2021 In Review
Its been another incredible year for music in 2021! During another semester with little live music and few shows happening on campus, we spent a lot of time at Aural Wes discussing new music! There was a ton of incredible albums released by Wesleyan students, such as Emily Bloom’s amazing record Don’t Mind the Ghosts, Noisebaby’s self-titled debut, and new tunes from Dachelle! Check out these records in the playlist below!
As we do annually at the end of the year, everyone at Aural Wes chooses their five favorite albums and talks about them! Read and find out what we listened to in 2021!
Jacob Maren
This year marked returning to some sort of a routine. I listened to music walking to class or on the subway on the way to work. This, compared to last year, where music was listened to lying on the couch with my dog and parents and being freaked the fuck out every time my parents came behind me with my noise cancelling headphones on.
I began 2021 listening to Black Country, New Road’s debut album For the first time, which instantly became one of my favorite albums on the first listen. I listened to “Sunglasses,” their first single released off the album, on my Discover Weekly driving at home over a cold and depressing winter, and since then I was so excited for the album in its entirety. This was a time of year that there wasn’t much to look forward to, so this album’s release date became something that helped me get through a difficult few weeks at home. And when it finally came out it did not disappoint. If you’re a fan of jazz, punk, or rock in any capacity, I can’t recommend this album enough. Klezmer punk? What could be better! There’s something mysterious about this band and this album and I’m so excited for their sophomore album coming out this February.
Turnstile’s record GLOW ON was an album that took some warming up in order to understand how brilliant it is. I listened to this album over a hot summer in New York City (pun absolutely intended) when I was commuting on an electric scooter going to work every day. I didn’t think much of the record after its first listen but as the days got colder, I kept coming back to it. I moved back to Wesleyan for senior year and it became a daily routine to listen to this album. Just like what Jeff Rosenstock’s NO DREAM meant to be last year, this was an album that I felt like I could just jump up and down to in my room by myself. But this time, I had concerts to look forward to in the future.
In enters black midi, a punk band I finally got to see live in 2021! Punk was a genre that I really got into over quarantine and ever since, I’ve been looking forward to moshing at shows. I never thought I’d be the moshing type but spending two years basically by yourself changes people apparently! black midi came out with their sophomore record Cavalcade at the beginning of last summer, with an insane blend of punk, prog rock, and jazz. I spent hours switching between this album and Olivia Rodrigo’s Sour which is probably the world’s most insane blend of music ever. But when this fall came around, I finally got to go to a mosh show and it was the best feeling after listening to music by myself for two years. Before the pandemic I loved going to concerts and its been one of the things I’ve missed dearly. This album will forever be associated with the return of concerts and though it still feels scary being in a room of crowded people packed in like weee little sardine babies, I’m so happy to have the communal experience of listening to music again.
On the opposite end of the music spectrum is Promises, an insane collaboration between electronic producer Floating Points, jazz legend Pharoah Sanders, and the London Symphony Orchestra. Would not want to mosh to this album, no sir! But this album is one of the great musical gifts of 2021, an album that I listened to closing my eyes in bed when my thoughts would be racing about feeling lost, or being upset from my relationships or when I was looking for inspiration for my thesis. Consisting of one longer piece spread across nine movements, these incredible musicians spend each second of this album trying to sweep you into the piece and immersing you in each movement. Its a beautiful collaboration between three legends that can’t be missed in 2021.
For my fifth favorite album, I put Injury Reserve’s new record, By the Time I Get to Phoenix. I will not say much about this album. I don’t remember the first time I listened to it. I don’t even really know what it means to me. I barely can make sense of any song in the record. Maybe I like it because it samples Black Country, New Road or black midi? But what I do know is that this album feels so ahead of its time. I’m sure I will keep coming back to this record for the chaos that it creates and also in the hopes that I understand how this album works. Music is confusing ok?
Honorable Mentions: Indigo de Souza - Any Shape you Take, Squid - Bright Green Field, Olivia Rodrigo - SOUR, Wolf Alice - Blue Weekend, Remi Wolf - Juno, Little Simz - Sometimes I Might be Introvert
Sam Feuer
For me, 2021 was a transitional year, as I’m sure it was for many other people. I spent the first half of the year at home, as I was on medical leave from school. Bedridden for weeks from important surgery, I spent a lot of time reflecting on my life, and I was drawn to artists that were doing the same. As the year went on and I began to function like I used to, I feel like I leaned more towards music that celebrated my renewed energy. This was not a hard and fast rule, but with the world changing as fast as it does these days, it was important for me to have music for both the ups and downs.
