledged artistic impresario.
Favorite Tracks: Sisyphus, Candles on Fire!, Smiling at the Ground, Maybe Another Day…, Alone Together, Burning Bridges, Work!, People Pleaser, Where’d You Go, Summit Pt. 2
Least Favorite Track: N/A
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#42 St. Vincent - Daddy’s Home // Soft Rock
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Daddy’s Home finds St. Vincent venturing into a distinctly 70’s direction, incorporating psychedelia with elements of soft rock thrown in for the spice. While I enjoy much of what this soundscape has to offer, by the end of the record I feel like I haven’t quite gotten the most out of it. That’s not to say Daddy’s Home is a bad record, not at all–just that, with a few exceptions, most of the tracklist leaves me somewhat ambivalent. It’s elevated by the sheer vocal talent Anne displays across the tracklist, as well as a few undeniably gripping tracks (see Pay Your Way In Pain). I also like a lot of the lyrical themes at play, themes of fatherhood and motherhood, and how Anne doesn’t play nice when it comes to society’s vision of her as a potential mother, not with her thigh highs and bright blonde wig. I respect the album’s dedication to its time period, but most of the tracks left me unsatisfied.
Favorite Tracks: Pay Your Way In Pain, Down And Out Downtown, Daddy’s Home, The Melting Of The Sun, The Laughing Man, Down, My Baby Wants A Baby, …At The Holiday Party
Least Favorite Track: N/A
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#41 Durand Jones & The Indications - Private Space // Classic Soul
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The Indications are a pretty damn incredible band if you’ve got an itch for classic 70’s soul. On Private Space, elements of disco are tossed in, and you can hear the poppier affectations come into play with the lovely synth arpeggios on tracks like Witchoo. It’s been interesting following along with the band since their 2019 release. It’s no surprise they’ve managed to skyrocket into popularity so quickly–people need soul now more than ever. And who are the Indications to refuse the call of musical healing? Of course, the real star of the show is Durand Jones, a man with a voice as warm as a ray of sunshine and a tenderness of a lover’s soft hand. I love how much the band leans into their own earnestness. They’re not half-assing it at all, and it creates an immaculate atmosphere to allow your ears to get lost in. My only issue with the project is that it just doesn’t pack as much of a punch as the more political, emotionally charged record American Love Call. So I feel like some of the band’s greater potential is being left behind. Other than that, my soul is cleansed.
Favorite Tracks: Love Will Work It Out, Witchoo, Private Space, More Than Ever, Ride or Die, The Way That I Do, Reach Out, Sea of Love
Least Favorite Track: N/A
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#40 Curtis Roach - The Joy Tape // Lyrical Trap
If you’ve ever needed a beacon of warm hip-hop positivity this year, Curtis Roach is here to provide, with a short little mixtape all about the pursuit of joy, and a celebration of his successes as an optimistic indie artist. I really like how wholesome Curtis is throughout the whole project. When he raps, you can hear him smile, sort of reminiscent of Chance the Rapper, who he pays clear homage to with his flows, cadences, and stylistic choices. Perhaps a combination of Logic and Chance, which isn’t a terrible combo at all. There’s not much else I can say about Joy Tape. It’s a pick-me-up in the form of rap.
Favorite Tracks: Joy (Intro), Stimmy, Comma$, Rose Tea, What We Doing, March 4th, Joy (Outro)
Least Favorite Track: Beach Bum
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#39 Backxwash - I LIE HERE BURIED WITH MY RINGS AND MY DRESSES // Witch Rap
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Backxwash is one of the most unique rappers out there. She’s Zambian-Canadian with a predilection towards blood magic. Her albums feel like an eternal hell from which there is no escape, and I promise that’s a good thing. Basically, when you’re listening to a Backxwash record, you feel like everything is trying to kill you. She even opens I LIE HERE BURIED with a weird little snippet explaining the function and rationale of pain itself. That’s how you know you’re being braced for a godless, demonic nightmare. Unlike her previous record, God Has Nothing To Do With It, this album seems to focus less on the metal and more on the rap side of things, and that means that her lyrical poise gets to shine through. There’s some existential horror about the very brutal nature of colonialism, which is spiritually bemoaned as opposed to politically dismantled. Backxwash seems to prefer the former approach for most of her music, as a whole, and it suits her anguished rapping style perfectly.
Favorite Tracks: WAIL OF THE BANSHEE, I LIE HERE BURIED WITH MY RINGS AND MY DRESSES, TERROR PACKETS, IN THY HOLY NAME, SONG OF SINNERS, 666 IN LUXAXA, BURN TO ASHES
Least Favorite Track: NINE HELLS
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#38 D Smoke - War & Wonders // Lyrical Hip-Hop
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I first discovered D Smoke through his participation on Rhythm + Flow, a rap competition that was, for the most part, mediocre. He ended up winning, which is no surprise, because upon checking him out, you can immediately tell that he’s leagues above your average emcee. Comparisons to Kung Fu Kenny have been made, and while I see where those come from, it’s clear to me that Smoke is doing his own thing. His bilinguality creates a delightfully unpredictable listening experience, and he tends to put more emphasis on hooks than Kendrick does. While I enjoyed his debut album, Black Habits, it’s clear that he’s taken the time to improve, because War is a very solid sophomore record. I think it’s got some filler, but nearly every track bangs. There’s no meandering attempt at incorporating R&B (one of my least favorite trends in modern pop rap). It’s straight killer–some filler.
