Best Albums of 2021
by Daniel Britt, Zac Fallon, John Flannagan, Carey Hodges, Jesse Mayshark, Matt Miller, Matt Morelock, Rusty Odom & Matt Rankin
25) Vijay Iyer / Linda May Han Oh / Tyshawn Sorey – “Uneasy”
Given the album’s title and the names of its first two tracks (“Children of Flint, “Combat Breathing”), the uninitiated perhaps should be prepared for something rather more difficult than an easy listening experience. But that isn’t to say that there aren’t bountiful bursts of positive energy and many moments of blissful genius that stand out from the sometimes melancholic, often chaotic drifts of this modern jazz masterpiece. There’s plenty to keep listeners enthralled; the deft, intuitive interplay between the virtuosic pianist, bassist and drummer alone is worth the price of admission. The manner in which they encourage each other to explore new realms of creativity while adhering to the general (albeit freeform) structure of each successive composition is the real kicker. “Uneasy” is a stunning, next-level statement from an already accomplished trio of musicians. – Matt Rankin
24) aya – “im hole”
This striking collection of avant-garde electronic compositions is an assured debut from a young musician, yes, but it comes across like much more than just that; to me, it’s a robust mission statement of future creative intent from an artist with a clear vision for her work. Melding skull-shattering bass with deeply unsettling sound textures, aya ushers listeners from one hallucinatory soundscape to the next, heightening the dizzying effect with lyrics that are one part vocal exercises, two parts psychedelic musings. The disparate, disjointed elements finally snap into razor-sharp focus on “backsliding,” the album’s final (and best) track. All of these pieces are best enjoyed through quality headphones – especially if you have a sensitive pet. Playing the spooky “once wen’t west” over bookshelf speakers woke my elderly, half-deaf dog up from a peaceful sleep and sent him skittering into another room seeking shelter. – MR
23) Joy Oladakun – “in defense of my own happiness”
The Nashville-based, Nigerian-American artist, Joy Oladokun, has gained critical praise for her open and honest major label debut, “in defense of my own happiness.” Her sincerity and modesty exudes from this album; a deep and emotional exploration through past experiences and how recent years have affected us all. She is a musical poet, delivering with a passion and authenticity that often feels missing from other top singer-songwriters. From Billboard to NPR, Oladokun’s much-deserved recognition comes from her confident vulnerability, an eloquent, authentic and calming presence that connects with everyone. – MM
22) My Morning Jacket – “My Morning Jacket”
These Louisville rockers blessed our ears with new music in 2021 and even toured a little bit through the ups and downs of dealing with another year of COVID. The coolest part of MMJ (as the kids call them) is the pace of their albums. No matter the situation, you can put on a record of theirs and find yourself listening to it in its entirety and feeling swaddled in familiar comfort. This self-titled album is no different.
I was in the unique situation of having heard two of the new tracks live this summer at Lexington’s Railbird Festival. The group gave us “Lucky to Be Alive” and “Regular Scheduled Programming,” both of which became instant favorites of mine and set in motion constant listening of the entire album. While they gave us only those two new tracks, I suspect “Love Love Love” and “Never in the Real-World” will start making appearances in setlists at future tour stops, including at Shaky Knees in early May. The boys are back, but it’s like they’ve never left. – John Flannagan
21) Sault — “Nine”
On their fifth album in three years, the elusive London collective Sault builds on the street-protest politics that fueled 2020’s two standout “Untitled” albums, but with more personal points of view. It is less about the causes of injustice than its effects. As before, it plays out in sing-song melodies and ebullient chants over tracks that variously reference hip-hop, post-punk and R&B, with singer Cleo Sol and producer Inflo joined by guests including Little Simz. In keeping with their indifference to commercial interests, Sault released the album online for free — but deleted it entirely after 99 days. (You can find bootleg audio on YouTube and elsewhere.) – Jesse Mayshark (Compass)
20) Sierra Ferrell – “Long Time Coming”
Dearest Sierra,
And HELLO, you rising star! It must have been years since we’ve spent time together. I must be honest – I don’t remember that much. Some banjo music. Lots of beers. I still have that weird tattoo. Good times.