I finished my first listen of Lucy Dacus’ third album, Home Video, feeling confused. Why does every other line rhyme? Who does this woman think she is—some sort of singer-songwriter Dr. Seuss? Why did she autotune her voice so heavily on that one song (“Partner in Crime”)? Something drew me back, though—I needed to listen to it again. And again. Lucy tells eleven short stories on this album, from the stripped-back and devastating “Thumbs,” to the sparkling and playful “Brando,” to the epic journey of a closer that is “Triple Dog Dare.” My semester away had me reflecting a lot on my childhood, similar to Lucy, and I found so much comfort in the pain and nostalgia that she invoked here with her beautiful songwriting. This is the album I needed this year.
Unlike Home Video, the new Little Simz album Sometimes I Might Be Introvert let me know from the start that I was in for a wild ride with its epic and orchestral opening. However, it is similar to Home Video in so many other ways. The album sees Little Simz reflecting on her upbringing and career thus far, and once again, I was completely captivated by her musings for the album’s hour-long runtime. She explores so many ideas and sounds on this project and blows the listener away every time, from “Woman,” to “I Love You, I Hate You” to “Point and Kill.” It’s a stunning album that delivers on its theatrical premise and deserves all of the acclaim that it is getting.
These two albums are contrasted by my other three picks, which I listened to when I was happier just being in the presence of music rather than actively thinking about it. That’s not to say these albums don’t explore important themes or aren’t as captivating—I got just as much value from these as I got from the previous two. Jubilee from Japanese Breakfast is one of the most versatile albums of the year with its beautiful instrumentation, and Michelle Zauner is a genius songwriter and vocalist (side note: she’s amazing live). Sufjan Stevens and Angelo de Augustine have created an intimate display of their songwriting prowess on the movie-inspired A Beginner’s Mind. Finally, Remi Wolf draws you in with hook after incredible hook on the elaborate and endlessly earwormy Juno. I am so grateful for the artists who were able to release music this year; they made this sometimes-confusing transition period in my life a little more tolerable and a lot more fun.
Honorable Mentions: illuminati hotties - Let Me Do One More, Spellling - The Turning Wheel, Low - HEY WHAT, Grouper - Shade, and L’Rain - Fatigue, with a special shoutout to Magdalena Bay’s Mercurial World because I couldn’t leave it off this list
Ben Togut
For many of my favorite albums this year, I can remember exactly where I was and what I was feeling when I heard them. When I first heard my top pick Blue Weekend by Wolf Alice I was sitting in a hotel lobby. It was early summer and it felt like the pandemic was almost over. As a listener, this glossy, electric album embodied the promise of a new life. I love this album because it is dynamic, capturing many different genres and moods. From urgent, rock-heavy songs like in “Play the Greatest Hits” to meditative anthems like “No Hard Feelings” and “The Last Man on Earth,” Blue Weekend is an emotional rollercoaster.
Another standout of 2021 was A Beginner’s Mind, a collaboration between indie favorite Sufjan Stevens and Angelo de Augustine. In A Beginner’s Mind, Sufjan returns to his folk roots with songs that reference classic movies like Hellraiser and She’s Gotta Have It. A Beginner’s Mind is so moving because Sufjan and Angelo effortlessly muse on themes that are at once universal and deeply personal. On “Cimmerian Shade,” one of my favorite tracks, the pair writes from the perspective of Buffalo Bill from Silence of the Lambs. Instead of focusing on his grotesque pursuits, Sufjan and Augustine highlight the serial killer’s need for human connection. As Sufjan reflects in the song’s chorus, “I just want you to love me/ I just wanted to know myself.”
My third pick is Any Shape You Take by Indigo de Souza. I discovered this album when mourning the loss of a close friend and De Souza’s mediation on failed relationships, growing up, and anxiety really spoke to me. In Any Shape You Take, DeSouza exposes how brutal it is trying to find yourself in uncertain times. During an interlude in “Real Pain,” screams crescendo for a minute and a half before De Souza pleads, “I wanna kick, wanna scream, I wanna know it's not my fault.” De Souza’s honest songwriting is what makes Any Shape You Take such a brilliant album, and I think it is one many of us can relate to during the pandemic.
Say what you want about Lana Del Rey, but there’s no denying that Blue Banisters is one of the most striking albums of 2021. Her second release this year, Blue Banisters is more cohesive than Chemtrails over the Country Club. Blue Banisters shines because it highlights Lana’s versatility as a songwriter. On “Arcadia,” a love letter to California, Lana confesses “My body is a map of L.A./ And my heart is like paper.” As Blue Banisters progresses, Lana maintains her honesty while also being sly and sarcastic. On “Sweet Carolina,” Lana croons lovingly to her sister before interjecting “You name your babe Lilac Heaven/ After your iPhone 11/ "Crypto forever, " screams your stupid boyfriend/ Fuck you, Kevin.” Lana’s vulnerable and wry songwriting is what sells Blue Banisters as one of the most memorable albums of the year.