Favorite Tracks: War & Wonders, Dirty Mercedes, Shame On You, Road Rage, Find My Way, Crossover, Why Run, Say Go, Good Thing, Clockwork
Least Favorite Track: Sleepwalking
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#37 Joyce Wrice - Overgrown // Old School R&B
Does my crush on Joyce Wrice factor into this writeup? No comment. Does her voice make my eyes roll back in my head? No comment. Am I aware of the fact that I’m alienating half my followers by describing in detail how horny an album makes me? Yes. But I’m not going to make any excuses. This is an incredibly luscious and well-put together R&B record that harkens back to the days of Faith Evans and Bad Boy Entertainment. I love how Joyce clearly celebrates that glitzy, steamy aesthetic, inviting Freddie Gibbs and a possibly misplaced Westside Gunn to serve as the ‘gangsta’ counterparts to her sensuality. While the record is somewhat derivative, it’s still a fun R&B ride all the way through, and I’m not usually too big on R&B.
Favorite Tracks: Chandler, Falling In Love, On One, Losing, Addicted, Must Be Nice, So So Sick, That’s On You
Least Favorite Track: N/A
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#36 Lil Nas X - MONTERO // Pop
Seeing Lil Nas X defy the odds and prove to the world that he’s more than just Old Town Road Remix Ft Billy Cyrus is kind of incredible. Many are quick to claim that his success comes at the hands of his genius marketing stints, and while I agree that they’re certainly impressive as transcendent memes, the reason Nas X (don’t know how to refer to him) is such a pop success story is because–believe it or not–the man’s got some genuine fucking talent. “That’s a hit,” as Hesh Rabkin of The Sopranos would put it. MONTERO, as an album, is both a victory lap and a personal journey for the budding popstar. Nas X isn’t afraid to go deep, to reflect on his insecurities and his trauma. He’s also not afraid to say “fuck you” to the people who disapprove, whether that be the pearl-clutching conservatives or the pretentious hip-hop heads. Lil Nas X has come a long way from “Hey Panini, don’t you be a meanie”.
Favorite Tracks: MONTERO, DEAD RIGHT NOW, INDUSTRY BABY, THATS WHAT I WANT, SCOOP, LOST IN THE CITADEL, TALES OF DOMINICA, SUN GOES DOWN, LIFE AFTER SALEM
Least Favorite Track: VOID
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#35 Still Woozy - If This Isn’t Nice, I Don’t Know What Is // Indie Pop
I’ve gone back and forth over whether or not I really like If This Isn’t Nice. Partly because it’s an example of an album I often poke fun at–the generic, zoomery indie album, the one that doesn’t have any genre commitments and exists for the sole purpose of living in the background of quirky Instagram captions. While Still Woozy does sort of sound like this, I can’t deny it–this shit slaps. I can’t suppress my inner art hoe, I guess. The most apt description I can give for the songs is “budget Glass Animals”. And that makes sense, this guy makes music out of his garage, as any indie-boy ought to do. As you can plainly tell, it’s hard for me to praise this album without poking fun at it. If Woozy sees this review, I want him to know; no hard feelings. Solid stuff.
Favorite Tracks: Woof, Rocky, That’s Life, Get By, Drake, Window, Get Down, All Along, WTF
Least Favorite Track: N/A
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#34 Bruno Mars & Anderson. Paak - An Evening With Silk Sonic // Throwback Funk
Silk Sonic could’ve very easily clinched my number one spot. The recipe was right there–smooth vocals, nostalgic funk and soul, and emotionally laden melodies–and then the album dropped, and I was left disappointed. Don’t get me wrong, there are some stellar moments on An Evening, but it is far from top ten-worthy, and it bugs me to no end that I haven’t fallen in love with it like I was expecting to. I feel like the primary reason for this is that it wasn’t trying to be anything more than a fun collaborative experience for Bruno and Paak. I wanted an emotionally powerful soul album, but they wanted to fuck around with a massive production budget and replicate songs from their childhood. I guess I can’t fault them for that, but at the same time, this is a sound that can very easily bring me to tears–and yet it didn’t. So I’m left holding the metaphorical bag, feeling blueballed by what still manages to be an insanely well-executed batch of eight tracks.
Favorite Tracks: Leave the Door Open, Fly As Me, Smokin Out The Window, Put On a Smile, 777, Skate, Blast Off
Least Favorite Track: After Last Night
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#33 Cade Earick - Cade // Indie Pop
Cade Earick, burgeoning indie darling, is in peak form on this short self-titled LP. While I’m not usually a big fan of Cade’s stylistic choices, they’re honed to my specific preferences here, which I’m certain he wasn’t intending for. Cade tosses in some hip-hop spice on tracks like Beekeper (and my feature on Til Death Do Us Part). By far my favorite track on the project is Far from the End, an absolutely spellbinding ride, unrepentant in its charisma. I feel like this is the song Cade was meant to create, and that’s no exaggeration. The soaring guitars and synth leads, and Cade’s impassioned delivery, meant for his one and only, leaves me in a permanent state of serotonin. This self-titled project is a huge step forward for one of New Hampshire’s finest in the underground. Check out his girlfriend’s music too, she’s got some good shit.
Favorite Tracks: Spoken Words, I Wanna Be, Run Away, Beekeeper, Til Death Do Us Part, Far from the End, Leaving Dallas
Least Favorite Track: Bad Habits
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#32 Cautious Clay - Deadpan Love // Alternative R&B
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“Do you have any expectations for this?” somebody asks of Clay in an intro skit, to which he replies “no, not really.” Deadpan Love is Clay’s cautious approach to love, and all of its complexities. On High Risk Travel, the subject is an ex-flame in a city he doesn’t live in anymore, and the emotional risk he feels he’s taking by traveling there. Instrumentally, the record blends sentimental folk guitars with funky R&B percussion, leading to a lot of catchy melodies and hooks. While I feel like some of the songs could be extended slightly, that’s more of an upside than a downside–Clay is leaving me wanting more. I think his sensitive, tender voice really helps sell the album as this delicate expression of desire, of love. It grew on me considerably over the course of the year, and I kept finding myself coming back to it, despite initially feeling like it was cheesy as hell. Cheesy is good here, I think.