But damn you, Sierra Ferrell. Damn you to hell.
The songs on this “Long Time Coming” album have wrecked me, and I’m so so sorry that I’ve not been around to witness the unbelievable metamorphasis of your musicianship – your songwriting – your style. You must’ve been possessed by David Bowie’s ghost when he passed and spawned a cosmic love-child in an gathering with William Shakespeare and Patsy Cline. Your heart has been so broken. You’ve loved so deeply. You’re picking the hell out of that weird guitar. And somehow – you’ve managed to capture it all…that span of experience…the pain and joy of existence… in one schizophrenic yet cohesive and utterly gorgeous album.
Who recorded this thing? I didn’t even check, but they deserve a Grammy or something. Whoa. Well done.
What are you, like thirty-something? There’s a sage and mystical wisdom in these songs that you simply COULD NOT have gained in so few years of living.
This album is haunted, I tell you. You are a witch. I am afraid. And I am in love. Charge forth.
Yours,
Matt Morelock
19) Kanye West – “Donda”
It’s been quite some time since Kanye West put out an album that I enjoyed this much. From the opening track, which is a audio representation of the final heartbeats of his mother (the album’s namesake) to the album’s final track, “Keep My Spirit Alive pt. 2”, the album begs to be revisited. We highly recommend the deluxe extended version, which features a track with Andre 3000. – Rusty Odom
18) Courtney Barnett – “Things Take Time, Take Time”
After playing opening track “Rae Street” on repeat for the better half of a day, I was 99% sure that Courtney Barnette had somehow taken a deep dive into my pandemic-times mental state. While that was probably not the case, the Australian singer-songwriter’s ability to wryly capture the ways we ponder drawn out longing, hope, and the actions (or inactions) of others while in isolation is mesmerizing. On her fourth album, “Things Take Time, Take Time,” Barnett’s storytelling is as sharp as ever, but this time she leans into weaving her tales into a softer, hypnotic swirl of guitars and subdued percussion. The lyrics match the meandering nature of the record and our collectively scattered consciousness at the time of its release. – Carey Hodges
17) Xenia Rubinos – “Una Rosa”
The second release from the Brooklyn-based Latina singer-songwriter-producer is dazzling in its musical diversity, taking in Puerto Rican folk music, hip-hop, EDM, art-rock and more. Rubinos’ assertive lyrics mingle the personal and political in ways that recall M.I.A. and Tune-Yards.
In “Don’t Put Me in Red,” she protests the ubiquitous use of red stage lighting for Latina performers, with its exoticizing suggestions of vampish sexuality. “Who Shot Ya?” calls out the plight of migrant children — “Babies locked in cages” — but promises, “If we don’t get it now/ Gonna shut it down.” It adds up to a vibrant and melodic album that courses with anger but insists on joy. – JM
16) Snail Mail – “Valentine”
Lindsey Jordan gained a lot of attention for her 2018 debut “Lush,” which saw her become an indie darling. Her sophomore effort “Valentine” cements the hype and praise she garnered right off the bat. 2021 was both kind and cruel to Jordan, as she had to cancel the fall portion of her tour (which included a December Knoxville date that has been rescheduled for August) due to having undergone vocal cord surgery after having had dealt with a persistent sore throat which resulted in damage to her larynx.
As for “Valentine,” it is one of the most complete indie albums we’ve heard in recent memory, especially for it being just the second release from the artist. It adeptly blends indie pop with elements of folk and rock. Standout tracks include “Glory” and the poppier “Ben Franklin,” both of which made their way to my year-end list of most-listened-to tracks on a certain streaming service. Here’s to Jordan regaining her health and hitting the road hard to show off the beautiful, smart music she has created to date under the Snail Mail moniker. – JF
15) Floating Points with Pharoah Sanders and London Symphony Orchestra – “Promises”
The British electronic music producer, DJ, and Pluto records founder, Sam Shepherd, better known as Floating Points, has been developing a loyal following since 2009. But his most recent release, “Promises,” is his best. It’s a stunningly beautiful collaboration with jazz saxophonist, Pharoah Sanders, and the London Symphony Orchestra, the oldest of London’s symphony orchestras. This ambient, dreamlike composition, divided into 9 movements totaling 47 minutes, is a masterpiece; blending classical, jazz and electronic music to create a sophisticated, yet humble, piece that often feels conversational. Released on David Byrne’s Luaka Pop label, “Promises” is a refreshing and exciting direction for Shepherd and Sanders, and a likely influence on similar collaborations in these genres going forward. If you like the idea of modern, sax-driven classical music, this is a must listen. – MM
14) Mdou Moctar – “Afrique Victime”
My vote for best guitar-driven album in 2021 goes to “Afrique Victime,” every single track of which features stellar guitarwork, whether it be electric or acoustic – although I’m a huge fan of the former. The Niger-based musician has been fairly prolific, releasing five albums over the past 10 years, fusing world music with rock and blues and singing in his native Tamasheq language.