Rounding out my top five is Happier Than Ever by Billie Eilish. On her second album, Eilish proves she is a mature and dynamic songwriter. On “Getting Older,” Billie is at her most earnest when she reveals “things I once enjoyed/ Just keep me employed now.” On the other hand, on songs like “Oxytocin” and “NDA,” she is bold and unapologetic in her sexuality. In my opinion, “Happier Than Ever” is one of the best singles released this year. Here, Eilish is brash and unfiltered, howling her grievances above an unforgiving guitar line. On “Happier Than Ever,” Billie is confident and fully formed, and I’m excited to see what she’ll do next.
Honorable mentions: Japanese Breakfast, Jubilee; Snail Mail, Valentine; Adele, 30; Lucy Dacus, Home Video; Grouper, Shade
Nolan Lewis
As much as I explored works outside of the mainstream this year, my top five albums can be found on the threshold between the music industry’s A and B “tiers,” perhaps some C depending on your personal opinion. But there’s no shame in that! There are tiers for a reason, and this year, top artists delivered as well as some rising stars. I figured the best way to handle sharing this list would be to use a WatchMojo countdown format, so without further ado, here I go!
First off, coming in at No. 5 is the debut album by PinkPantheress, to hell with it. Originally releasing snippets of sampled songs on a faceless TikTok account, she quickly gained a fanbase that was practically clawing at their screens for her to release her first album. And the project did not disappoint. Reintroducing newer generations to aesthetics from the early 2000s has been a tactic used by several TikTok musicians as of late, but what differentiates PinkPantheress from the rest is her choice of musical niche. Her jungle-beat drums are beautifully complemented by soothing vocals reminiscent of artists like Grimes and Poppy, and the short tracks that have earned her the “Two-Minute Queen” title leave listeners wanting more, setting her up for an iconic future.
In fourth place is Planet Her (Deluxe) by Doja Cat. I think it’s no shock to anyone that this made my list, *he writes as he wears his Doja Cat t-shirt for the ninth day in a row* (thanks, finals week). As always, Planet Her reminds listeners of Doja’s versalite flows and production. From the afrobeat-R&B fusion tunes of “Woman” and “Naked,” to the department-store-pop anthems of “Need To Know” and the Olivia Newton-John-inspired “Kiss Me More” featuring everyone’s favorite cursive singer SZA, remind us why Doja is the industry heavy-hitter that she is today. But it’s the Nicki Minaj-inspired witty lyricism heard on “Get Into It (Yuh)” and the long-awaited anti-men bop “Ain’t Sh*t” supplemented by heavy 808s heard on “Options” and “Up And Down” that remind listeners of Doja’s musical beginnings, all of which demonstrate why she deserves her fan-dubbed “Princess of Rap” moniker. The fun, bubbly lyrics and bop-after-bop instrumentals evoke a desire to white-girl-dance under pink LED lights—and Doja’s heavenly vocals and harmonies are the maraschino cherry on top.
At the middle of the pack is the second installment in Aminé’s POINTFIVE series, TWOPOINTFIVE. After going relatively quiet after the release of his 2020 album Limbo, the excitement when lead single “Charmander” went live was palpable. On TWOPOINTFIVE, Aminé taps into his specialty—discussing sex, wealth, and philanthropy—and pushes his sugary sound to cavity-inducing levels. One may argue that he’s actually begun to inch into hyperpop. Despite this evolution in melody, Aminé makes sure to utilize sounds from his contemporary rap origins in the drums, creating a sweet spot for a diverse range of listeners. Aminé’s exploration in creative freedom is certainly a welcome one that I can’t wait to watch unfold.
My runner-up this year is the debut album from Bootsy Collins anointed duo Silk Sonic, An Evening With Silk Sonic. Much like flip-phones, this album proves that ’70s and ‘80s R&B will never go out of style. The group has definitely found their niche—taking romantic and sexual themes and reorienting them using subtle imagery over some incredibly smooth instrumentals (something “Leave The Door Open” demonstrated early on). The album boasts notable writing credits from industry goliaths Big Sean and Babyface, and interpolates older hits such as Rick James and Teena Marie’s “Fire and Desire” as well as iconic Motown motifs to tell the story of being a wealthy yet hopeless romantic. While the album is not relatable for every listener due to its mild heteronormativity, for most, An Evening With Silk Sonic is perfect for a night in, be it for sexual or other “recreational” activites (see “Blast Off”). I think what pushed this album so high for me is the expectations it sets. I mean, if this is what Bruno and Anderson are capable of on their first run, everyone and their mama (no literally, my mom loves them) should be on the edge of their seats for future Silk Sonic content. F-L-Y.