Favorite Tracks: High Risk Travel, Shook, Karma & Friends, Strange Love, Box of Bones, Agreeable, Dying in the Subtlety, Artificial Irrelevance,
Least Favorite Track: Bump Stock
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#31 Armand Hammer & The Alchemist - Haram // Abstract Hip-Hop
Yeah. Sorry about that cover. I promise that this will be only time I show the bloody heads of two pigs in one of my reviews. At least the image comes attached to a pretty awesome hip-hop record from the collaborative melding of minds of billy woods and E L U C I D (also known as Armand Hammer) and Daniel Maman (also known as The Alchemist). Overall, this is exactly what I wanted from such a dream collaboration. Usually, Armand Hammer tends to use more abrasive, angry, frustrated beats, but the Alchemist puts them on a more distinctly…soulful path? Maybe soulful isn’t the word. I’ll put it this way; this is the only Armand Hammer record I’d get high to. And that’s saying something.
Favorite Tracks: Sir Benni Miles, Roaches Don’t Fly, Indian Summer, God’s Feet, Peppertree, Falling out the Sky, Wishing Bad, Robert Moses, Stonefruit
Least Favorite Track: N/A
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#30 Mdou Moctar - Afrique Victime - Saharan Psych-Rock
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The craziest thing about Afrique Victime is that I feel intimate with their sound already. I grew up with Afro-Israeli artists such as Idan Raichel who sounded fairly similar to Mdou Moctar, with their lilting, powerful blends of Northern African languages, and psychedelic tendencies. Mdou Moctar takes it a step further for me and illuminates the political struggle for a better Africa in the face of decades upon decades of European colonialism. It’s an incredibly tight record, featuring a dizzying array of psychedelic guitar riffs that pulverize your consciousness. I believe it was Mic the Snare who first recommended this album to me, and I cannot thank him enough for that.
Favorite Tracks: Chismiten, Taliat, Ya Habibiti, Asdikte Asal, Afrique Victime, Bismilahi Atagah
Least Favorite Track: N/A
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#29 Porter Robinson - Nurture // Folktronic
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This was a hard year for me. I’m not gonna front. It might have been one of the most personally vindictive years I’ve ever experienced. I committed more fuckups than ever before, and by the end of it, I was begging god for some kind of sign that I wasn’t doomed to be an eternal failure. Nurture was a bright spot in that hurricane of inner conflict. A reminder that pure joy exists in music, and in nature, and that it’s okay to feel lost, and guilty, and all those other negative emotions under the sun. Nurture is here to say that it is our responsibility, as humans and artists, to appreciate our environment, and to appreciate art itself. There’s healing power in it. Porter Robinson also depicts nostalgia in all of its complexity, which is refreshing, as most takes on the fleeting feeling lack nuance. While nostalgia is bittersweet, it can also be destructive to remain trapped in the past. The present is all that matters. The present is all we can affect. I really like this album.
Favorite Tracks: Look at the Sky, Get Your Wish, Musician, Mother, Sweet Time, Mirror, Unfold
Least Favorite Track: Wind Tempos
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#28 Bo Burnham - Inside // Comedy
Inside is the quintessential quarantine record. Every artist and their mom tried to make their own quarantine album, or EP, or song, and they’ve all failed miserably, because none of them feel genuine in any capacity. Sure, they might make these cute little references to the cute little pandemic, but it’s not REAL. To them, it feels trivial. To Bo, however, it’s a level of psychological torment and internal reckoning on the level of solitary confinement. Inside is better accompanied by its visuals, but what’s great about the score on its own is that it just…slaps. A lot more than you’d expect from a one-man musical. Inside isn’t just about quarantine though, it’s about the idea of CONTENT. And the never-satiated desire to produce it and to gain recognition off of it. As a member of a younger generation, it feels cathartic to have a record that really encapsulates how lost I feel without being dismissive.
Favorite Tracks: Content, Comedy, FaceTime with my Mom, How the World Works, White Woman’s Instagram, Bezos I, Sexting, Problematic, Don’t Wanna Know, Shit, Welcome to the Internet
Least Favorite Track: Any Day Now
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#27 Brother Wyeth - Too Many Faces // Electronica
Cryptic and cerebral, Brother Wyeth’s Too Many Faces is an exceptionally weird little project. It’s hard to nail it down on any particular sound, as it does a good job of blending psychedelia with electronica with trip-hop with Wyeth’s own unique sensibilities tying it all together. The record could easily be placed in the background of a trippy episode of Adventure Time. Its cover features an unsettling array of colors and visuals. The colors don’t mesh, the distorted ghostly faces (reminiscent of Under the Dome by Stephen King, if you know you know) are out of place, the purple vegetation feels toxic and wrong, and the unfinished church lives in the confines of liminal space. Tracks like We Might Be Dead feature off-putting percussive noises, and the record is chock-full of pads and synths that seem suspicious. In short, Too Many Faces feels like dysmorphia of the self.
Favorite Tracks: We Might Be Dead, The Dream, Four AM Nihilism, Fear and Misery/Find Me, Wasteful, You Are Home, Creep
Least Favorite Track: N/A
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#26 C. Tangana - El Madrileño // Latin Pop
For someone who would be considered a fairly mainstream artist in the Latin pop-sphere, I’m kind of impressed with just how unusual C. Tangana sounds. He deconstructs R&B tropes, instead opting for an almost Frank Ocean-esque delivery and approach, with greater focus on minimalism and lyrical flourishes. There’s even some flamenco thrown in for good measure. While I didn’t bother translating every song into English, I still got a sentimental, introspective vibe from Tangana’s singing. It transcended the limits of language, if you will.
