the top albums/songs of the midyear - 2021
When I made this list last year, I was openly questioning its very purpose - it was coming off of months that had felt utterly manic and overstuffed, where music nevertheless felt like it mattered more than ever. The year before, even though the first half of 2019 had been stacked with contenders I had to introduce caveats because I just hadn’t heard everything yet.
2021 has been different - and that doesn’t really surprise me, because if there’s a year where the effects of the pandemic have been seen more than ever, it’s this one. Yes, as the world opens up we’re getting more albums flooding out - as to where I could probably drop a half dozen caveats with all the material I just haven’t covered yet that came out in the past month or so, starting with Tyler The Creator and working my way from indie country to more ambient weirdness - but for most of the past six months, finding material that blew my mind or transcended expectations was harder than ever. Part of it is because I went even further off the grid in comparison with mainstream critical consensus - I spent a lot of time on Bandcamp this year, let me tell you - but even despite covering ~140 albums, you can tell that some acts are holding back their biggest material until they can tour again.
And as such, it’s tough for me to assess how certain genres have performed. I’d argue rock, especially on the experimental side, is having a startlingly strong year, but metal sure as hell isn’t. Other genres like country and rap are having years I’d best describe as lopsided - glimmers of striking quality but rarely consistent - and outside of those… I’d say there’s less standout genres so much as standout moods: relaxation, vibes, a deep exhale, hang genre as the marketing device that it is! And in that spirit, I’m following my tradition from 2020 and keeping my list of top albums expanded to fifteen, so let’s start with…
15. You know, when it comes to long-running experimental acts, you get used to the realization that most people will not care if they make a gem. In this case specifically, I’m not counting that as an excuse.
15. ‘OH NO’ by Xiu Xiu
Easily one of Xiu Xiu’s best albums in a while, it gets there on a similar formula to Fabulous Muscles nearly twenty years ago: take the warped, kink-heavy hedonism and deep underlying depression and infuse it with some of Jamie Stewart’s best hooks and a dash of deeply-buried optimism, maybe courtesy of all the other guests in the room. In tempering the atmosphere, it still allows the band to be as haunted and debauched, but showcase a variance in sound and atmosphere that regardless of the guest still feels remarkably their own. Maybe a bit uneven in patches and you really do need to be a specific mood to capture every facet of the nightmare, but I think this is one of the most slept-on projects of the year, and for an act with this pedigree, they’re worth more attention.
14. …okay, it grew on me, what can I say?
14. ‘Haram’ by Armand Hammer & Alchemist
I think this is an album that really needed summer heat and humidity to really unlock for me, make all of the Alchemist’s buttery textures run freely to capture the careening but intensely layered lyricism of Elucid and billy woods. It has the feel of a secret conversation held in broad daylight, more playful than they’ve ever been knowing that those they don’t want listening will never put in the work to decode them, but not shying away from hard conversations of legacy within fractured systems, and not just if the success and newfound power may change them, but how to wield it going forward. Like most Armand Hammer projects, this is one that only rewards more repeated listens as more of the code becomes clear - and even if you don’t care to crack it, the textured grooves will carry you all the same.
13. This is one of those albums for which I think is going to wind up getting forgotten as the year continues - it’s clearly a side venture that dropped out of nowhere and didn’t seem to enrapture that many outside of the diehard fanbase - hell, even as a member of said fanbase I nearly forgot about it putting together this list. I went back to revisit it basically to check my work… and thus…
13. ‘CARNAGE’ by Nick Cave & Warren Ellis
In retrospect, it’s odd that I forgot about this one - it’s Nick Cave’s most politically aware album, possibly ever, it builds naturally off the themes of repair and reconciliation on Skeleton Tree and Ghosteen, a coda to the latter as he tries to save his marriage and find more glimmers of light and hope to keep looking forward, even as he might be isolated and feel time leaving him behind. I do feel it’s an album a little compromised by its recording scope - a little more orchestration could have placed this in the Bad Seeds canon proper - and I feel the more Cave continues down his second metatextual midlife crisis the more the material begins to feel thin… but the performance and melodies are still so strong, the poetry so empathetic and textured, it’s worth seeing what this carnage has wrought.