And finally, my top album of 2021 was none other than Tyler, The Creator’s CALL ME IF YOU GET LOST. I love albums that tell a story, and CMIYGL Tells. A. Story. All while introducing us to his newest alter ego, Tyler Baudelaire. The album is an exploration of a risky relationship: falling in love with a friend’s significant other on a vacation, discovering the love is requited, but understanding that the relationship is morally wrong, and unhealthy coping mechanisms for the sadness brought on by this realization (see “CORSO”). The album takes on a mixtape format reminiscent of DJ Drama’s Gangsta Grillz series (and features Drama himself as the album’s narrator), a decision that inspires feelings of nostalgia for long-time hip-hop fans and generates an addictive sound for new listeners. Those with a keen ear for Tyler’s artistry and innuendos can find a masterfully woven story beneath the harsh raps, soft hooks, and top-tier features such as Lil Wayne, Pharrell Williams, and Odd Future colleague Domo Genesis. Conversely, the album’s penultimate eight and a half minute track “WILSHIRE” takes a departure from the previously established format (my personal favorite on the project). Lines like “The problem is he's my friend / But if I'm honest, I'm really hoping you drop him” and “Said you can't fully be into me 'cause you with him / Then why the f*ck when we link it's like he doesn't exist? / They all know that we're friends but we both aware that it's more” provide listeners with a more explicit view into Tyler’s story. But it's the ability of CMIYGL’s individual tracks to function as standalone songs that makes the project that much more powerful, a level that I, as a musician, strive to reach. Don’t get me wrong, the album is not perfect, but that’s no fault of Tyler’s. In fact, one may argue that CMIYGL is his peak. Sorry, IGOR.
Honorable Mentions: DESTIN CONRAD - COLORWAY, Megan Thee Stallion - Something For Thee Hotties, Nolan Lewis - YOUTHEMISM (Deluxe) (shameless self-plug), Summer Walker - Still Over It, Tinashe - 333, VanJess - Homegrown (Deluxe)
Nicole Motherway
As interesting as 2021 was in general, it was a particularly odd year for music. To me it felt like an in-between year, as a lot of my personal favorite artists either released music last year or are looking towards the future. My resulting top 5 list has therefore been described by a dear friend as “basic,” but I’m not too upset about that. What can I say, it was a good year for pop.
Who knew a Kurt Vonnegut quote would lend itself to Still Woozy’s debut album title, but here we are. If This Isn’t Nice, I Don’t Know What Is holds true to Sven’s recognizable and dare I say generic bedroom pop sound, but I was pleasantly surprised at the new sounds sprinkled throughout. I fully anticipated Sven to continue to put out an unbridled stream of singles throughout his career, so this album was unexpected but welcome nonetheless. Some of the tracks are forgettable, but this album made my list mainly because of its stand-out songs: “That’s Life,” “Kenny,” and “Window” stayed on repeat for me this entire year.
lately I feel EVERYTHING stands in stark contrast to Willow Smith’s previously smooth r&b albums, but I kind of liked this turn to rock (pop-punk?). It felt like something I would listen to in my angsty emo phase, and such nostalgia was appreciated amid a very turbulent year. Smith and Tyler Cole never fail to shine in their guitar abilities, which remain strong throughout the album. “Transparent Soul” had me instantly hooked, and Avril Lavigne’s feature on “Grow,” a delightfully cheesy anthem that one would expect to hear on Disney Channel, was so laughable that I kept coming back to it. This album felt a little too polished to truly find a home in the punk genre, but I think it’s still pretty enjoyable.
I was SO excited for Snail Mail’s second album, and Valentine did not disappoint. The fact that Lindsay Jordan released Lush at only 18 is incredibly impressive, but her growth and maturity over the past few years are clearly represented in Valentine. While her first album only flirts with deeper concepts, this one attacks heartbreak, alcohol, and death head-on. “Ben Franklin” is captivating, “Valentine” is explosive, and “Headlock” is gut-wrenching. This album truly gets better with every listen, and I don’t think I’ll ever stop noticing new intricacies each time through. I can only hope Jordan’s musical aptitude continues to age like fine wine in her future releases. My only qualm with Valentine: I wish it were longer!
I think CALL ME IF YOU GET LOST’s position on this list is likely biased by the fact that Tyler, The Creator has been #1 on my Spotify wrapped for the past three years straight, but that doesn’t neglect the fact that this is a great album. After IGOR’s almost too-smooth production, I was pleased to hear some gritty rap cuts reminiscent of Tyler’s older sound. I’m also a sucker for long songs, so “Wilshire” and “Sweet/I Thought You Wanted to Dance” were right up my alley from the very beginning. I also appreciated the unpredictability of this album, both across tracks and within songs themselves, and if not for DJ Drama’s “Gangsta Grillz” tags throughout I might have even forgotten I was listening to one continuous album. I felt like I was listening to a true mixtape, which is kind of fun considering I’ve grown up in an era devoid of them.