Favorite Tracks: Demasiadas Mujeres, Comerte Entera, Párteme La Cara, Ingobernable, Nominao, Te Olvidaste, CAMBIA!, Hong Kong
Least Favorite Track: N/A
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#25 Weezer - OK Human // Baroque Pop
Weezer has always walked a fine line between relatability and melodrama. On OK Human, that dichotomy manifests itself in the form of high-intensity string arrangements. Violins, cellos, the like. Rivers Cuomo is either the cringiest dude you’ve ever met or a prophet unlike any other. I must say that I personally connect to the orchestral response Weezer constructs in the face of COVID lockdowns. If there’s one thing Cuomo knows how to do, it’s write a bunch of catchy-ass hooks that have zero right being as catchy as they are. I hate myself for enjoying Weezer’s music, but I can’t stop myself. It’s not something I have control over. They named their album OK Human to parody Radiohead’s OK Computer and I still ate it up, like the piece of human garbage that I am.
Favorite Tracks: All My Favorite Songs, Aloo Gobi, Grapes of Wrath, Playing My Piano, Screens, Dead Roses, La Brea Tar Pits
Least Favorite Track: N/A
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#24 Spellling - The Turning Wheel // Art Pop
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I believe it was Anthony Fantano who described Turning Wheel as a journey much akin to the whimsical world of Alice In Wonderland. I can’t really contest that description. The rich, lush orchestration feels like something straight out of the book 100 Years of Solitude. It’s an odd landscape that’s difficult to make sense of, but adds up beautifully, coming together into what feels like a preordained collage of vibrance. Yet, like the cover artwork, or perhaps BECAUSE of the artwork, the record never feels colorful, despite its lushness. There’s something dark in the beauty of this record that can never be totally camouflaged, as much as Spellling’s gorgeous voice may try. Don’t let her holy falsetto fool you. This record is sad, in spite of its ornate composition. I just need to get to the bottom of it. I just need to go down the rabbithole.
Favorite Tracks: Little Deer, Always, Turning Wheel, The Future, Awaken, Emperor with an Egg, Boys at School, Legacy, Magic Act, Revolution, Sweet Talk
Least Favorite Track: Queen of Wands
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#23 Injury Reserve - By the Time I Get to Phoenix // Experimental Hip-Hop
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What do you even say when somebody you’ve been working closely with for years passes away? How do you respond? What thoughts and feelings go through your head? How can you channel any of that into art that means anything? I think the most haunting aspect of By the Time is just how raw it feels. I don’t think grief has ever been explored in hip-hop to such an uncomfortable amount of scrutiny. While grief is certainly reflected on by many rappers, the way Ritchie raps, and the way it crackles over Parker’s soundscapes feels more akin to somebody separated from their body than somebody who has processed their sadness. The album takes elements of rap and twists them into incomprehensible strands of bleakness. By the Time I Get to Phoenix is grief personified, in all of its empty, messy, overwhelming presence. I don’t think rap has ever sounded this disjointed and disgruntled, and frankly, I don’t think anything it ever will again. Stepa J Groggs was the primary reason I enjoyed Injury Reserve’s music, and to think that he’s gone breaks my heart. Rest In Peace, Groggs. You will be sorely missed.
Favorite Tracks: Outside, Superman That, SS San Francisco, Ground Zero, Smoke Don’t Clear, Top Picks For You, Wild Wild West, Postpostpartum, Bye Storm
Least Favorite Track: N/A
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#22 Lingua Ignota - SINNER GET READY // Neo-Classical
Lingua Ignota is an artist that will always push the boundaries of not only the structure of music, and the limits of engineering, but the power of singing itself. If you listen to Kristen Hayter talk normally, she’s…well, normal. But when it comes to her music, I feel like we witness the all-encompassing pain of dredging up trauma. I believe Lingua Ignota is a manifestation of Hayter’s response to the trauma she’s experience, and I’m grateful to her for putting it out there, because I know, from experience, how difficult something like that can be. On SINNER GET READY, this manifestation of trauma response turns religious, with churchy sounds and lyrical content that sounds biblical in its breadth. The album covers the abuse Ignota experienced at the hands of Alexis Marshall of the Daughters band, and having read the full account of the story from Ignota, it’s very hard to listen to this album without feeling distinctly uncomfortable. But I think music is a vehicle for empathy and even discomfort… and I’d say the two often go hand-in-hand. This is an incredible record.
Favorite Tracks: N/A
Least Favorite Track: N/A
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#21 The Hill - Receiving // Experimental Hip-Hop
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Receiving is a concept album from a duo of rappers from New England called The Hill who have less than 10 monthly spotify listeners. Somehow, I stumbled upon an immaculately produced underground rap record about two aliens breaking out of galactic prison to invade Earth. The internet is kind of magical sometimes. The dedication, the sci-fi buzzwords, and the insanely…sciency production makes Receiving a remarkable achievement in underground hip-hop. On top of featuring a killer concept and next-level production, The Hill is comprised of two rappers who KNOW WHAT THE FUCK THEY’RE DOING. I am still gobsmacked by the fact that these guys haven’t taken off in the underground yet. What are you waiting for? Listen to the goddamn record.