This latest release showcases an arsenal of sound complete with licks that would make Billy Gibbons blush. The album’s standout is the title track, a 7-minute joyride of what seems at times like improvisational live jamming. After being on the lineup of the canceled 2020 Big Ears, Moctar finally will be visiting Knoxville in March to take part in this year’s edition of the internationally celebrated festival. Mark my words: His show will be one of the most buzzworthy sets of the entire weekend. – JF
13) Lucy Dacus – “Home Video”
Lucy Dacus pays attention to the small things that build to make big, probablyyyy a touch inaccurate, nostalgia-driven memories. It reminds of the brush of the hand of your elementary crush or the awkwardness of a finding teenage love at church camp. But we all have those sorts of memories and they all play a role in the way we receive joy, trauma, and seemingly meaningless actions moving through life.
Dacus gets that, which is why her songwriting has such a knack for connecting on a deeply personal level. On her third album, “Home Video,” she is as astute as ever at pairing her low, velvety voice with muffled guitar, violin and piano as she shares stories of her religious upbringing. The result is a gorgeous picture that can be painted however the listener receives it. – CH
12) Pond – “9”
The great thing about this Aussie outfit is that it seems to be unfazed by the overwhelming success of its sister band, Tame Impala. Instead, Pond keeps chugging along and releasing its ninth (hence the title) album in a dozen years together. The group has been tagged with the psych-rock label, but on “9” it moves in many other directions, as well, such as on the funkier-sounding “America’s Cup” and on slower, more melancholic jams like “Song for Agnes” and “Toast.” Pond really comes into its own on this release, shedding any and all previous labels and solidifying itself as, dare I say, the best band in Perth? The standout track on this gem is unquestionably “Pink Lunettes,” a relentlessly upbeat jam. – JF
11) Tyler, the Creator – “CALL ME IF YOU GET LOST”
“CALL ME IF YOU GET LOST” is not only Tyler, the Creator’s most confident and mature album to date, but an ambitious and successful experiment in present-day hip-hop. With assistance from DJ Drama, the album is an ode to the early 2000s Gangsta Grillz mixtapes, full of guest verses, intricate beats and ad-libs from DJ Drama. But in this mixtape format, Tyler delivers a memoir of his own growth and experience that manages to have much more meaning, depth and cohesiveness than its historical predecessor. “CALL ME” expands Tyler’s range, while also summarizing his sound to create a hip-hop masterpiece that brings together the old and new school in a natural, seamless and almost romantic fashion. – MM
10) Roosevelt – “Polydans”
There was no album that got as much play for me this year as did this German producer’s “Polydans.” Whether it provided the background for work around the house or the soundtrack for a pool party, this breezy, light-hearted dance album always put a little extra pep in my step. If you’re a fan of fun electronic music, make sure to give this a listen. – RO
9) Big Red Machine – “How Long Do You Think It’s Going to Last”