This brings us to my favorite album of 2021: Indigo De Souza’s Any Shape You Take. Since I Love My Mom, I had high expectations for this release, and De Souza exceeded them. De Souza left a long-term relationship after her debut album’s release, and as a result her sophomore album is fluid, sincere, and doesn't shy away from emotional vulnerability. It’s really quite amazing how De Souza so effortlessly swings between so many genres yet solidifies a unique and recognizable sound that makes the album impressively cohesive. “Kill Me” is undoubtedly one of my favorite songs of the year, and I’m praying that COVID doesn’t mess with my chance to see “Real Pain” live next year. I’m really looking forward to seeing De Souza’s continued growth as an artist in the future.
Here’s to more great music in 2022! <3
Honorable Mentions: Lucy Dacus - Home Video, Remi Wolf - Juno, Leon Bridges - Gold-Diggers Sound, Japanese Breakfast - Jubilee, illuminati hotties - Let Me Do One More
Max Levin
Out of everything from this chaotic year, there are a lot of records I wish I could gush about on this column. Alas, I’m stuck with my top 5. I gravitated more often towards experimental and electronic music from this year, and that may not be wholly reflected in my top picks, but please please check out all the honorable mentions I’ve listed at the bottom of my section! Each of my top 5 albums harnesses the human spirit in some way, whether that be distorting the human voice beyond recognition or effortlessly tapping into the soul.
There’s no better example of the former than Low’s HEY WHAT, a triumph of the human voice and easily my favorite album of the year. Low’s last album Double Negative was a formative record for me, seeing as it blew my brain into tiny little pieces when it dropped; while HEY WHAT is cut from the same cloth, there’s a key difference in how Low and BJ Burton use vocals on this album. DN is a portrait of crushing dread and hopelessness, where noise and decay reign above all, and Al’s and Mimi’s voices are drowned in static for most of the album’s runtime. On HEY WHAT, they cut through the noise. Every single song on the album has a big vocal hook, leaving me with a subtle yet powerful feeling of hope. If Low can overcome the noise, and with that the overwhelming dread that shaped Double Negative in years past, then maybe we can overcome it too.
SPELLLING’s The Turning Wheel is like cosmic theater. Every song feels like its own journey, with emotional peaks and valleys that somehow keep me engaged for the album’s entire hour-long runtime. It’s a testament to Tia Cabral’s bulletproof songwriting, with orchestral arrangements that just work and allow the songs to soar to dizzying heights. Cabral commands the stage with fable-like storytelling, singing of natural cycles, endless cycles, the whole of the mortal coil - it’s a relentlessly invigorating album that blossoms further open every time I listen to it.
Of all the albums under Nicolas Jaar’s name, DARKSIDE’s Spiral is my favorite. It keeps the live energy between Jaar and Dave Harrington, which made their last album Psychic so goddamn addicting, but it branches out further into the fractured and glitchy abyss without ever going off the rails. And it’s always changing. The remains of a signature Harrington groove disintegrate and fall away into eerie chopped-up vocals on “The Limit”. Tribal rhythms fade into distant acoustic guitar. Lyrics about paths turn into meditations on the inevitability of change, on those who push against change; they speak of what you choose to see, of lost connection, of piles of letters addressed to someone who’s no longer with us. While Jaar has embraced change in his music long before Spiral, he and Harrington ground it without necessarily limiting it, and that makes a world of difference.
Xenia Rubinos goes in so many directions on Una Rosa that I will likely never do it justice. Amidst the chilly, synthed-out sound palette conjured up for this record, Rubinos leads the album with her vocal performances across the board. The mood of this album shifts drastically from song to song, mainly being split down the middle into an energetic first half and mellow second half. Rubinos goes from straightforward grooves to off-kilter synth washes to autotuned frenzy during the first half alone, focusing on the racism and xenophobia that so-often defines people’s experiences with an American Dream that just doesn’t exist, whether it be direct threats to human safety like ICE or the quiet yet dream-crushing monotony of an average week in the US workforce. While the second half carries over these frustrations over a fundamentally broken system, it becomes more personal, culminating in “Did My Best” - a song about sudden loss that’s honestly one of the most emotionally devastating songs I’ve heard. There are so many more layers to this album that we’re yet to uncover, but Rubinos still makes the emotional journey on Una Rosa crystal clear: beyond all the frustration, loss, and perpetual grief of daily life, there will always be something - or someone - looking out for you.