Favorite Tracks: Receiving, Escape From the Safe Haven, Repetition Recognition, BLAM, Disunity, Formless Warning, Star Map…
Least Favorite Track: N/A
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#20 JX4 & Jopa - Mount Akaishi // Instrumental Hip-Hop
I once stated that JX4’s production sounds like mental illness in the form of trap psychedelia. I’ve also stated that Jopa’s production sounds like a resurrected Dilla Frankenstein’s monster amalgam of old school soulful love. Together, what are you expecting? Certainly not an ascent up a wintry Japanese mountain, overlooking a dazzling array of city lights. Like a cup of hot cocoa by the fireplace on a snowy evening, this album will hold you tight and make you all warm inside. Then, in the final track, there’s…an 80’s throwback? Yeah, that’s one of the more perplexing creative decisions on this LP, but I’m not gonna complain about the tonal whiplash too much, because track ten is nothing if not an absolute banger. Akaishi really takes you on an instrumental journey, and the concept is so well-executed without sparing a single breath. I dig it.
Favorite Tracks: Intro, Journey, First Step, Snow Leopards, The View, Willowherb, Last Steps, Summit
Least Favorite Track: N/A
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#19 Sufjan Stevens & Angelo De Augustine - A Beginner’s Mind // Indie Folk
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Sufjan and Angelo’s voices are so perfectly alike that I can barely tell them apart sometimes, which seems like it’d be a bad thing, but isn’t. Their voices come together like a harmony of wind and grass, and you’d think this were an ode to nature if not for the context behind it. Supposedly, the two artists holed themselves up in a cabin in Upstate, New York, watching old movies to fuel their creativity. I gotta be honest, I’m not the biggest film buff, so maybe I couldn’t identify the references, but what I got from this album was more religious in subtext. Something something letting yourself be absorbed by the universe, the usual spiritual shit, y’know? There’s an Elliot Smith-like quality to their collaborative musings, in that they sound restrained, yet free–although I guess Elliot Smith wasn’t nearly as ‘upbeat’ as some of the songs on this record could be classified. Overall, a great folk record. In my mind, Sufjan can’t miss.
Favorite Tracks: Reach Out, Lady Macbeth In Chains, Back to Oz, The Pillar of Souls, Beginner’s Mind, Olympus, Murder And Crime, The Thing, It’s Your Own Body And Mind, Lost In The World, Fictional California
Least Favorite Track: You Give Death a Bad Name
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#18 Big $ilky - Big $ilky, Vol. 3 // Alternative Hip-Hop
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Fun fact: up until yesterday (at the time of writing) I thought that Big $ilky was comprised of one person, and I was perplexed as to why the same person kept featuring on every track. I later realized that I was a complete and utter moron. Either way, this album is fucking amazing and I cannot recommend these two women enough. I love how seamlessly they combine jazz rap with trap, and I love how quotable their bars are, while still maintaining a distinctly political edge. The duo effortlessly spits bars on the ignorance of misogynoir talking points, and have this irresistible braggadocio that keeps me coming back. On top of that, their hooks are absurdly well-written, such as on the track Britnee Speerz. Overall, Big $ilky Vol 3 is a rap album that is short, sweet, and to the point.
Favorite Tracks: Jesse Got Away, Allyship Fatigue, Britnee Spearz, Sorry Not Sorry, Released From Contract, Glockenspiel, McNothing
Least Favorite Track: N/A
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#17 704Flame & BronsonJordan Beats - Neverland // Lyrical Hip-Hop
Writing about albums by people I’m friends with never stops feeling weird, because I’ve attached so much context their artistry that it’s impossible for me to view the work with any kind of ‘objectivity’. Having known Flame for the better part of the last two years, his debut album Neverland hits all the harder. I’ve seen the guy go through the lowest of artistic lows. I’ve watched him wrestle with self-doubt and self-expression, and I can’t emphasize just how proud I am that he came out with such an incredible indie rap record. He’s managed to perfectly utilize his low baritone in a way that feels emotive without being cartoony. His delivery is smooth, he rides the trappy-jazzy instrumentals with ease, and his bars hit hard (when you can understand what he’s saying). This is a personal story, a coming-of-age tale told with prowess. They say you have all the time in the world to craft your introductory album. Flame has clearly used that time well.
Favorite Tracks: Neverland, Alchemy, Something in the Past, Local Celebrity, Never, What it’s Like, Coltrane, Better Times
Least Favorite Track: Lost my Mind
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#16 Your Old Droog - TIME // East Coast Hip-Hop
You’ll never guess what this Droog album is centered around. The themes are extremely subtle, layered and buried under mountains of metaphor. Just kidding. It’s about time. And Droog does an excellent job of keeping his focus around that concept. The song The Magic Watch has an incredible concept about, well–a magic watch that allows you to revisit any moment in your life. It’s enough to make me cry, believe it or not. Then you get songs where Droog reflects on the key moments in his career, such as when he was faced with the possibility of signing to a major label, but turned it down to remain independent. I’ve always appreciated how blunt and honest Droog is, while still maintaining a street-smart swagger that keeps his bars from sounding dorky. TIME is Droog at his most conceptual, and the results are creative as hell.
Favorite Tracks: The Magic Watch, Please Listen To My Jew Tape, Dropout Boogie, So High, You’re So Sick, The Other Way, Madson Ave, No Time
Least Favorite Track: N/A
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#15 Topaz Jones - Don’t Go Tellin’ Your Momma // Funk Rap
The greatest rap hook of the year undoubtedly goes to the song D.I.A.L. I don’t know how Topaz does it, but he crafts some of the most ridiculously catchy hooks, and he makes it look effortless. I think that’s a good adjective to describe his music–effortless. And I mean that in the sense that I just can’t comprehend how smooth his goddamn delivery is. Through the medium of funk, Topaz explores his formative years growing up in New Jersey, reminiscing on cookouts, fights with classmates, and smoking weed, skipping school. All of it is layered over fantastically catchy production, full of backing vocals, horn stabs, and lush synths. Don’t Go Tellin’ is one of the most enjoyable rap records I heard this year, even if it never quite hit me emotionally.