It’s no surprise that Big Red Machine, the collaborative creation of Aaron Dessner (The National) and Justin Vernon (Bon Iver), gets a top spot on our year-end list. Featuring Taylor Swift, Sharon Van Etten, Fleet Foxes, Anais Mitchell, Ben Howard and more, each track is distinctive, but consistent, allowing these exceptional vocalists to shine, while never taking away from the smooth flow of each track or the album as a whole. Like most of Dessner and Vernon’s productions (and really everything they contributed to) over the last few years, “How Long Do You Think It’s Going to Last,” is a fine-tuned, well-orchestrated collection of lyrical and musical beauty. – MM
8) Arlo Parks – “Collapsed in Sunbeams”
Arlo Parks is a self-proclaimed empath with a passion for capturing the mental health struggles of her peers. At 20-years-old, the London singer/songwriter’s commitment to being as vivid as possible while tackling issues of queer identity, body issues and just deep pain in general has been lauded since she entered the poetry community as a teenager. Her list of fans is long – in addition to winning BBC Music’s Artist of the Year, Michelle Obama included Parks on a widely shared playlist. But beyond the critical acclaim, Parks’ debut, “Collapsed in Sunbeams,” offered a welcome, neo-soul collection of tracks that injected an airy dose joy into the year. The vibe is vintage and the lyrics are specific and smooth. All is woven together with muffled organs, thoughtful sampling and sunny beats. – CH
7) Jungle – “Loving in Stereo”
Can we all agree that we needed a good reason to dance in 2021? I sure hope so. Thankfully, London duo Jungle, Josh Lloyd-Watson and Tom McFarland, delivered with their third studio release, “Loving in Stereo.” All 70’s glitz mixed with the pair’s signature falsetto vocals, funky breaks and ever-present shimmer, the album manages to be hyper danceable without leaning into the kitsch. Track’s like “Truth,” “Talk About It” and “Keep Moving,” are relentlessly upbeat with disco-dipped lyrics ripe with positivity touching on love, perseverance and joy in general. This “F it, let’s dance” stance was a tall order in a time with artists releasing pensive, demure collections, but Jungle delivered and encouraged us all to shake it. – CH
6) Japanese Breakfast – “Jubilee”
Michelle Zauner, author, director and musician behind indie darlings Japanese Breakfast, put all of her creative talents together in the release of “Jubilee,” her third – and arguably finest – album. I’ve been a fan since the 2016 debut, “Psychopomp,” which was further solidified by catching the live group twice over the past four years at the Pitchfork and Railbird festivals, respectively.
While past efforts were more subdued, this spring release found Zauner moving in a more carefree direction, putting the 2014 death of her mother, which had influenced those records, behind her to where it’s not as reflective in the music. Many of the tracks here are colorful expressions bubbling with infections energy, especially songs such as “Paprika” and the standout “Be Sweet.”
2021 was a busy year for Japanese Breakfast, as it also saw the release of a soundtrack for video game “Sable” and “Live at Electric Lady.” Expect to see the project on several festival lineups in 2022 and to carry this momentum into the future. – JF
5) The War on Drugs – “I Don’t Live Here Anymore”
How does a bandleader who likes to avoid the spotlight follow a star turn as a Grammy winner for 2017’s “A Deeper Understanding?” For frontman Adam Granduciel, inspiration came from becoming a father and dealing with a pandemic. These reflective elements pour through on the group’s stellar 2021 release, “I Don’t Live Here Anymore.”