Nala Sinephro’s Space 1.8 is a meditative yet busy work of avant-garde and spiritual jazz. Something is always happening on this album, through any number of the big list of collaborators for Sinephro’s debut as a composer. Yet despite all the commotion on this album, it never feels overwhelming. Even when Jake Long and James Mollison hammer away at their drums and saxophone on the sixth movement, it never feels like too much. Every note played feels effortless, but never calculated. It plays like a celebration, where the musicians carry each other over the gentle backing of Sinephro’s harp.
Honorable Mentions: Indigo Sparke - echo, Floating Points, Pharoah Sanders, LSO - Promises, Gnod - La Mort Du Sens, Blanck Mass - In Ferneaux, aya - im hole
Cass Weigle
Coming out of the drought in popular music prompted by the COVID-19 pandemic, 2021 was an incredibly exciting year for the music world. The year brought about a number of surprises, with a number of acts I previously found underwhelming or previously wasn’t aware of at all bringing absolutely jaw-dropping records to the table.
While the album in my number 5 spot was not the brainchild of an up-and-comer by any stretch of the imagination, the legendary artist behind the work is no stranger to surprises. Kanye West’s DONDA was undoubtedly the event album of the year, with a rollout stretched over a month and 3 separate release parties, with further changes being made to this day. The album, crafted in tribute to West’s mother, stands at 27 tracks, with a formidable runtime of an hour and 48 minutes (even longer if you decide to listen to the deluxe version, which features an additional 5 tracks and runs for over 2 hours). The mixes are sparse, cavernous, and above all else, lonely. Kanye sounds lonelier than he ever has before on this record, parallelling the loneliness associated with losing a loved one, particularly a caretaker. This record also manages to sound rather all over the place, which is kind of inevitable with an album that runs for about 2 hours, but nearly every avenue he explores yields incredible results. Highlights include the incredible “Off the Grid,” where Kanye, Fivio Foreign, and Playboi Carti all take turns pouring their hearts into the mic over an infectious drill influenced instrumental, the r/yandhileaks classic “Hurricane” that emulates the sparseness of the record to the highest degree, the heartbreaking “24” where Kanye pleads with God to right the terrible wrongness his mother’s death has brought into his life, the long-winded “Jesus Lord” that sees Kanye at his lowest, or the cathartic “Come to Life” and “No Child Left Behind,” where Kanye turns to his faith in God to escape the terrifying loneliness he’s expressed throughout the record.
My Little Pony Fan Music was the last place I expected to find a true treasure in music this year, but Vylet Pony’s CUTIEMARKS (And the Things That Bind Us) took dance-pop and EDM to such an eclectic place that its brilliance was undeniable. The record, themed around the rejection of a concept in the show called “cutiemarks,” which seem to be symbols that bind ponies to a particular walk/calling in life, uses that lens to genre-hop on this record so often that it would make Kanye West balk. Seriously, this album will present a seemingly typical synthpop jam, then morph it into an ambient glitch interlude two minutes into the track that then transitions into a starry eyed contemporary R&B tune, which then moves into a Reggaetón-influenced EDM cut a track later. What’s even more surprising than this bold juxtaposition of genres in the confines of a single track is how seamlessly they blend together and form into a emotional, fast paced, and exciting project that surprises with inventive ideas at every turn. For highlights, look to “ANTONYMPH,” a blissful dance-pop anthem about being unashamedly yourself in the early internet age, “ISOMETRICA,” a bitter industrial rock banger that devolves into a Frank Ocean-esque ambient interlude that cooks up an intoxicating melancholy, “HOW TO KILL A MONSTER,” that floats through various sonic passages at a breakneck pace, with some segments sounding like they were ripped straight out of the Rayman: Origins soundtrack, and most of all “37.6486° N, 122.4296° W (SEABOUND),” an absolutely transcendent indie folk cut that morphs from the sound of a Carrie and Lowell track into an otherworldly climax that devolves into a gut-wrenching guitar/harmonica duet that elevates the song to one of the best of the year.