Favorite Tracks: Mirror, D.I.A.L., Herringbone, Black Tame, Amphetamines, Sourbelts, Gold, Rich, Buggin’
Least Favorite Track: N/A
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#14 BROCKHAMPTON - ROADRUNNER: NEW LIGHT, NEW MACHINE // Indie Rap
ROADRUNNER is the climactic explosion that four years of buzz, tension, controversy, and electricity has been leading up to. It’s the Brockhampton boys embracing their rap superstar status, after building up what can only be described as an indisputably dominant indie rap resume. Especially for Joba, a member who I feel has struggled with finding a consistent identity within the structure of the group. On this record, he found his place, and unfortunately that happened after his father’s suicide, which is addressed powerfully on ROADRUNNER. It’s tragic, and Joba seems to be processing it as well as one could expect him too. He is easily the standout member of the entourage, and it’s not even close. It seems like most of the members actually take quite a bit of a backseat–I can’t name a moment where any of them stuck out to me particularly besides perhaps Kevin on THE LIGHT and even there Joba steals the show. Though it seems like the band has finally managed to process the loss of Ameer as a collective–it feels like Joba’s album without a doubt.
Favorite Tracks: BUZZCUT, CHAIN ON, COUNT ON ME, THE LIGHT, WINDOWS, OLD NEWS, WHAT’S THE OCCASION, WHEN I BALL, DON’T SHOOT UP THE PARTY, THE LIGHT PT. II
Least Favorite Track: BANKROLL
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#13 Japanese Breakfast - Jubilee // Indie Pop
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Jubilee is a joyful celebration of the beauty of music. On the opening track Paprika, the band supposedly used up every available track of Pro Tools, filling every possible bit with instrumentation to create a “jubilee” of sound. I certainly hear the jubilation in the instrumentation. The album sounds like a blend of autumn and spring, seasonal bliss in between the extremes. It’s unabashedly full of life, like a magical wand sprinkling energy across the forest floor, creating flowers where there was once nothing but dirt and moss. It’s a touch of joy in a year characterized by me wanting to kill myself. I love songs that really SOUND like happiness, and Jubilee is full of them.
Favorite Tracks: Paprika, Be Sweet, Kokomo IN, Slide Tackle, Savage Good Boy, Tactics
Least Favorite Track: Posing For Cars
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#12 Poppy - Flux // Grunge Pop
Where Poppy’s previous record, I Disagree, combined elements of bubblegum pop and metal, Flux differs. Rather, it leans into a more grunge-based instrumental palate, though Poppy never forgets to craft hooks that devastate. I mean, goddamn, it’s insane just how catchy this thing is. Its title track, Flux, hits harder than your favorite corny 90’s band on steroids. On top of being exactly my kinda grungy jam sonically, Poppy’s lyrics explore some interesting territory in greater detail. On I Disagree, Poppy merely alluded to themes of abuse and self-healing. On Flux, these ideas are given their proper due. Hysteria is written from the perspective of Poppy’s abuser, and it’s quite bone-chilling, because if you’re not listening carefully, you’ll come to feel sympathy for the narrator. Poppy also discusses the damage abuse wreaked on her psyche, how she now finds her mind in a constant state of FLUX, unable to feel comfortable in any role or position. Though the lyrics are quite dark, the instrumentation has an empowering tone to it, and I believe that was intentional.
Favorite Tracks: Flux, Lessen the Damage, So Mean, On The Level, Hysteria, Her, Bloom, Never Find My Place
Least Favorite Track: N/A
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#11 Bruiser Wolf - Dope Game Stupid // Experimental Hip-Hop
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On the track I’m A Instrument, Bruiser Wolf says “nobody sound like this”. He’s not wrong. I don’t think I’ve ever heard a rapper who sounds like him. It’s not something I can explain. It’s something you have to hear for yourself. He sounds more like a standup comedian than a rapper. I guess he’s what would happen if Dave Chapelle and your local dope dealer had a baby. I’m extremely tempted to spend the rest of this writeup copy-pasting the funniest lyrics from the album, but we’d be here all day if I did that. Luckily, the entire album isn’t just comprised of non-stop comedy. The last track, Momma Was a Dopefiend is a surprisingly poignant reflection on Bruiser’s childhood, and despite some sardonically funny bars, it’s full of tragic musings, from a man who “never got to be a momma’s boy”. It’s really hard-hitting stuff, and I especially like the production throughout the project. It’s got this old school boom bap vibe, but twisted into an off-kilter bounce. Bruiser is somebody I cannot wait to hear more of.
Favorite Tracks: Thank God, Use Me, Dope Game $tupid, Whip Test, Chess Move$, Bottles of Añejo, I’m A Instrument, Syndicate, White is Rain, Momma Was a Dopefiend
Least Favorite Track: N/A
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#10 Cool Sounds - Bystander // Australiana
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I’m a sucker for albums that make me feel like I’m standing in the middle of a bright green field (that’s a reference that’ll make sense eventually, or not), without a care in the world. Bystander is perfect for walks, and that’s why I don’t think I’ve ever listened to it indoors once. There’s something very pure and evergreen about it. It certainly helps that it’s got some of the grooviest guitar licks in the southern hemisphere, helping Dain’s whimsical vocals pop out even more than they usually would. I swear to god, it’s albums like these that make me want to drop everything I’m doing, move to Australia, and live in my homie Aeonsone’s apartment. Or maybe I’ll just sit in the middle of the outback and wait for a brown snake to bite and kill me. Either option works, as long as I’m THERE and not HERE. God bless Bystander.