And speaking of carnage, I think we should start going through the songs that I’d like to highlight from albums that aren’t making this list - and we’re going to start with one that is probably the most contentious, and it’s one that I think is deepened by the messy complexity of his year…
From Dangerous: The Double Album, ‘Sand In My Boots’ by Morgan Wallen
From Magic Mirror, ‘What I Need’ by Pearl Charles
From ENOUGH, ‘Dress’ by Fell From The Tree
From A Magnificent Day For An Exorcism, ‘Amnesia’ by Th1rt3en and Pharoahe Monch
From Tasjan! Tasjan! Tasjan!, ‘Up All Night’ by Aaron Lee Tasjan
And from Ignorance, ‘Parking Lot’ by The Weather Station
12. Hey look, it’s the choice that’s not going to make anyone else’s list, where some will be aghast it’s getting considered at all - kind of funny that when it comes to this genre, I’m asking you to be the open-minded ones.
12. ‘Where Have You Gone’ by Alan Jackson
Alan Jackson comes back from after six years, and despite not really being an album artist makes a great, if over-long project… but when the neotraditional tones are so comfortable and warm, it’s hard to care! And that’s the thing: I can’t really call this all that ‘nostalgic’ if Alan Jackson is still delivering the sort of mature, midtempo country that he has for thirty years. His greatest assets, like with Nick Cave, come with wisdom, self-awareness, and framing that is more understanding of its humanity, arguably a model of what classic conservatism could be if anyone on that side of the aisle bothered to listen. And yeah, the length and occasional misstep can be a little frustrating - especially as Jackson should be overjoyed to see more of the country sounds he loves come back in fashion, should he hear it - but when it’s pulled off with this much grace, it’s hard for me to dislike. This will be slept on and ignored by too many - y’all should give it a shot.
11. I struggled with placing this album on this list - definitely deserving of the slot even beyond the breakthrough success of its subgenre, but said subgenre is thorny and complicated and doesn’t make for easy evaluation! That said, maybe it was that added note of metatext that put this over the top…
11. ‘For the first time’ by Black Country, New Road
This will be held up by a lot of critics as one of the best debut albums of 2021, and I see why: Black Country, New Road might be cribbing liberally from Slint and a few other recognizable post-punk acts, but they approach the sounds with a confidence and theatrical flourish that doesn’t surrender its humanity in artifice, riding a precarious relationship arc with the lived in details and desperation that makes the entire piece a treat to revisit every time, complete with splashy horns, terrific bass grooves, and full-throated panic. A project all about failing to live up to expectations and peeling into the very messy insecurities at their core, Black Country New Road just edged out Really From’s self-titled and excellent album for this spot thanks to slightly tighter construction and slightly stronger high points, but this brand of post-hardcore infused weirdness is only catching more traction; I can’t wait to see where this wave takes next time.
10. Thus far I’ve included a few different acts decades into their careers that have shown an unexpected level of quality, where they were good to great to begin with but that extra spark that put them over the top was such a welcome treat. And if there was a band that didn’t need to add that extra spark but did so regardless… man, this was something to behold.
10. ‘Omega’ by Epica
One of the big issues with symphonic metal as a genre is that the albums can be really expensive to make and if you cut corners in the production, more often than not it’ll be obvious - it’s one big factor as to why the genre struggles hard outside of their a-list acts. But when said acts lose some of their lustre, you need someone to step up… and my god, Epica did. Not only do they hold the pedigree of being arguably the smartest of their peers - and Simone Simons is only becoming a more vibrant and potent vocalist with every album, she just keeps getting better - but they finally got the rich balance of production that allows both the symphonic and metal elements to shine. Impeccably paced, beautifully melodic with some of their best ever hooks, Epica not only concludes their trilogy started with The Quantum Enigma on a high note, they made one of the best ever albums - maybe not better than Design The Universe, but it’s up there. One of the best symphonic metal albums I’ve heard in years, what a tour de force.