After dropping my favorite album of all time just two years ago, the enigmatic JPEGMAFIA is back at the helm of another impossibly catchy trip through internet-age psychedelia concentrate. LP! is the sound of unbridled creativity and a legendary modern artist riding off a creative peak. I also do find it worth noting that this placement is specifically in reference to the “Offline” version of the record, available on Youtube, Soundcloud, and Bandcamp, as it not only reflects the artist’s original intentions with the project but is also just much better. The irresistibly groovy “HAZARD DUTY PAY!” could very well be JPEGMAFIA’s greatest song, and perhaps even one of the best, most instantly iconic hip hop songs of all time, making it a crime against humanity that the sample was not cleared to allow for the track to be released on streaming services. The wide variety of styles JPEG pulls from makes LP! feel like a victory lap that still manages to stand firmly among the other projects that prompted the lap in the first place, and where the album falters in focus it more than makes up for it in a slew of excellent tracks, including, but not limited to, the aforementioned “HAZARD DUTY PAY!”, “DIRTY!”, which feels like a callback to the inventive cloud rap style established on his project “EP2!” from earlier this year (but done in a much more engaging way, if I’m being honest), “WHAT KINDA RAPPIN’ IS THIS?”, which leaps from a 40 second ambient intro into a boundless, sample-based world of catchy melodies and rapping that I will elect to describe as “the infectious kind, bursting with personality,” “END CREDITS,'' where the guitar solo sampling beat sounds like a cataclysmic stampede that Peggy flows over effortlessly, “DIKEMBE!”, with another instantly catchy sample (you’ll notice a trend throughout the record where almost every song seems to incorporate something that matches these descriptors) that sounds like it was made for Peggy to rap over it, and “🔥” (titled “KISSY, FACE EMOJI!” on streaming services) with a synth-line that manages to lace in a kind of nostalgic feeling that I can’t find anywhere else.
In direct contrast to JPEGMAFIA, Injury Reserve is a cutting edge hip hop group that for the longest time, I could not properly get into. Admittedly, it might partially be my fault, as I would later learn that the one project I never got around to listening to from them is also considered their best (that being the “Floss” mixtape from 2017), but regardless, Live From the Dentist Office and their self titled record were acclaimed projects that I simply could not get into the way I did for some other modern hip hop acts like BROCKHAMPTON or the aforementioned JPEGMAFIA. My predisposition against their work based on my earlier experiences with them made the impact of this record all the more shocking. The writing was on the wall for rap to follow suit with the ultimate absolute deconstruction of the genre’s sound that occurred with the onset of free jazz in the 60s and the arrival of post-rock in the 90s, as was clear with the waves Earl Sweatshirt made in abstract hip hop with Some Rap Songs in 2018, but I can’t say that I saw Injury Reserve being the ones to bring this idea to fruition. But I suppose now is a better time than ever to admit my mistakes, because By the Time I Get to Phoenix is a disturbing, tortured, depressive experience like no other. I believe this and the following record to be the true classics of the year, because the massive amount of innovation and thinking outside of the box present on these two albums is undeniable. Phoenix is of course overshadowed by the sudden passing of group member Stepa J. Groggs, and I don’t know if I’ve seen a record about loss and death executed in such an inventive and forward thinking way. The mind melting “Superman That” sounds like the most demented mashup of IDM, extratone, and R&B possible without making something completely incoherent, and the result is drop-dead gorgeous, creating a sickening picture of a man absolutely destroyed by the impossibly terrifying and horrible experience of losing a loved one. “Top Picks for You” revolves around a disheveled synth line that cycles in and out as Ritchie speaks from the heart about how the world expects him to keep moving forward normally with his life while he remains haunted by this loss, which leads into the abrasive “Wild Wild West,” where it really began to sink in for me as a listener that this depressive atmosphere created over the course of the first 8 tracks might really be inescapable, just before the album transitions into its final 3 track run where life seeps into the blood of the record for what seems like the first time in forever. Groggs feels like a ghost haunting this record, not only directly tying into the major themes but also literally appearing on the most broken, gut punching song on the entire album, “Knees,” where he delivers a horrifying verse about his struggles with alcoholism and his need to assert his own self worth to others taking precedence over him truly taking care of himself. The track itself is a stuttering mess with a hook that’s delivered like somebody singing their favorite song quietly to themselves at one of the worst moments in their lives. The track finally takes us into the final few minutes of the record, on “Bye Storm,” which finally offers the slightest bit of respite from the storm of the earlier songs, acting as the light to the end of the tunnel that was the rest of the record, and affirming that however hard it may be, we can grow past these losses.
In nearly any other year, By the Time I Get to Phoenix would unequivocally be my album of the year. The concept, execution, and artistic merit are all in top form. And for a few months, it was. But when Phoenix seemed to encourage me to toil in my misery, in my anxiety prompted by coming to college and trying to acclimate myself to a brand new environment, the last minute contender of a lifetime hit streaming services on November 12, 2021, from yet another artist that I failed to see the potential in until this very moment, that blew me away like no other record did this year, and affirmed to me that no matter how bad things got, music would always be there for me. I don’t know if this is a particularly healthy mindset or not, but dltzk’s electronic pop masterpiece Frailty is, for this reason, my #1 album of the year. And it wasn’t close.