Favorite Tracks: Plains, Back To Me, Bystander, Crimson Mask, Human Statue, South of France, Netherlands, Colours of Protest
Least Favorite Track: Church Bells
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#9 Lande Hekt - Going to Hell // Indie Rock
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What Going to Hell lacks in budget, it makes up for in authenticity. From alcoholism to depression, Hekt knows how to pen a track and sell the raw emotions behind it. I remember first listening to this album and finding myself crying, inexplicably, because there was just that X factor behind it. I feel like a lot of indie rock artists make the mistake of backing off of the raw emotions, or they somehow miss that key “oomph” to their delivery/songwriting. Oftentimes, artists are THIS close to hitting me in the heart. Hekt knows what she’s doing, though, and her work on this record splits my cold little heart into two. This was a hard year. Going to Hell was temporary respite and relief, reminding me that I was going to be okay.
Favorite Tracks: Whiskey, 80 Days of Rain, Hannover, Undone, December, Stranded in Berlin, Going to Hell
Least Favorite Track: In the Darkness
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#8 Billie Eilish - Happier Than Ever // Alternative Pop
Something that is overlooked about Billie Eilish is–nothing. She’s never been overlooked. Her childhood’s been on display from the moment she hit puberty. Billie has had zero control over the way she’s viewed by the world, and zero control over the amount of scrutiny she’s received. It’s no wonder that she muses on the idea of going anonymous and living as a hermit on Happier Than Ever. The record features Billie at her most reflective. She reflects on her massive influence; influence she never necessarily wanted but still must use responsibly. She reflects on love, and wanting it. And finally, I think one of the most important themes on the record is Billie grappling with the male gaze. It’s no secret that the media, which is inherently patriarchal, views Billie as a piece of flesh, something she’s consciously tried to avoid. It’s not just Billie either, it’s women in general. Even before she was an adult, she was the subject of adult male fantasy. That undoubtedly took a toll on her, and this record grapples with that in a very nuanced manner. I never expected to enjoy a Billie Eilish album, and yet here I am.
Favorite Tracks: Getting Older, I Didn’t Change My Number, Billie Bossa Nova, my future, Oxytocin, Lost Cause, Halley’s Comet, Your Power, NDA, Therefore I Am, Happier Than Ever, Male Fantasy
Least Favorite Track: Everybody Dies
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#7 Little Simz - Sometimes I Might Be Introvert // Orchestral Hip-Hop
The monumental evolution Simz has undergone in the last two years cannot be understated. Though I prefer Grey Area as an album to SIMBI, I can’t deny that SIMBI is a truly epic record. It’s Simz at the peak of her craft, working at the highest echelons of hip-hop, both in production and writing. It’s a record about positivity, and self-love, about not just accepting your own introverted personality, but cherishing and nurturing it. On top of being lyrically consistent, Simz works seamlessly with Inflo’s orchestra-tier production. It’s maximalist, soulful, beautiful, gobsmacking. I could go on and on, but to keep it brief; the production makes me bust several nuts. I think what elevates SIMBI to the level it’s at is its pacing. Despite being just over an hour long, it never feels like a chore to listen to it. In a sense, it’s like a long personal theatre piece that’s so genuine and uplifting you can’t take your eyes (or ears, in this case) off of.
Favorite Tracks: Introvert, Woman, Two Worlds Apart, I Love You I Hate You, Little Q Pt 2, Speed, Standing Ovation, I See You, Rollin Stone, Protect My Energy, How Did You Get Here
Least Favorite Track: The Rapper That Came To Tea
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#6 Genesis Owusu - Smiling with No Teeth // Alternative Hip-Hop
If there’s one person I could call indie rap’s breakout star–it’d be this guy. Genesis Owusu, a Ghanaian-Australian musician/singer/rapper. It’s very clear that despite this being his debut record, he knows what he’s doing. And it’s no surprise that he has a background in live music, because his voice is as charismatic as can be. He sounds completely at home rapping–no, performing–over beats that somehow manage to blend funk and industrial, a mixture I never considered until Smiling with No Teeth. Thematically, the album is divided into a dichotomy of two black dogs. One dog represents the exterior of a person, what they’re viewed as. Genesis, being a Black man, is often viewed as a hyper-masculine aggressor, dehumanized to the point of being seen as a large, scary black dog. On the second half, things take a turn for the vulnerable, which seems to be how Genesis views himself, in opposition to society’s view. His internal black dog, the dog that internalizes the trauma of oppression. It’s not an overtly stated concept (thank god for that), but it’s very consistent, and very subtle, which is exactly how the best concept albums are created.
Favorite Tracks: On the Move!, The Other Black Dog, Centrefold, Waitin’ on Ya, Don’t Need You, Drown, Gold Chains, Smiling with No Teeth, I Don’t See Colour, Black Dogs!, Whip Cracker, Easy, A Song About Fishing, No Looking Back, Bye Bye
Least Favorite Track: N/A
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#5 GRIP - I Died For This!? // Lyrical Hip-Hop
IDFT!? is a record packed with self-reflection. Literally, the cover is a depiction of a man looking into the mirror of his dressing room and seeing a skeleton peering back at him, halo ironically circling its skull. Grip looks back on the decades he’s put into the craft, and assesses if any of it was worth it. On one hand, it was, he’s gained a lot of confidence and pride, as well as money he can use to raise his two kids. On the other hand, it’s cost him time with his loved ones, relationships, and even his own sanity. With labels and A&R’s letting him down consistently, and the fickleness of an audience, it’s impossible not to feel drained artistically and mentally. We see the nature of the business take its toll on Grip in the back half of the record, where he emotionally laments on a relationship gone sour. Then, in the final track, after his blood and sweat has been poured, he asks the listener: “are you not entertained?” It’s a bit of an eerie track. You feel almost guilty for having been a willing participant in Grip’s deluge of emotional outpouring. But then the record ends, and you just think “Damn. I gotta write a good review about this.”