But before we continue on, here’s a few more songs from albums that just missed the cut for this list…
From Three Little Words, ‘Love Take Over’ by Dominique Fils-Aime
From Medicine At Midnight, ‘Love Dies Young’ by the Foo Fighters
From Music City Joke, ‘Ballad of Bob Yamaha or a Simple Plea in C Major’ by Mac Leaphart
From Smiling With No Teeth, ‘No Looking Back’ by Genesis Owusu
From Queer + Black, ‘Sticky’ by Grove
And from Really From, ‘Yellow Fever’ by Really From
9. So here’s a slight change of pace - another long-running act, but one I didn’t think was all that good for decades and only seemed to find a workable sound in 2017, and even then it’s a brand of indie rock that’s already kind of passe and overflowing with their own bombast…
9. ‘The Million Masks Of God’ by Manchester Orchestra
Honestly, I could just point to the fact that this album is stacked with the best hooks of Manchester Orchestra’s career and end it there, but it goes further, taking the family melodrama of their last album and now inflating it to a more personal but no less captivating story, featuring death and new life in rapid succession and internal bonds that they are desperate to cling to or repair. The comparison I made was to Deaf Havana, especially in the monochromatic, glitchy textures than run rampant and paint the bombast as borderline implacable, but amidst all of that you’re still gripped by those hooks, the light that’s desperately trying to persist amidst the swelling dark. And while you could make the Mumford & Sons comparison, especially in the vocal timbre and multi-tracking, that was a band that always wanted to shade their darker impulses with machismo and ‘good taste’ - Manchester Orchestra let the darkness in full view, god behold it all, and then try to win your heart through the storm. And for me… I told y’all this would grow on me too.
8. The last time this artist made my lists, she was making music so raw and also so aligned to very specific experiences I had that year that the emotional connection made it impossible for me to exclude her - call it ‘not being objective’ all you want, but objective criticism is nonsense and when it works that hard, I’ll give it credit. This time the connection isn’t quite as visceral… but she belongs here anyway.
8. ‘Push Back’ by Jetty Bones
I still think some folks are struggling with Jetty Bones’ brand of pop emo, mostly because her brand of expressive theatricality and glittering hooks are such a drastic juxtaposition to the content which is far more bleak and heartbreaking to behold, but in truth I wouldn’t have it any other way, as she flits across genres with aplomb and clings to whatever overthought moment gives her respite. But it also never feels like a gimmick, because midway through the album the deflection crumbles, it gets darker and way too real very fast, and suddenly you’re on that whirlwind too, hoping that amidst the struggle of alcohol abuse and depression she can pull off the saving throw. Yeah, not all of the wild genre flourishes work, and maybe a bit more refinement in the details would have put this in even stronger position, but in building the hand holds to pull oneself out from the brink, Jetty Bones delivered shimmering greatness, and I can only hope she’s on a brighter path for more to come.
7. Of all the albums to be in the minority defending… can’t say I was expecting this one.
7. ‘Scaled And Icy’ by twenty one pilots
Look, in any context talking about twenty one pilots is somewhat fraught, but I could not have predicted that I’d not only find this great, but would wind up as the critic that apparently likes this more than everyone else! Granted, I get why Scaled & Icy wound up controversial - considered their ‘pop sellout’ move even more than Blurryface, where the comparisons to other acts in this lane were all the more stark, especially following Trench, this had to be an artistic regression, right? And all of that… just seems to completely miss the point: not only by necessity did it go small with a refocus on tight songcraft, it did so in order to make thematic points and bring the metatext about their careers and sound back into the text, where lockdown forced Tyler Joseph to do a stark reevaluation of everything and everyone he loves, especially in context to the naked questions of legacy and what matters opposite the family he may be forced to set aside to chase commercial acclaim. There’s a quiet tragedy and angst to the pop moments of this album that maybe feel too subtle to be grasped, especially if you’re not following the running narrative of twenty one pilots, but given I treat their lore with mixed interest at best, the fact this still managed to grab speaks to its sharpness and refinement in so many ways. The backlash might still be too much to handle for now, but when it clears, give this one another chance - you might be surprised.