Why is that? Well for starters, the record features some of the most inventive, surprising, and life affirming production I have ever heard. Tracks like “search party” and “how to lie” feature moments of pure instrumental bliss that, every time I hear them, require me to stop doing whatever I am doing in order to properly appreciate the absolute wonder that the instrumentals bring to the table. In fact, between writing these last two sentences, I had to stop writing for a good minute, because the 3:43 drop on “search party” came up and gave me goosebumps all over my neck for the 48th time. And that aforementioned oddly specific number is not an exaggeration or a joke. I’ve counted. That drop alone would have earned the record a placement on this list. And yet it doesn’t even manage to be the best part of the record. That title is held by the indescribable “kodak moment,” which I’ll need to talk about more later. In many ways this record feels like the 2020’s answer to the 2001 classic The Glow Pt. 2, with psychedelic, dense production masterminded by a young prodigy (with an admittedly childish voice) that subverts genre conventions in radical ways (in dltzk’s case to such an extent that the album almost completely exists outside of the hyperpop/digicore space Zeke’s career was formulated in) that set a course for music to come in the future. I can’t imagine this record not being influential. It’s already influenced the hell out of me, and it’s been out for all but a month. On its best tracks, the noise pop masterpiece incorporates elements of hyperpop into the washed out soundscapes of shoegaze, often incorporating even more instruments (often specifically electing to use video game soundfonts such as old school Pokemon synths for said instruments, giving the record a wonderfully nostalgic tone) into the mix than some of the genre’s most legendary artists, making for brand new sonic textures that feel like they can barely be contained by the lo-fi confines they were designed in. Noise is also a major component of the project, perhaps most prominently on EDM/Glitch Pop masterwork “can you tell?”, which sounds like the fragments of a memory of the best early 2010s electropop anthem you never heard. “movies for guys'' is a multifaceted tour through everything dltzk does right and then some, with one of the catchiest indietronica-influenced synth lines since the heyday of LCD Soundsystem (or at least since the blissful synth arpeggios on “Misplace” four tracks ago) and an emo outro that struggles with the conflict of simultaneously wanting to stand up for yourself against a powerful force that is clearly in the wrong and at the same time not feeling like you deserve to do so. Which leads into a song that I may very well speak at length about, so forgive me for this, but I really can’t help it.
“kodak moment” is the centerpiece of the record, and it is, without a doubt, the song of the year for 2021. “search party” may approach this track in how much it makes me feel like crying when the good part hits, but despite me being head over heels for so much of this record, nothing else really comes close to this song. It wastes no time diving straight into a shoegaze influenced wash of sound, where Zeke delivers a chorus that fits their voice so perfectly, that any qualms I could give about it sounding like an “emo ASMR video” (Fantano’s words, not mine) feel irrelevant. “You got lost chasing time again, it’s all right, it’s all good” is a beautiful sentiment. I’m not even sure if I can explain why. I feel like the way I rationalize the first part of the line changes all the time, depending on what context I hear it in. But no matter what mistakes I’ve made, or how I’ve lost sight of my goals or true happiness by “chasing time again,” Zeke reassures me that “it’s all right, it’s all good.” We can be forgiven for our mistakes, our ignorance. There is happiness in the world for all of us, somewhere. I don’t know. Maybe that makes no sense. But it’s what I think, so I’m keeping it in the review.
A few minutes into the track, we transition into what is clearly a sonic buildup of sorts, but to what? That question is answered quickly when the entire track devolves into a single, repeating, stuttering effect as it freaks out and transitions into a flashcore breakdown that marks the second segment of this song. In the middle of this abrasive storm, however, there lies a small moment, at about 2 minutes and 50 seconds into the track, where the skies open up and we enter one of the most breathtaking moments in music I have ever heard. I don’t even know how to describe it. It’s just incredible. You have to hear it for yourself.
Following this, we return to a glitch breakdown for a bit longer, before a Sharkboy and Lavagirl sample (which I didn’t realize was from that until a few days ago!) transitions into the final leg of the track. This moment is where Zeke gets the most use out of the Pokemon soundfont, creating a song that sounds like a track straight from an old school Pokemon game’s OST. Having it placed in this context just feels like it brings back a childlike wonder about the world that I worry our society is hell bent on making kids lose. It never fails to put a smile on my face. A perfect, quiet, humble end to a song that feels like it stares life’s biggest questions and terrors in the face and doesn’t falter. An absolutely brilliant song nestled in the dead center of an absolutely brilliant album.
Okay, that’s my list. Hopefully I got my points across lol
Here’s hoping next year manages to stack up :)
Honorable Mentions: #6: Sewerslvt - we had good times together, don’t forget that; #7: Lil Ugly Mane - Volcanic Bird Enemy and the Voiced Concern; #8: Lingua Ignota - Sinner Get Ready; #9: Tyler, the Creator - Call Me if You Get Lost; #10: Black Country, New Road - For the first time