The album starts with reflective and poignant ballad “Living Proof,” the traits of which have become staples in Granduciel’s tunes over the years. Midway through the album is standout track “Victim” which is driven by pulsating keyboards, a sound many fans will find familiar. “Wasted” is another excellent track, and it, too, stays true to the familiar formula that has turned the talented Philadelphia underdogs into an arena-level draw with perhaps another Grammy nod in their near future. – JF
4) Little Simz – “Sometimes I Might Be Introvert”
“Sometimes I Might Be Introvert,” the 2021 release from British-Nigerian rapper, Little Simz, is everything hip-hop can and should be; an innovative, genre-exploding, lyrically magnificent opus that throws away boundaries. Simz tackles tough subjects with grace and a humble confidence that is effortless and demands attention. Listening to this album is a journey; a big, orchestral sound that ignores precedent and is unpredictable musically, with Simz’ razor-sharp lyricism the consistent high throughout. This album is true hip-hop and artistically integrates the genre’s varied influences, infusing soul (“Woman”), reggae (“One Point Kill”), electronic (“Speed”), disco (“Protect My Energy”) and more to create a sound that is uniquely her own and celebratory of all hip-hop. Simz’ primary goal is to make music that will “stand the test of time,” and with “Sometimes I Might Be Introvert,” she may have given the world one of the best hip-hop albums ever. – MM
3) Cassandra Jenkins – “An Overview on Phenomenal Nature”
“I’m a three-legged dog/ Workin’ with what I got,” Cassandra Jenkins sings at the start of this brief, luminous album, a signal of the contemplations of loss and healing to follow. Against gentle indie-folk production colored by strings, flutes and saxophones, Jenkins wrestles with death — particularly that of David Berman, whose touring band she had joined just before his suicide in 2019 — and finds solace in connections with other people, and especially with the natural world. The centerpiece is “Hard Drive,” a mostly spoken-word account of conversations with friends and strangers that revolve around the processing of trauma. But it’s the wordless final track, the 7-minute “The Ramble,” full of birdsong, drones and diaphanous woodwinds, that feels like a real release. It’s an exhale of gratitude and acceptance in a year that needed a lot of them. – JM
2) Jazmine Sullivan – Heaux Tales
This early 2021 release from Jazmine Sullivan is technically an EP; six, spoken-word interludes followed by songs that go deep into the characters and emotions each story represents. “Heaux Tales” is a concept album, a modern successor to classics like “The Miseducation of Lauryn Hill,” with raw stories of sexuality, feminism and relationships delivered with intelligence, skill and emotion. Sullivan is an exceptional vocalist, deliberate in both writing and delivery, that brings these intimate stories to life with ease. Deep, layered, vocal harmonies are the core of the album, constantly driving and building each song. Although guest appearances from H.E.R., Anderson .Paak and Ari Lennox are excellent, Sullivan doesn’t need them. “Heaux Tales” is an honest and pure “observation of today’s women standing in their power and owning who they are,” and is motivational, introspective and empowering. It’s special when an album does that and we loved sharing this one in 2021. – MM
1) Low – “HEY WHAT”
On the surface, it might seem odd that an unassuming, religiously devout married couple with two kids that hails from a cold, remote place much better known for a lifestyle brand bearing its name than for its music scene would snag the top spot in our 2021 best-of list. But the Duluth, Minnesota, duo of Alan Sparhawk and Mimi Parker, are a bit of a demographical aberration with regard to elevated cultural pursuits. In a career that already had yielded 12 stellar studio albums over the course of nearly three decades, Low delivered its most richly textured, starkly beautiful and emotionally crushing album to date with its 13th.
The magnificence of “HEY WHAT” lies in its authors’ ability to balance the agonizing tension created by a claustrophobic, fuzzed-out low end and jagged, electronically mangled guitar parts with extended periods of cathartic release provided by jubilant harmonies, sustained synths and gently pulsating rhythms. The album as a whole is flawless in cultivating and maintaining the relationship between push and pull, but it’s the central triptych of “Disappearing,” “Hey” and “Days Like These” that firmly establishes this dynamic as a principal theme.
That latter track features lyrics that are equally desperate, resolute and yearning, and they are delivered in a manner that is likewise evocative of all three emotions. “When you think you’ve seen everything/You’ll find we’re living in days like these,” the song begins, hinting at the sorrow and fractions the last few years have sown, the mournful refrains digitally compressed seemingly to induce further anxiety. But as Sparhawk and Parker intimate as the melody mellows and is allowed to breathe, we’ve been here before as a society, and maybe, just maybe, we’ll figure things out. “Again.” – MR
Others receiving votes: LUMP, Kiwi Jr., Wiki, Orchetre Tout Puissant Marcel Duchamp, Indigo De Souza, Damon Locks Black Monument Ensemble, Arooj Aftab, Tirzah, Magdalena Bay, Self Esteem, New Romantics, Nas, Clairo, Irreversible Entanglements, Damon Albarn, Brandi Carlile, Watchhouse, Sons of Kemet, Purple Disco Machine, Nila Sinephro, Matthew E. White, Madlib, Adele, Viagra Boys, The Weather Station, Parcels, Griff, Cory Hanson and many more.