Over halfway through here, let’s get to some more songs from albums that missed this list…
From Spaceman, ‘This Is Heaven’ by Nick Jonas
From Life In Your Glass World, ‘I Want To Kill You’ by Citizen
From SoulFly, ‘Street Runner’ by Rod Wave
From ROADRUNNER: NEW LIGHT, NEW MACHINE, ‘DON’T SHOOT UP THE PARTY’ by BROCKHAMPTON
From Street Sermons, ‘Nothing Now’ by Morray
And from Black To The Future, ‘Field Negus’ by Sons of Kemet
6. So I’ll get to more of this as we finish off this list, but one of the thrills that came with spending so much time on Bandcamp is finding material that you’d never hear otherwise… but it comes with the expectation that it’ll sound rougher or less refined or the budget is more obvious or the hooks aren’t as punchy. So finding this instead was something special.
6. ‘Flight’ by Tenant From Zero
There’s been a bit of a resurgence of mid-80s sophistipop in recent years, but if I can highlight a talent who is doing it with both class and elegance in 2021, where there’s a retro sheen but it still feels modern and polished, it’s Tenant From Zero. Not only are the hooks top notch, not only is the production gleaming and impeccably balanced, but we have a frontman in Paul Darrah who can strike the extremely difficult balance between brooding smolder and genuine pathos, with the sharp maturity of his writing only elevating it further. The closest comparison I made was Destroyer but more direct and emotive, but there is something to how Tenant From Zero focuses on the smallest of innocuous details and makes them convey such significance, all delivered through one of the smoothest goddamn albums I’ve heard in years. Again, finding this guy from Bandcamp utterly blows my mind - what a talent to watch, and even as this scene picks up more traction, his name belongs in this conversation.
5. …alright, maybe there’s not another ‘Shade Of The Pines’, but they’re still two for two - they did it again!
5. ‘Inner Coasts’ by SUNDAYS
SUNDAYS blew my mind in 2019 with their shimmering, layered, amazingly catchy brand of indie folk, and while Inner Coasts gets a little darker, it’s not less catchy, dreamy, and gorgeous as a result. What I love about SUNDAYS are the layers of moral ambiguity that you might never expect if you’re just riding on atmosphere, no matter how pillowy and inviting it is - where WIACA added unexpected layers to our frontman’s dogged love story by highlighting how even good intentions can run seriously astray, this project dives deeper into his self-consumed artist journey and the hazards that can play to an existing relationship that’s doing more work than he knows, especially as the introspection touches areas he’s not always prepared to explore. Perhaps a little too soft-focus for its own good, but once again, SUNDAYS are a premiere act in indie folk that deserves way more attention - beautiful stuff that you probably missed, and you should fix that.
4. You know, when someone first pitched me on this artist, it was suggested their stripped back approach was reminiscent of Jason Eady or John Darnielle of the Mountain Goats - acoustic but the writing more than made up for that. And again, I do hear it - but there’s a lot more here for which you should pay attention.
4. ‘Cast-Iron Pansexual’ by Adeem The Artist
What I find so deeply enjoyable about Adeem The Artist is just how well they frame and center their defiantly queer and left-leaning subject matter within a mostly traditional compositional structure - oh, there’s a lot of great subtleties and quirks in the composition and production - what ‘Reclaim My Name’ does across its background is utterly marvelous - but the content doesn’t feel out of place either. And it shouldn’t - country’s traditions are rooted in speaking to power with heartfelt cleverness and wit, and if the new outlaws are non-binary and believe in radical movements, it makes sense there’s space for that. But it goes further - there’s so many cute moments of understated humour, the deeply sincere love songs, the brisk runtime that nevertheless allows for the writing to highlight struggles of gender and sexuality within a deeply religious and intolerant society, and a callout of Toby Keith that hits the perfect balance of righteous anger and the hurt of a past fan that wishes they could be better. I’ll say it here: acts like Adeem The Artist showcase what indie country can be going forward and there’s so much promise to behold. Another underground find, but wow - I just love what they put together.