Favorite Tracks: And the Eulogy Read!?, Hands Up!, IDFT!?, Gutter!, Walkthrough!, The Lox!, Enem3?, ConMan?, Glenwood Freestyle!, At What Cost?, Patterns?, Pennies…!?
Least Favorite Track: N/A
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#4 Rejjie Snow - Baw Baw Black Sheep // Alternative Hip-Hop
Baw Baw Black Sheep was exactly the kind of rap album I’d been craving all year–a soul cleanser, with toned-down deliveries and nostalgic hooks, with childlike piano melodies and low-key drums. I want Rejjie Snow and Cam O’bi to direct a coming-of-age film, because together they create such a perfect, innocent vibe that sounds sentimental as fuck. The project also features one of my favorite verses from the late DOOM, on the track Cookie Chips, which was one of my favorite singles of 2020 (this album took a long time to arrive). I feel like, thematically, it’s a goodbye letter of sorts to childhood. There are intermittent skits where Rejjie talks to a high-pitched younger voice, clearly meant to be a child. I believe this to be a younger version of himself, and the tracks to be both an ode to this naive younger self as well as advice, a word of forewarning. Rejjie celebrates his individuality, his childhood, and his artistry.
Favorite Tracks: Grateful, Cookie Chips, Mirrors, Relax, Oreos, Skip To My Lou, On and On, Disco Pantz, Shooting Stars, Outro
Least Favorite Track: Star in the Making
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#3 Snail Mail - Valentine // Indie
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I went through a breakup this year that pretty much destroyed me. The emotional toll it took on me was immense, and I’m pretty sure I’m still traumatized several months later. So Valentine had an unfair advantage, because its subject matter describes a relationship gone astray. Holy shit! That’s me! Well, not quite. Valentine describes a relationship between two women. Nonetheless, the last track, Mia, makes me cry my fucking eyes out in approximately three seconds. Two chords into the track and my face starts scrunching up into a pathetic, blubbering mess. By the time the hook rolls around I’m sobbing into my pillow repeating sad mantras like “I’m so afraid of love” and “I made a terrible mistake”. As a whole, Valentine doesn’t have a whole lot of tracks I love–but it does have one that I wouldn’t hesitate to call my absolute favorite of the year. And on the grace of Mia alone, this record makes it all the way to the top 10.
Favorite Tracks: Valentine, Ben Franklin, Headlock, Light Blue, Forever, Mia
Least Favorite Track: N/A
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#2 Lil Ugly Mane - volcanic bird enemy and the voiced concern // Alternative???
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I still don’t quite know how to put together my thoughts in regards to this strange, beautiful project. I’d never listened to Ugly Mane before discovering this thing, and now I’m deeply intrigued with this individual. volcanic bird enemy is an incredibly…moving project, for lack of a better word. It hit me exactly where I needed it to, and it almost exclusively resonates me in my late night depressive arcs, where everything feels foggy and I just wanna pound my head against the wall to make it all go away. This record emanates sadness throughout its fifty-nine minute runtime like no other. The eclectic collection of sounds, ranging from distorted vocal snippets to the grungy guitars and drum loops that sound like they were freshly collected from Looperman.com. I believe this is an album about throwing your life away–destroying your relationships, losing yourself in the feedback loop of self-pity and insecurity, and coping with all of it unhealthily. Hence, the cover, which to this day, freaks the fucking shit out of me. I genuinely thought this record would be my number one pick for 2021. And coming into 2021, I never expected a project from somebody named Lil Ugly Mane to resonate with me as much as it did.
Favorite Tracks: bird enemy car, with iron bleach & accidents, benadryl submarine, cold in here, styrofoam, discard, headboard, into a life, cursor, porcelain slightly
Least Favorite Track: swell
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#1 Yola - Stand For Myself // Country Soul
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If you haven’t been reading these, let me catch you up to speed. To make a long story short, I went through a breakup (my fault), felt a shit ton of guilt (due to my own actions), and behaved like a toxic manchild (don’t ask) until December finally kicked my ass back into gear. I’m not going to sugarcoat it–breakups are fucking tough. Tougher when you’ve bonded with somebody for almost a year and a half, know them with intimacy.
Breakups feel like half your world has been ripped off of your skin with force. I remember feeling a distinct sense of dread. I dreaded the idea that I’d never be able to find love again. That I was unlovable. That I was too immature, too insecure, and too broken to ever find or even deserve love. Obviously, I was wrong.
However, coming to that realization took a lot of time, and it took a lot of mistakes–mistakes that hurt other people, and myself. Eventually, I came to a light at the end of one tunnel. I say one tunnel rather than “the” tunnel because life isn’t that simple, unfortunately. I imagine I’ll go through another tunnel, sooner or later, and I’ll have to drive through it like every other tunnel.
But before I drive through it, I need a driver’s license. I need to learn how to love myself. I need art that inspires me to STAND FOR MYSELF.
I think I’d be willing to bet a lot of money on the claim that Yola has the most spectacular voice out of any other artist in 2021. It’s truly magnificent. The power behind her all-enveloping tenor is undeniably potent. The way she combines country and soul cannot be understated. While I was at first amused by this strange and foreign concept, my amusement quickly evaporated into utter amazement. The record tackles self-empowerment and self-love. It covers the time after a breakup, and the emotions that come with it. Yola sings to the listener, telling them “I used to feel like you, now I’m alive” in the wild, self-assured voice of somebody who’s come through hell and seen the light on the other side. She reassures the listener that they too, will be okay, even if they feel dead inside after such a traumatic experience. I needed a lot of uplifting music this year, and Yola came fucking through.