And now before our top entries, the last batch of songs from albums that didn’t quite make this list…
From SOUR, ‘good 4 u’ by Olivia Rodrigo
From Nowhere Generation, ‘Sooner Or Later’ by Rise Against
From Soberish, ‘Soberish’ by Liz Phair
From Blue Weekend, ‘Delicious Things’ by Wolf Alice
From Ancient Dreams In A Modern Land, ‘Highly Emotional People’ by Marina
And from Hall of Fame, ‘RAPSTAR’ by Polo G
3. Well, some of y’all have already seen this particular review as of recently - there’s a reason I had to get it done before this list.
3. ‘I LIE HERE BURIED WITH MY RINGS AND MY DRESSES’ by Backxwash
An improvement in every way from her 2020 project, Backxwash’s new album is a maelstrom of industrial rap metal that might be imploding at multiple angles, but it’s one for which she has a book of names and enough blood to cross them out. The production is more cacophonous, the bars even sharper, the targets more pointed, the guest stars all deliver their a-game, and even if she’s riding the downward spiral, Backxwash’s hooks are strong enough that you’ll remember every bloody, shuddering step. It’s riding a nightmare, but if there’s an album where said nightmare should be had for the betterment of all, it’s this one - and when there’s just so much potential still left untapped… man, the second she opens up the pit the force will be reckoned with.
2. Not gonna lie, it feels very weird that I have an EP this high on this list, especially given the conditions of its release… because outside of a very specific audience, you probably did not hear it. I mean, you could hear it if you put in the effort to listen to it on a very specific platform that somehow hasn’t leaked yet, and while I get the impression that general distribution is coming, it’s still very annoying for someone who really wants to add these songs to his personal playlists on other platforms.
Because, you know, this might be the best set of songs Eric Church has ever made.
2. ‘&’ by Eric Church
I said this in the review that the awkward ‘double album + EP’ structure of Heart & Soul, with the & EP only available as of now to his fanclub with a single or two on streaming platforms, it’s weird, especially as I think the whole project doesn’t work without that EP! And yet the more I thought about it, the more I was convinced the EP can stand alone, where you can almost tell that Eric Church put in the extra mile to make what is basically the purest of fanservice worth your while - the production is considerably more refined, the hooks are among his best, he includes a song that could go toe-to-toe with King Gizzard and the Lizard Wizard and somehow pulls it off, and then the lyrics… there’s a sense of intimacy and vulnerability that has epitomizes Church’s best work and if you’ve put in the effort to get it, he’ll share it with you. It’s capturing the communal spirit of Church’s live show in a bottle, without an note wasted, and while it won’t surprise you if you remember the best moments of Mr. Misunderstood, it’s less of Church chasing legacy and more of finding his humble place within it. Again, I can’t ask you all to go join his fanclub to hear it - there’s going to be a vinyl release around September and I imagine he’s going to make it publicly available on other platforms then - but if you want the piece that doesn’t just unlock Heart & Soul but also stands as his best work to date… you know where to find it.
1. …really, from the moment I heard it, there wasn’t any contest.
1. ‘For My Mama And Anyone Who Look Like Her’ by McKinley Dixon
And some of this extends from the point I made when covering Tenant From Zero - you go diving on Bandcamp, finding projects this lush, varied, complex, that sound like they have the swell and refinement to be a seminal artistic statement for a year, it just doesn’t happen, and it sure as hell hasn’t happened in 2021! But McKinley Dixon did it - a culmination of his previous two projects and embracing layers of complicated free jazz to go along with a rapper whose talent and unique voice sets him above, and yet somehow able to remain deceptively accessible while revealing more tangled layers with every listen, it’s the sort of heavyweight project you expect from the most acclaimed names in the industry. And yet I’m the only one who has reviewed it thus far on YouTube, and that stuns me - I get that it’s not an easy album to work through but goddamn, this should be on everyone’s radar! The rapping is top notch, the jazz is top notch, with a coursing, raw humanity that can call out God with righteousness and then find its healing away from a higher power, the sort of album that rewards every added listen you give it. This deserves more than just being the darling of every critic who has heard it - handily the best album of 2021 thus far, and it sets a high bar indeed. And as the world opens back up… I’d love to watch anyone try and match it.